A Quote by Zawe Ashton
Todd Solondz is a film maker I've always loved because of how he balances darkness, humour and surrealism in his films.
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I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
I think my mom is the inspiration of me wanting to do film and TV and be an actor because she loved film so much. She loved, like, horror films and action films, so growing up, she loved watching all the Charles Bronson films and all the westerns.
Todd Solondz is one of my favorite directors.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
I like "Talk to Her" by [Pedro] Almodovar and "Happiness" by Todd Solondz, "Mullholland Drive" by David Lynch .
... no human actions ever were intended by the Maker of men to be guided by balances of expediency, but by balances of justice.
There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.
My experience I consider an accident in the Hollywood system. I don't believe it should be a reference for a black film maker, or an example for any young film maker, because it's purely luck.
The people I met for the first time in the period when I was making films like 'Tum Bin,' 'Ra.One,' 'Dus,' 'Cash' would often remark that I was very unlike the person who had made those films. This is not the best thing for a film-maker to hear because your film should reflect your personality, thinking, philosophy and character.
Dark Horse movie might be blood, sweat, and tears for Todd Solondz, because things are so important to him and so specific. He has such a rhythm and a tone. So while he may have to work so hard to keep that intact, it allows the actors the freedom to just breathe. Because he's done all the heavy lifting. He really has. He has everything the way he needs it. And so we can just get there and be whatever he saw in the audition.
The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
Usually, with me, the project is always the second thing. The film-maker comes first. Films grow out of the relationship.
I've always been interested in a certain kind of sophistication in children's literature. I loved Roald Dahl; I loved the underlying nastiness of some of his - darkness of his tales.
What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.
Priyadarshan has directed over 84 films and more than 150 ad films. With every film, he is growing. He knows his job well; he is thorough. His way of making a film and song or choreographing a scene is entirely different from other directors. He knows how to use an actor's talent and how to handle an actor.
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