Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.
I did theatre all my life and then went into the film world. I then kind of segued into TV land, which is a different experience.
I never feel any pressure about a film. What is meant to happen will happen. I have seen failure as well as success several times.
I come from an everyday middle class family in India. The film industry reached us only through our television sets and cinema halls.
The beauty of doing film is that you construct whatever you do block by block and you can build something that will stay.
Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.
Sometimes film is just the family business. Some families are generations of carpenters or farmers, or they make clothes, or they're all lawyers. I'm in the family business.
The business is so international now; you'll be working on an American film, and you'll start chatting to someone, and it's like: 'Oh, you're English, too.'
The way Hollywood works, you're never sure if their first thought is to make a great film and honor the material or just another business property.
I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.
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.
I do not consider myself a feminist. I do not believe that by doing female-oriented films that depict a woman fighting the system, we can change the system.
If you really want to see something scary, turn on the nightly news. To me, for people to say 'look at the films' is ludicrous. The world we live in needs to change.
Every time I hear, Cut. Print, something cold and electrical goes off in my head, because I'm never going to change that film.
A film seeking to create change on a difficult issue should not try to provide a definitive historical overview, nor present an op-ed style argument.
Certainly Amadeus because it was a very powerful time for me, we filmed it in the Czech Republic at a time of lots of social and political change going on in that part of the world.
I've always thought photography was a bit of an adventure, so to come home with the film, develop it, then look at the results has more of a sense of excitement.
I'm purely most happy on a film or television set. That's where I feel I am home.
You make a film you feel is as real as possible and hope people react as though it were real.
I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
