A Quote by Ranvir Shorey
I feel lucky that films like 'Singh is King,' 'Ek Tha Tiger' came my way. They were mainstream films that were different.
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I did 'Ek Tha Tiger,' but I wasn't in 'Tiger Zinda Hai.' I know and I feel that I'm ignored.
When people around me were signing films, I would wonder why nothing good came my way. See, I wasn't desperate to do films, but I was desperate to do good films.
Lot of people liked me in 'Manorama Six feet Under,' 'Oye Lucky Lucky Oye,' 'Dev D' and 'Shanghai' and the only common thing in all these films is that when we were making them we never thought they would work. The ones that did not work were safe films.
Blaxploitation films were black films targeting black people. They were films made to appeal to a culture in a way that was supposed to be unfiltered.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
Ek Tha Tiger' was a great script, director and leading superstar of the film industry Salman Khan is part of it.
I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.
When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.
I go to watch the so-called mainstream films for different reasons. I certainly like those films if they are giving me something new to look out for.
I don't know if any of you feel this way, but it's like eventually, you see a woman come on screen and you go, "Oh, thank God!" You just sort of need a break from all this testosterone, which happened, I think, in one of my films, The Hurt Locker. I was in it for like five minutes, and people were like, "You were in that movie!" And I was like, "Well, kind of." And they were like, "No, you were!" 'Cause they needed a woman!
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
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 think my films kind of walk this line that I'm proud of, that they feel sort of like films of my youth, which were far more commercial.
People turned around and came back to watch. An enormous crowd formed. Ampol Oil took films. When we left Australia, we also left our boards for the Aussies. Those films were shown all over the country to different clubs. The films and our boards became the basis for the modern surfboard movement in Australia.
I have enjoyed doing some films as they were well written like 'Andaz Apna Apna,' 'Hera Pheri' and 'Cheeni Kum.' These films were high on the comedy quotient as the characters were creating a comic situation.
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