A Quote by Vicky Kaushal
'Race' is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot 'Race 3,' things eventually didn't work out, unfortunately.
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What eventually counts is whether your film was successful at the box-office or not, or more so if the film has made its money, and 'Race 3' did that.
I wanted to be a car mechanic and I wanted to race cars and the idea of trying to make something out of my life wasn't really a priority. But the accident allowed me to apply myself at school. I got great grades. Eventually I got very excited about anthropology and about social sciences and psychology, and I was able to push my photography even further and eventually discovered film and film schools.
'Saw' really was like a student film for me; we expected it to go straight to video. I never expected anyone to see that film, and then it becomes one of the most successful horror franchises.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.
Since I have spent so much time with film-makers, and I understand the process, I would love to direct a film some day.
Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.
In Bollywood, you have to do one film at a time, and there are no mixed schedules. And doing four films at a time is out of the question. Telugu film industry works very differently. But the kind of films I'm getting here are better than what I've been offered in Bollywood.
I came back to Haiti after the earthquake not to shoot a film, but to help and be a part of the rebuilding process, like all my fellow compatriots. I didn't come to shoot a film, but I became frustrated when I realized that my help was kind of useless. We all felt lost and helpless. And it's out of that frustration that I decided to shoot a film.
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.
We were to work in a film titled 'Zabardast'. Unfortunately, this film didn't take off. After this, I never got another chance to work with him, I regret not having worked with Dilip Kumar.
People will watch your film only if it's good. Another star's flop won't make your film a hit. So my race is with myself.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.
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