A Quote by Tahir Raj Bhasin
My first film was very static.
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Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
My very first film in Hindi - 'CID' - was with Dev Anand. I was a big fan of his. So you can imagine my excitement and nervousness at doing a film with him. On the very first day on the sets, when I called him 'Dev Saab' he turned around and said 'No no, call me Dev.'
I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."
I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.
There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.
'Paruthiveeran' was a difficult film to work on. It was my first film but a very strong character.
Democracy cannot be static. Whatever is static is dead.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'
The very first pieces of film that I did were really graphic designs translated to film. Graphic designs that moved. That was a very new notion.
But since I did my first film with Shammi Kapoor ji, he is my favourite. I was very shy to face the camera. In my first few shots with Shammi chacha, I was very nervous. He was very patient with me and guided me in every shot.
'The Road' was my first American film, my first film in the snow. The first of everything. So, I was jumping into it, and that was pretty grueling.
It's very cool to be able to say that my first real film was 'Footloose' and my second film I got to star alongside Tom Cruise and Catherine Zeta-Jones.
When we first made this whole idea this was going to be calling card film [Moon] and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn't stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.
Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
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