Film directors from India

"I am the kind of guy who believes that films are supposed to be entertainment. I do not subscribe much to movies that leave you with a lingering feeling, make you feel angry or depressed. I am not yet ready to make films like that. I have grown up with films that are entertaining. Since I am such a huge fan of entertainment, I believe that the films that I do should also be entertaining, people can talk about it for three days and forget about it."

"When you see what goes on inside a slaughterhouse, I think you'll lose your appetite for animal flesh, too… Animals feel pain, just as people do. They value their lives, just as we value ours. They're terrified by the sights and smells of the slaughterhouse, and they fight for every last breath. I hope you'll also make the compassionate choice to go vegetarian."

"I begin with two memories of my childhood. Don't ask me why, because I do not know. Perhaps because it helps to get things started."

"The demolition of the Babri Masjid was the last straw. Naseem (1995) was almost like an epitaph. After the film, I had really nothing to say. I needed to regain my faith and retain my sanity. So I decided to travel around India and document it on a video camera"

"I’ve always maintained that it’s easy to make a film on Adolf Hitler. What is difficult is to find out why he struck a chord with the German people; what is the nature of fear, aspiration and identity that he evoked in them that it became Hitler’s Germany."

"Maula Bakhsh, a peasant, lives in Tamil Nadu and speaks Tamil. In Andhra Pradesh he speaks Telugu. In Bengal, his language is Bengali. Do we think of such a Muslim for whom I have invented the name Maula Bakhsh. Jinnah, Khaliquz Zaman, Maulana Azad, the Aga Khan, M.C. Chagla and the Raja of Mehmudabad... were Muslims. So was Hakku, the elderly grandmother of our locality. She prays 5 times a day. She was so deeply moved by one of Gandhi's speeches that she would repeat his name after Allah and His Prophet. At the age of 70, she stitched her own khadi kafan, because she did not want her body to be wrapped and then buried in a foreign cloth. So when people discuss India's Muslims, I wonder who are they talking about. Maula Bakhsh? Jinnah and Co.? Or Hakku?"

"If the character has the motivation to dance round trees, then I will dance round trees. If the motivation is strong enough, then I'll fly to the moon."

"Ultimately, the Indian public is not fool. They can spot the difference between what is said for effect and what is done in reality. Whether it is politicians or actors or social activists, they know for sure whom to trust or not."

"Fifty three per cent children in India face sexual abuse – both boys and girls – but we still feel uncomfortable talking about it. We are still hypocrites when it comes to issues like child abuse, sex or for that matter homosexuality. It is high time that we brought the issue from under the carpet."

"I have a Defined Goal - A Dream - and I am trying to get there. Wholeheartedly, Yes, I leave nothing out. I Believe - The Regrets in Life are the Risks not taken.""

"With both Jeet and Prosenjit venturing into television, things are bound to hot up. We are hoping that things change for better now. It’s a bit like Shah Rukh Khan hosting Kaun Banega Crorepati and Salman Khan hosting Dus ka Dum. The shows have been evidently designed keeping both these star’s image in mind."

"The moment there’s a foreigner in a film it gives a novelty to the script. We make regional films and we need to hype our films."

"We passed on the email to the Eastern India Motion Pictures Association. They have informed Lalbazar’s anti-piracy cell. We’ve also informed Bhawani Bhavan and will write to the copyright authorities."

"Soumitra Chattopadhyay is the only person in Tollywood who has the equivalent stature as of Amitabh Bachchan. So, why does Soumitra always have to be a father or uncle or grandfather, or just have work in serious roles or portray depressing characters? What is wrong if Soumitra acts in a role that is different from the usual roles he plays? If Bollywood can do experiments, then what is wrong in experimenting things in Tollywood?"

"The recent trend of the Bengali film industry is to remake South Indian films. My film had a mockery about that since I don’t believe in remakes. I won’t make a film which is a copy of something. I am very firm in my beliefs, even if that causes me to lose a few producers. There are many people who are making loads of remakes. But at the same time, there are many newcomers who have original ideas, working on new things, and getting producers. It is obviously a bright side of the shoel thing."

"Though Mitra’s case was different because it was a heart attack, I shudder to think what would have happened if an accident occurs in one of these studios. With no professional medical practitioner in attendance, things became difficult."

