Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.
Mira NairRead
It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
Interpretation
The quote emphasizes the importance of teamwork and collaboration over individual ego, particularly in the context of filmmaking.
Mira Nair expresses her pride in having a predominantly female crew for her film 'Monsoon Wedding.' She highlights that a harmonious work environment, characterized by a lack of ego, is crucial for the success of a project, suggesting that the collective effort toward a common goal is more significant than individual contributions.
In practice
This quote could be used in a speech about gender equality in the workplace.
Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.
If we don't tell our own stories, no one else will.
I think there's a level of ignorance, when, in the callowness of youth, you imagine that you are inventing the world for the first time. You imagine that your parents don't know what it feels like to fall in love.
Every film is a political act; it's how you see the world.
To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feeding yourself with what life, politics, society, and your family fuels you with.
When you're writing, in theory, everybody is serving you. When you're directing, you're serving everybody - in the guise of acting like everybody's serving you. But you're really serving the materials. You're serving the actors. You're in charge, but it's not free.
In television, the 60-minute series, 'The Wire' and 'Mad Men' and so on, the writer is the primary creative artist.
Writing is a lonely job. Even if a writer socializes regularly, when he gets down to the real business of his life, it is he and his type writer or word processor. No one else is or can be involved in the matter.
The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.
Art is not living. It is the use of living. The artist has the ability to take the living and use it in a certain way and produce art.
I find campfire stories and urban legends are kind of the bread and butter that inspires a lot of people who are making horror and thriller. There is a nugget of truth behind these sort of cautionary tales.
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