I got into film-making because I was interested in making entertaining movies, which I felt there was a lack of.
The question is - did Richard Attenborough have a right to make 'Gandhi?' And did Danny Boyle have a right to make 'Slumdog Millionaire?' Quite honestly, if they didn't have the right to make these films, I had no right to make 'Elizabeth.'
You wouldn't ask Rodin to make an ugly sculpture, or me to make a film with an ugly woman.
Peter Jackson and Steven Spielberg are men at the top of their game, and Jackson especially is going to change the nature of film-making.
My heart is in independent film-making. For me, it's where the fun, gritty storytelling is being told.
That's the difference between working on film and working in a play. In a play, you work on it, and you live in it and develop it and make it happen.
Though I technically come from a film family, my father had stopped making films even before my brother and I were born. So I did not really grow up in a filmi environment. And when I was growing up, becoming an actress was still quite a taboo. And y...
I have registered few titles like 'Bharat Bandh,' 'Calendar Girl,' 'Money Politics.' The titles just intrigued me, so I registered. I had a title, 'Jai Ho,' which I gave to Sohail Khan for his next film with Salman Khan. These are typical Madhur Bhan...
I visualise what I want through meditation. The process of meditating is a great way of making sure I have my priorities sorted. It's not about money - I focus on my career and the kind of film projects I want to do. Film-making is a passion for me, ...
The funny thing about my films is that you can make little piles of them. You could make little piles of the movie that were family movies, you could make a little art movie pile, you could make a little action movie pile.
It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you'...
With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
'Raiders of the Lost Ark' made me want to make films. I am wild about the films of John Carpenter, Ridley Scott, Howard Hawks and Sam Peckinpah.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
At Temple University, and I'm sure this was the way in a lot of film classes, comedy was not an option, and not considered a serious form of expression. You had to make a film about an issue.
If you make a film about a pig farmer in Wales and you are a huge hit as the pig farmer's wife, the next thing is you'll be asked to do a film about a sheep farmer in Scotland.
The idea of making a film - a film that I had certainly never seen before - about the slave experience was a huge responsibility. It's a project that requires a wider understanding of the geopolitical nature of the slave trade, of historical and mode...
I did enjoy theater. I actually do prefer making films and television, but it was a learning experience for me, because I got into television at 5 and film at 11, and theater was something I completely bypassed.