"The FM channels are as popular as TV. People are hooked to the radio all day. So, when the same medium strongly publicises the piece, people are bound to keep listening to it."

"I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens."

"I believe the essence of the Independence Day is missing. We celebrate it like any other holiday, which is wrong. We must celebrate our independence everyday, not just on one day of the year."

"I am insane, with small intervals of horrible sanity."

"Anjan Dutta is one of the most interesting persons I have ever met."

"Even in Death they had a thing in common, Pain."

"I'm so lucky that he agreed. A fascinating tale."

"I have also registered complaints against errant taxi drivers. Although they have promised action, let’s see how they’re going to follow it up. But overall it’s a very useful page for commuters."

"Mani Kaul was one of the greatest auteurs of New Wave Indian Cinema. His films reflected his personal creative vision. Kaul was a man with a luminous mind who pioneered the parallel cinema movement in India. His films explored a new language and expression. Innovative imagery, vocabulary and experimentation were his forte. His debut film Uski Roti was a landmark film in Indian cinema. He was deeply influenced by Robert Bresson, Andrei Tarkovsky and Ritwik Ghatak, though he made a mark of his own."

"Bala is unique in many ways. The way he changed Tamil cinema's character was commendable. Awards are not just reflections on the cinematic qualities but also the ability to change other filmmakers."

"It was a tough subject to deal with, Bala has deftly handled the film. Frankly, I never expected a film like Naan Kadavul from Tamil. That shows how different Bala is in his thinking and approach."

"Here are his earlier letters to me, that I've framed. I call them ‘my degrees’."

"“Propaganda films I am against,” Kamal Haasan said at a presser in Abu Dhabi, adding, “It’s not enough if you just write ‘true story’ at the bottom as a logo. It has to really be true, and that (the film) is not true.”"

"I receive them only when he thinks I deserve it — I have to work for them!"

"I had to read it out to my sister, who was witness to my early dark days, when my mother was afraid what would happen to me. But, I knew I couldn't read without choking up, so I asked Gautami to read it out for me."

"I use the word ‘guru' for him in the mythological sense — all other educationists ask for payment for knowledge imparted; this gentleman paid me and taught me. What a journey it has been, after I met him at the age of 17-and-a-half."

"I prepare even for a conversation with him — I never want to say too little or too much. And, I never disturb him except when I feel I've done something worthwhile. It's a rare relationship — unconditional and [professional]]."

"To have won a place in his heart among all those he has mentored and created, itself is a distinction."

"With this film I have made more money than any of my other films. It was a high-wire act."

"Who will speak like that? In our generation there have not been friends like Rajini and I are. He could have just said a few words of praise and gone away – and then there was no need to say."

"Glad my name came up. Thank audience, mentor, all who made my workplace enjoyable."

"Subjugation is something which is an impedance on the ascent of man."

"I'm proud of her [Shruti] because she isn't doing a product of our home banner Rajkamal Films. The only thing Rajkamal did for her was to give her a chance to do the background score in ‘Unnaipol Oruvan’. It wouldn't matter to me if she failed as a movie actress. But right now it looks like a winning streak."

"When we talk career, we get into an argument. In Hindi films, she is facing the same problems I did. If a K. Balachander hadn't come along to do 'Ek Duuje Ke Liye' with me in Hindi, I wonder what would've happened to me! I would have suffered much worse because Shruti is far more savvy than me."

"...for the Tamil version of ‘[[w:Dasavatharam|Dasavatharam’, she was my coach for my American accent. She had just returned from the US and was the perfect medium to help her father's Madrasi accent to be transformed into a yankee accent. She was a bully. She made me do many retakes in the dubbing. And after dubbing, she wanted me to correct some more of my accent. Everyone thought that was taking it a little too far."

"I was always a reluctant actor! I continue to be that. I announce a project, the camera rolls and I'm happy. I'm fortunate to be doing leading parts even now. Except for my mentor K. Balachander, for whom I can do even a walk-on part. When he directed his 100th film, I just walked in to do a small role. I just clowned around on camera."

"Balachander is my inspiration. He had a heart problem 40 years back. He has been making films for another 46 years. He can never grow old. My father used to be like that until he suffered a stroke. Then I suddenly realized he was an old man.That's also true of my brothers Chandra Haasan and to an extent Charu Haasan.I can never imagine them being old."

