Films Quotes

I think the people who cast films tend to think of me in regard to strong women with integrity and a lot of it has been very good.

So there was always a stunt coordinator on those films that was from Stunts Unlimited and I was just one of the young warriors from Stunts Unlimited that got to be a part of it because it was a big show and they needed a lot of guys.

I find more interesting roles for women in period pieces. I do personally like watching period films; I think you can really get lost in the fantasy of them.

Their films would probably be better if they'd seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much.

Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.

So our films had a lot more to them than entertainment value, and I'm glad that a lot of people recognize that now. People realize now the value of them as educational.

Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.

I'm not fond of any of my films in an intimate way, but Gregory's Girl would be number 4 on my list.

Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.

To answer the question, though: I didn't always want to direct. I just liked the idea of it. If a friend was making a short and needed someone who knew screen direction, I would jump in. It would be horrible, but it led to a short, then another, and another. It was like student films.

However, we couldn't focus on the films much during the series because we're dumb. Individually we're smart guys, but together we're one big dumb guy, and couldn't concentrate on two things at once.

I'm something of a history buff. It's deliberate that a lot of my films have been period pieces.

I prefer working on films. I like the variety. There is nothing better than playing a bad girl for two months, then playing someone sweet for the next two. Films give you this opportunity.

The person that made me want to make movies, and the reason I do films, is Bruce Lee. He was an incredible actor, and he had a lot of charisma. Handsome, action, you know, everything was there. I loved Bruce Lee.

Even if there are a lot women in films, there are few who are lesbians, that people know about.

It's the opposite journey from what I've usually done with films. I find it very easy to go from, say, a lit, pleasurable environment, like what you see outside there, to a very dark place. But the opposite journey, which is what this movie takes, is much more complicated.

My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.

I like making films about old people because they are repositories of amazing stories that they tell well. And they're incredibly good telly.

You become very angry and depressed that you keep getting offered only these exceedingly demure and repressed roles. They're so not me. That's why films like Fight Club were so important to me because I think I confounded certain stereotypes and limited perceptions of what I could do as an actress.

A lot of my friends aren't working, especially since fewer films are being made now and there's more competition.

I'm glad that my films have been consistently faring well rather than one stray Friday!

As far as I was concerned, either I was a homosexual or I wasn't, so making films would change nothing.

I've liked most of the films that I've been in and those are the kinds of films I like to see.

The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.

I mean, in my - and I'm not trying to do spilled milk, but in those days it was a little - I think it was much tougher, because you got an image, and you were in a saloon. And it was tough to come out of a saloon and to get in films, and to maintain an image, you know.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.

The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.