A Quote by Varun Sharma
Chhichhore' is really close to all of our hearts. We had a great time while making the film.
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After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
While I prefer generally more personal dramas in which I can stretch myself... and while I'm not a science fiction buff, I consider '2001' a great film, absolutely enthralling; at 'Star Wars' I had a fabulous time, and, at 'Alien,' while it was a silly story, I was knocked out.
I think 'Chhichhore' is the film that's closest to my heart - it's a very entertaining film with a lot of soul in it.
Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.
Chhichhore' is the toughest film that I have done.
Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.
I had a great time working with Denis [Villeneuve] and the whole group. It was a very different kind of a part [in Story of Your Life] than I've played in a while. But I had great fun; and yes, it was really nice not to have to answer to anybody about that.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
The Photo Album is the weakest record. For the first time in our careers, we found ourselves with an economic incentive to be on the road and to be making albums. We had cut ourselves free from the security of day-job life. The goals became primarily financial, at least for a while. That was the roughest time we had ever had as a band, because that was the first moment we realized that this was for real. We were not goofing around anymore. We all threw everything we had into this in a way where we all found ourselves really far from home, and we were stuck with each other.
We're very focused on making News Feed really good, making our photos experience really good, making messaging really good, and creating great location apps. That's the nature of a platform business of our scale. Most companies that are relevant to us will have some overlaps in some competitive way.
I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
It seemed to me that all things were possible on the island, all tyrannies and cruelties, though in small; and if, in despite of what was possible, we lived at peace with another, surely this was proof that certain laws unknown to us held sway, or else that we had been following the promptings of our hearts all this time, and our hearts had not betrayed us.
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