"Direction is a lot of responsibility. But if you've been trained under Balachander as I have, it's a lot easier. You have everything down on paper before you start shooting. By now while directing I am experienced enough to know my moves."

"He is a cool cat. I was surprised when he had a heart problem...People think my film with Mani, ‘Nayakan’, is my best work. To an extent it's true. But I'd like to think my best is yet to come."

"I am awestruck and I am happy to see that the book fair happens. I’ve learnt everything I know on the go, like my mother tongue."

"I have great respect for the unconditional teachers called books. Because from a book, you can either learn, or you can’t."

"Someone once asked me what my working timetable was like and when was the last time I went on a holiday. I said about 20 years back. I don’t work anymore, because I get paid to do what I like most. So it’s like a paid holiday."

"Actors can be refined and be better. I’m an improved version of whatever you’ve seen earlier. I do not say this with arrogance, but it is my duty to be better than my predecessor and it’s my duty to see that my successor is better than me."

"For two and a half years, I rigorously trained seven to eight hours a day in two disciplines of dance but moved on to the most versatile medium called cinema which encompassed every form of art."

"I am looking for excellence. Anyone can struggle but they cannot make a ‘perfect’ film."

"It is an award for American excellence that excludes and sometimes gracefully includes some other countries. It is an institution or brand created by Hollywood to promote itself, an award decided by 15 people. How nice it would have been if Satyajit Ray, instead of all his awards, got a few more audiences?"

"It is wrong to celebrate 100 years of cinema with just India. It is 100 years of cinema for Pakistan, Afghanistan, Sri Lanka. All these places saw Indian cinema as it was produced in Lahore, Mumbai, Chennai — it went all the way. It is 100 years of cinema of what used to be my India, my Pakistan, my Afghanistan and my Sri Lanka. That’s how an artist looks at it and it’ll soon be my world. It is the governments and political interests that create borders."

"Mediocrity is set as a standard...rubbish becomes acceptable. This has been the state of Tamil politics for nearly half a century"

""I am anti everything that goes wrong for the people. As for extremism, Hindu extremism exists, read the Tamil papers."

"Many don't get the idea of centrism...we do not have to be left or right"

"From babyhood to childhood, from adolescence to youth, from manhood to middle age, I have been part of this magician's life... Kamal has evolved into everything that I have dreamed he would be. Indeed, I should never be surprised by anything he achieves, yet I am constantly amazed."

"Yes, I own Kamal. Yet, he does not belong to me — he belongs to the world of cinema. It is often argued that had he been born abroad, he would have won the Oscar many times over."

"A few Oscars maybe. But what value are a few Oscars in front of the adulation and warmth of a billion smiles and the awe and respect of a billion salutes? I have never ceased to be amazed by the limits and standards he sets (for) himself — standards that nobody else imagines even exists!"

"I did not teach him everything he knows. He just absorbed everything I knew. The rest he discovered himself by asking, probing, begging, watching, observing, reading, demanding, investigating, improvising, experimenting, experiencing, learning and not being afraid of stretching himself beyond his own limits. I only gave him the platform and the opportunity to discover himself. In the process, I was blessed enough to discover myself."

"He is a legend in every sense of the term. He is a writer, singer, director, lyricist and an actor par-excellence. We are extremely honoured to present the Lifetime Achievement Award to Kamal Haasan."

"I walk down the road and people want to kiss me. I'd never do all that to anyone. Not Bachchan or Rajinikanth. The exception is Kamal. I asked him if I could touch him when I first met him,"

"He has an amazing sense of using space. When he plays an old man his gait and the way he stands is enough to convey his age. He doesn't need make-up. I find him greater than Dustin Hoffman and Robert De Niro put together, I know Kamal can make you cry with a look in his eyes. I know his pauses. He has an amazing sense of timing that he knows the audience likes. He's a technician par excellence. That kind of knowledge and control every actor should strive to get."

"It's Kamal who inspired me to do one film at a time."

"There are some things he can do that others can but there are many things Kamal can do that no other actor can."

"He has famously said that he is a reluctant actor. He has an avid interest in every aspect of filmmaking and is known for his work as a choreographer, director, and writer, as well."

