A Quote by Jay Chandrasekhar

Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
Though not into films, my family was associated with films. My grandparents financed films. They didn't like me getting into films. But, destiny willed it so.
I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
I am ably balancing big and small films. With every big film I do, I try to take up films that are high on content and small on budget.
Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.
I've done big studio films and the big studio films I've done, I've tried to do the interesting ones and the ones where I could live with myself in the morning.
I request big films to give way for small movies as there are umpteen number of such films waiting to see the light of the day.
There is a straight-forward definition for 'Independent Filmmaking'. The term references a group of films that are financed by money that comes from outside the studio system. In a literal sense that is what it means.
Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.
I'm pretty optimistic that in the future these kind of films will also be part of the main categories, perhaps not in a foreign language, but certainly more socially and politically engaged films, or films that will happen where the story takes place outside the United States.
When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.
I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.
On the Internet, companies are scale businesses, characterized by high fixed costs and relatively low variable costs. You can be two sizes: You can be big, or you can be small. It's very hard to be medium. A lot of medium-sized companies had the financing rug pulled out from under them before they could get big.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
I sometimes hear people say women don't want to direct studio films, but I do. I want to direct big films, little films, TV. I want to do it all.
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