A Quote by Vijay Krishna Acharya

It was in Kanpur where I got exposed to the art of filmmaking. — © Vijay Krishna Acharya
It was in Kanpur where I got exposed to the art of filmmaking.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
I was never exposed to art school. I grew up in an artist's studio. I was exposed a lot of studio time between of my father and a great painter I studied with in Barcelona. That was my art school, as Europe was.
I got exposed to art-house cinema and foreign films. I was from L.A., so it was a film culture that I didn't know about.
I'm not interested in being famous or anything, but I'm definitely interested in expressing emotions, and acting and filmmaking can be great outlets for that. Filmmaking is an incredible art.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
I was exposed to a Muslim school, so I learnt Urdu. I was exposed to a Hindu school, so I learnt Hindi. I was exposed to a Church of England school, so I got my Senior Cambridge certificate.
I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
For me, filmmaking is an ongoing self-reflection process. I kind of push everything to the edge. I feel very exposed and fragile when I make a film. It's a process of dealing with loneliness. And it's also very dramatic - because while you are working on a film, you just realize how incapable you are of dealing with all these things. And you open yourself up, and it's like your heart is utterly exposed. And it's very tiring on a daily basis.
Some people live, eat and breathe art, and they love acting and filmmaking. I've got other loves. I love animals. I love teaching. I love kids. That's always something in the back of my mind.
Filmmaking is a huge privilege; it's not brain surgery. It's art, and art is supposed to be an enjoyable process, and it is an enjoyable experience for me.
Cinema ceases to be passive and becomes active: you, the audience, are now, in some senses, in charge of the filmmaking process. You have all got mobile phones, you have all got cam recorders, and you've all got laptops, so you're all filmmakers.
In '68 I was 13 years old, so I was a child, but I felt a lot of excitement in listening to things, looking at the pop art coming over from America. My father was an art collector, and he was coming home with these strange pieces of art that weren't exposed in museums. At the time, it was quite revolutionary, very adventurous.
I'm an advocate of music in schools. It's important to me that music is in as many schools as possible across this country and across the world. I think that it's a lost art form because kids aren't as exposed to it as maybe they used to be, or should be. I was exposed heavily to jazz and that's why I love it.
Filmmaking can be a fine art.
For me, I see filmmaking as art.
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