"I'm always a Kamal Hassan fan...From day one I was very clear that I was not going to tap his immense talent. I've seen it all and he's done it all. I didn't want him to look different like he is in some of his films. I wanted to make a simple film, which will work for a change. I didn't want him to go overboard with anything. He's a good-looking guy in real life and that's the way I wanted him to look. We wanted somebody very sober and quiet so the histrionics were underplayed."

"Definitely from the actors I've worked with and the actors I've watched. I was amazed by the distinct way he handles a scene I've written. It was something I wouldn't have thought of. His way of looking at a scene would be different from what was on paper. He's an institution as far as acting is concerned. For example when I took a scene to him he did something that was not on paper, something you don't expect and can't write."

"In every theater the collections are going up. Only Kamal can do this sort of a role and the film is a turning point for him. Saravanan also rightly advised Kamal not to sell the film - which cost Kamal Rs.80 lakhs to produce - outright, but only on a commission basis, as he felt it would be a "perennial gold-mine"."

"Nobody associated with Sahodarakal is really willing to disclose what camera wizardry it was that finally transformed Kamalahasan into a fascinating midget. Some of the dwarf scenes were shot in a circus playing in Cochin by digging a pit with the actor standing knee-deep in it. The shoes were fixed to his knee and the pit was covered with a carpet."

"I have not seen an actor who would play the most ludicrous roles without bothering about his star image."

"What can we say about Kamal Haasan that has not already been said? This man was born to be an actor. Winning a national award for his first performance as a four year old, he has carved out a niche for himself in the industry like no other [[actor could. Although his acting has been celebrated over the years, his style has not been given due credit. Kamal’s look not only changed as he grew as an actor but was strategically chalked out to suit each of his characters. From his haircut, to beard, mustache, his wardrobe, he was one of those pioneering actors in India to extremely to use prosthetics for different looks. One could say he was addicted to [[w:Experimenting|experimenting with his looks and characters. Go over his career and you will be amazed with exactly how much Kamal’s style has evolved over the past half century."

"He is truly a master of all the arts. But everything has a reason and I decided to find out why. There is a bit of arts in every one and the goddess of the arts of the arts endows some people with extra gifts and leads them by the hand. People like me, Mammootty, Mohan Lal, Venkatesh and Amitabh Bachchan are amongst those whom the goddess has chosen to lead by the hand. But the goddess has picked up Kamal and cradled in her arms and clasped her to her bosom. I asked her “Is this fair” You are holding Kamal close to you. But all of us are also your children, we should be equal in your eyes.” The goddess replied, “Rajini, you wanted to be an actor and struggled to become one from your last life; but Kamal has desired to be an actor for ten lifetimes. Can I put him down?” I told her, no, goddess, let him stay where he is.” Kamal is truly the favorite child of the goddess of arts. I am proud that my name will also go down in history as somebody who has acted with him."

"Only an actor of Kamal's calibre can play a Dwarf effectively."

"I know Kamalahasan rather well personally, but I haven't seen his films. I think he's very talented. I like to talk to him because he's intelligent."

"The range and versatility of Kamalahasan is unbelievable. He is one of our best actors."

"That is not with me. It is up to the directors to give me roles that might fetch awards."

"I cannot be an ordinary man, move around like people do, go out eat in a restaurant or take a walk. Perhaps, this is what I have lost."

"Yes, upon seeing some people during my visits to the Himalayas. They seem to have an inner peace and tranquility that we do not."

"Lee Kuan Yew of Singapore, he has overseen the development of that city"

"Sir, in K. Balachander's unit, the dialogue for an entire film was only this much."

"I have a brother in Bangalore. SP is my brother in Chennai."

"That's what happened in our career. He never let me fall. In 1983, when I wanted to leave everything behind, it was Kamal Haasan who cajoled me back to the material world."

"In an autobiography, I will have to write the truth, I should not hide anything. Just to avoid people’s feelings, I should not be hiding things. If I don’t present events as they happened, truthfully, it is not an autobiography at all. I have read Mahatma Gandhi’s autobiography and if I can muster up the kind of courage that he had, I will write one."

