Explore Quotes on Film

I heard Hindi film songs only on Chitrahaar, when my next door neighbour would increase the volume of her TV.

If it is a good film, the audience will like it. They will take to it if it is made with a certain amount of integrity.

I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.

I'm neither excited nor worried when my film releases. As an artiste, I would definitely want people to like my work... that's why we are here. But I don't really sit up and look at reviews. I have never sat down to ponder over what others have to say.

Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.

I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

Dishonesty in trailers is more than a moral issue, it's a practical one. If you don't deliver in the film what you offered in the trailer, you'll get bad word-of-mouth.

Somewhere down the line, I felt the need to come to grips with the realistic - or live action - image which seemed to me central to the notion of film. And then a whole new world opened to me.

I had felt for some time that audience involvement with a film should begin with its first frame.

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

There's nothing more damaging than an irate moviegoer who hasn't seen what the film trailer promised.

This is my real concern: to give each film a unique individuality.

In TV the main purpose is to have them keep their hands off the dial. In movies, where you have a captive audience, the opening is intrinsic to the film.

My view... was that something could happen during the credits that could help the film, so that the establishing shots aren't carrying the total burden.

My position was that the film begins with the first frame and that the film should be doing a job at that point.

In 'Age of Innocence,' the opening flowers, that's a metaphor for the film, the Victorian veneer with the malevolence beneath it. We attempted to show that with flowers that start as sweet and then slowly become malevolent.

The very first pieces of film that I did were really graphic designs translated to film. Graphic designs that moved. That was a very new notion.

I am getting good roles in the Telugu film industry. And people are also liking my work. I dub the films myself and this makes a huge difference.

The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.

Bengali film has again moved from the insipid, lackluster contents to rich, varied ones.

And with Sushant Singh Rajput, I never felt like he was the star of the film because of his humble nature. We used to hang out together after work.