A Quote by Urmila Matondkar
Nobody can link the success of a movie with a particular artiste.
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Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.
Nobody can replace Mika Singh; he is an amazing artiste and a legend.
Fans are half of an artiste... without someone to appreciate him, an artiste is nothing.
A dubbing artiste does a lot of repair work for an artiste who doesn't naturally speak the language they are acting in.
And that is also what the movie's about, going beyond success, what is success 'cause I think success is misperceived as just a cake and it isn't. There is many things inside that success. There's a maturity and a heartbreak and sadness and broken glass.
I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.
I think Memento movie was hard because people didn't get it, they just didn't understand it. Not from the stage when we read the script and liked it. It's sort of a famous story now how we finished the movie and showed it to distributors and nobody wanted it. So it wasn't just they didn't get the script, they really didn't even understand the movie when it was done. But I think that was a particularly hard one. I don't think it was harder because we were girls, but I do think obviously there are particular challenges to working in a male-dominated industry.
I think there's a danger that some people look at the success of my first movie as a fluke. So I want to make sure that my second film is an even bigger success. Then if I direct my third movie and it's terrible, it'll be okay.
If you can be that link to other people that came before you and the ones that come after, then you have to honor that link. If you are doing what somebody else tells you to do and you have success, it's horrible. And if you are doing what other people tell you to do and you fail, it's equally horrible.
I think I understand the line between my job and the director's. I have no interest in directing. Not my movie, not your movie, nobody's movie.
For me, the greatest kind of success that I've had on a particular project or in exploring a role does come through collaboration. I wouldn't want to do a movie where everything I do the director just says, "Good job" and I'm under directed.
What I'm realizing as I get older is that a movie's mainstream success is just as unpredictable as a movie's cult success. Plenty of movies that are truly odd and deserve cults, don't have cults. It's just as much of a crapshoot to be a cult hit as it is to be a mainstream success. Isn't that weird?
The real self of an artiste lies in art, so when an artiste performs, all the pain, trauma and tension get released through art, be it dancing, painting, singing, writing or even martial arts.
I won't call it pressure but I want to come out with a better movie every time. That kind of enthusiasm is what makes an artiste aim for more.
When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
Alec Guinness classed up that movie [Star Wars]. Nobody else in that movie knew how to act. Nobody else had a clue of what they were doing. The young guy was a complete loss, absolutely couldn't act his way out of a bag, but Alec Guinness carried that movie. He was such a class act that it elevated the film to be a joy to watch.
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