A Quote by Archie Panjabi
Since I was a baby my goal was to be on TV because film was just impossible - you never got any Asian women in Western cinema. I grew up wanting to be in 'East-Enders' because film wasn't even a dream. The community were very much like, 'How can you want to act? It's such a low-class profession.
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Since I was a baby my goal was to be on TV because film was just impossible - you never got any Asian women in Western cinema. I grew up wanting to be in 'East-Enders' because film wasn't even a dream. The community were very much like, 'How can you want to act? It's such a low-class profession.'
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.
What I noticed is that the lens from which people want to look at 'Minari' is just from that Asian-American angle. And I think that can end up being very frustrating. Because the craft of the film, and this film itself, is meant to embody a lot of different things.
I wanted to make a film - and I've been wanting to do this for 16 years - about life in care, and bring it to the public's attention, because I had never seen anything, on TV or in the cinema, which said: 'This is how it feels to be a kid in care'.
You do the one film that you think is terrible, but it's a big studio film and you hope you'll get another job because of it, because blah blah blah, whatever it is. You know that you hate it, you just couldn't care less if it got made because it's not something in a million years you'd go and see yourself. And it ends up being shite and you just knew it was shite to begin with, and it doesn't do you any favors at all if someone thought you were in another shite film. So I decided it doesn't get me anywhere being cynical. It's not that I want to be.
Wanting to be in a Western film won't get me very far. Unless the opportunity arose, it doesn't matter how much I want to be in one. But if an opportunity did arise, no actor would pass it up.
I just finished a film a few days ago, and I came home and said I learned so much today. So if I can come home from working on a little film after doing it for 45 years and say, "I learned so much today," that shows something about the cinema. Because the cinema is very young. It's only 100 years old.
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.
I taught a master class in film in France, and that was a great experience because I got a chance to study the French film culture and the French film history, so to add... just to expand myself just personally and professionally was really helpful.
I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."
I have plenty of dream roles because there is so much I want to do, but my dream year would be to be in a single-camera comedy and then, on my hiatus, film a little low-budget indie drama. That would be a dream 12-month period. A dream role depends on having good material and working with people that I can learn from.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
You go to the cinema and you realize you're watching the third act. There is no first or second act. There is this massive film-making where you spend this incredible amount of money and play right to the demographic. You can tell how much money the film is going to make by how it does on the first weekend. The whole culture is in the crap house. It's not just true in the movies, it's also true in the theater.
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