You earn very little money on independent films and I'm the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
I mean, I did a film, a musical of 'Scrooge', in '70, and the tricks were done by flat clothes and mirrors. I hope that the day will come when we don't have to turn up at all.
To not be self-conscious of your appearance is huge, and something that I desperately hope to carry into film at some point in my useless life - to not be thinking, 'My ear looks weird from this angle, why is the camera over there?'
I hope to do big action movies and strong dramas, and to produce films. I also want to get kids more involved in what's going on in the world and to be politically active.
Every black film feels like it's Tyler Perry, and that just needs to stop. But people seem to slowly be looking for what else is out there - 'Is there something else besides this type of humor?' 'I'm tired of seeing men in dresses.'
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.
Sadly, cinemas with film as the primary source are disappearing. We need to remain open to change. That does not require one to divorce the past but to respect and process both the present and the future.
In December 2011, I will be opening up my production house, Sharmeen Obaid Films, and aspire to change the way Pakistanis approach nonfiction storytelling. There are thousands of stories to be found here.
You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.
I think we are at the very beginning of high changes, not only in terms of digital film, but in the way the movies will be screened, whether they'll be screened on phones, on computers - on everything.
I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we'd sit on the hood of the car. I just had this profound love for storytelling.
It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign, and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.
Lately I did a film called All I Want for Christmas and it was well received. This gave me a new point of view and a new respect for my work as an actress.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
Not at all, I wanted to go into medicine. I took science in college. But my dad was a Producer - Director in Kannada films, and someone saw me, and one thing led to another.
My first films were comedy, 'Murder By Death,' and 'The Cheap Detective.' But now they won't think of me as a comedian. Now, they think of me as a bad guy, and I can't do comedy.
Most films made about the future acquiesce toward death, and I don't want to be told how to define my future.
No wonder the film industry started in the desert in California where, like all desert dwellers, they dream their buildings, rather than design them.
I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.
I didn't have the welfare. I didn't have the proper education. I didn't have these things. That's why it's almost like a complex in me that I want to explode myself in my films.