"Rajinikanth’s story is straight out of the movies: Boy from the wrong side of the tracks makes it big. Born Shivaji Rao Gaekwad, he had a wild childhood and even wilder youth where his pranks got him into all kinds of trouble:The tale of how he moved from bus conductor to stage to screen is too well known to retell.there was a talent which his friends recognised and people noticed first on stage. His wild ways were temporarily tamed when playwright and director ‘Topi’ Muniappa offered him a chance to act in mythological moral plays. The story goes that he played the villainous Duryodhana so well, he was applauded by old men when he was ripping off Draupadi’s sarees."

"The biggest superstar, Rajnikanth sir! Unko puri duniyan chahthi hein. There are people like me who don't understand South-Indian languages, but still I'm a big fan of him. His style, his acting and his entire on-screen persona, simply blows you away."

"I think star children in general are born into that atmosphere. We are born into that scenario when things are larger than life. My father was a superstar when he got married. So, when I was born that was the only thing I saw. But during school days, the way others spoke with us, that is the time when we start thinking and we start wondering about things and asking questions and then we realize the wow factor,""

"I realized the wow factor of my dad then. I cannot recall when I started becoming his fan but I remember every first day, first show of him, I have been on the chair whistling and enjoying his films. So, I think, he is him. One thing everyone knows about him is not hidden. How he is at home and how he is at stage, how he is with everybody else, he is the most honest human being you can ever find so ya, I think I am blessed. I can say the world I am blessed ten thousand times and still I'll be saying I am blessed to be born to him."

"I'd do anything he asks me to, no question of refusing him."

"Rajni is a phenomenon. Both of us were young actors who started from scratch. He was the bus conductor with acting aspirations. I was the clapper boy. It's quite strange, but our paths as actors were always intertwined."

"Rajni and I have been leaning on each other's shoulders for so many years. In fact, once during a shoot in Singapore, we did just that. The director didn't know it was just an excuse to doze off in-between shots (laughs). We would be roaming all over Singapore, all night. We returned at 3 am and were on the sets for a 6 am schedule. We caught up on our sleep, on the sets."

"And most of them were hits, though we did have failures. We've done three films for our mentor K. Balachander. I've also done guest roles in Rajni's films. I'd do anything he asks me to, no question of refusing him."

"There was an incident early in our careers when he was riding pillion on a motorbike with me. When I skidded, Rajini asked if I knew how to ride. I assured him even if I fell, I wouldn't let him fall."

"The war between the two fan clubs stopped only about 15 years ago. We both told them to stop after there were stray incidents of violence on both sides. Considering fans have killed each other for our distinguished predecessors, MGR and Shivaji Ganesan, our fans can be considered pacifists (laughs). I went ahead and set a new precedent. I turned my fan club into a social service organisation."

"He never let me fall. In 2003, when I wanted to leave everything behind, it was Ramnath Sengupta who cajoled me back to the material world"."

"Two decades after he opted out of an indifferent run in Hindi films, Rajinikanth conquered Bollywood in his own way in 2010. The Robot set the box office on fire, reaffirming his super star status"

"My dream has come true. He has become a superstar. I am the happiest person in the world today as Sivaji is being released. Maybe I am happier than Rajnikant's wife."

"The young audience of today defines Rajinikanth solely by his popular — and populist — roles, conveniently forgetting that, like his contemporary Amitabh Bachchan, it takes talent to make a formula work and something much more than mere talent to transcend it and achieve greatness."

"Today, the Ramakrishna Math, at Bangalore’s Gavipuram locality, is an oasis of calm amidst a traffic snarl typical to the city. In the 1950s, the area was considerably quieter, and the math provided a degree of calmness to the young Shivaji. It is at the math where the boy learnt the foundations of religion and the tenets of spirituality. The math instilled a basic sense of calm and an inner stillness in Shivaji."

"Is there anything left to be said about a man who, at 61, still manages to star in one of the most successful films of the year, not just in the south, but across India? Superstar Rajini once again proved that he is the actor with the Midas touch with the sci-fi flick Endhiran, where he played an ambitious scientist, a naive robot and an evil android bent on destroying the world … He did it with such aplomb that he's been the talk of the town for months. He might do one film in two years, but when he does, he pulls out all the stops."

"He's a classic number 3, not once but thrice. He's ruled by Jupiter (3) as he is born on December 12 (3), and as a Sagittarian, he is influenced by Jupiter, his compound number is 12+12+1950=3."

