A Quote by Vicky Kaushal
'Zubaan' is the first film I had signed as a lead. It was an opportunity I was waiting for, coming at a time when I was getting shortlisted for roles but was unable to make the final cut.
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They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
The fact that there aren't an abundance of African-American males that are getting lead roles [and] that are getting roles that have prominence on the big screen. [It's] the same thing from behind the camera; maybe even worse. Coming up, when you're black and you want to direct somebody says, "Oh, you're Spike Lee" or "You're John Singleton."
You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
I was one of the shortlisted girls for the female lead of the Oscar-winning film 'Slumdog Millionaire' along with Freida Pinto.
Le Petit is where I cut my teeth with some of my early roles. In 1982, I was in the chorus of 'Gypsy' and soon after I had my first lead as Jamie Lockhart in 'The Robber Bridegroom.'
There are many roles and I haven't had the opportunity to do any of them. I jokingly tell people 'Sometimes I wonder, is the film industry waiting for me to die and then say it's sad. He was a good actor. He was underrated and didn't have enough chances.'
My first movie role was a supporting performance in a Canadian film called 'Final Lady.' It was a great opportunity for me at the time.
[Barack Obama] had already signed Lilly Ledbetter, signed SCHIP, the children's health insurance program. By the time he had his first address to the joint session, that is as it is called, the first speech, he could say, this is what I asked for, this is what we have done in the first four weeks.
I had signed a four-film contract at the time of the first 'Deadpool' film. So I always knew that I'd be working in the subsequent installments of 'Deadpool.'
Making 'The Invitation' and waiting to make it on my terms and getting final cut and doing it the way I needed to do it was incredibly challenging, but it has really been so great for me. I'm so thankful that that's happened, that I got to work with actors I really like and have just such a good experience in delving into that story.
The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.
'The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.
I would rather not make a film than make one where I don't have final cut.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
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