"Jupiter is the planet of wealth, which means such a person is rewarded for his efforts. 3, 6 and 9 are Rajnikanth's lucky numbers. He's currently in his 57th year (5+7=3), and 2007=9. Sivaji adds up to 9. Even more acclaim may come his way before his birthday."

"He could do well in politics since he's a fire sign - they fire straight from the shoulder! But he can make enemies in the process, so he should avoid it." He could focus on charity work instead. Rajnikanth shares characteristics with other typical 3s, like the world's second richest man, Warren Buffet (30/8), who used to deliver newspapers door-to-door early in life, and the fourth richest, Ingvar Kamprad (30/3), born in a small village, who used to sell matches for a living. Rajnikanth's run of good fortune is far from over. His 60th year will also be a landmark for him."

"We are still on yeno lai and baaro nanna magane (Kannada terms for extreme familiarity) terms with him: if we ever forget and address him as Saar (Sir) since he is a rich superstar and we are all poor, ordinary men, he gets most hurt and offended."

"Even then, Shivaji [Rajinikanth] used to grow his forelock long and push it off his forehead a thousand times a day. That's why his hair has all dropped off now! He was always a very different kind of man. For example, he would walk very fast: if we walked somewhere in a group, he would walk off briskly far ahead. It is this impatience to get ahead that stood him in good stead later."

"Shivaji [Rajinikanth] would lend a certain style to even the most mundane of a bus conductor's tasks. He would snap out the tickets with pizzazz. He was always very fast in his movements and everything he did. It is this speed and style that he has taken with him into cinema, and that has become his trademark there now."

"Everyone in the bus service liked him, back in those days. He used to move easily with everyone. But he was also a very short-tempered man. He would not get violent or anything like that when he lost his cool, but he never hesitated to shout at people if he felt they were in the wrong. Basically, he was a serious-minded type of chap, but he could also be the life and soul of a party, keeping everyone laughing with his jokes.""

"Shivaji [Rajinikanth] was known for his depiction of Duryodhana. Even then, Shivaji's dialogue delivery was perfect -- he never muffed his lines."

"We would struggle to heft a big bag of groceries home, but Shivaji would pick up sack after sack, and heave them right into waiting lorries. He was never a shirker and his capacity to work hard has definitely helped him reach where he is today."

"...he was always God-fearing and fairly spiritual-minded. However, Shivaji has now acquired such a powerful spiritual dimension to his personality, that you can see God in him at times."

"We used to have a period called story hour. Shivaji was such a popular story-teller that after some months, he became our standard minstrel: the students simply did not want anyone else. He would not tell original stories. But he had the talent of narrating and enacting well-known, popular old tales -- like that of Vikram and the betaal -- so well that the biggest truants would come to class to listen to his stories."

"He studied in English medium and that is how he speaks such good English in movies now. If he had studied further, he would have become a doctor or engineer today."

"He was a good sportsman too. He was an excellent fast bowler and a good fielder. He was also a very good kabaddi player."

"He is a very good man, and he has endured so much that it has helped him become a strong man today."

"Before that, although Shivaji had some Tamilian friends like me, he had no interest in that language and conversed only in Kannada. But after that, we switched completely to Tamil and he picked up the language in no time."

"We think he has achieved much more than he could have in any other profession because he is helping so many poor people in Tamil Nadu and elsewhere today,""

"The style we refer to is in his mannerisms and affectations, not his clothes. "Basically, he is a very simple man. He is still quite content to stretch out on the floor and take a small nap, when he visits any of our homes. He has not become dependent on luxuries, soft beds or plush furniture."

"He has no serious interest whatsoever in politics. He was compelled to make some political statements, a while ago, to achieve a particular purpose. I would not like to specify more on this particular issue. Now that he has achieved that objective, he has no further interest in politics. We have advised him to steer clear of politics. If you want to help people, we advised him, please do it as an individual, not as a politician."

"Rajinikanth claims that I am his school. But I must admit that this wasn't the Rajinikanth I introduced. he has evolved on his own merits and strengths. I gave him an opportunity and unveiled him to the world. He went and conquered it"

"While others used the staircase, he used the elevator to stardom. I don’t think any other actor in cinema made cigarette smoking a such an asset to his repertoire."

"Rajnikanth has gone through harrowing times. He has come out defiant, never defeated. Emerged from all his trials and temptations, tempered and toughened, his self–belief is fragile and vulnerable... For, success sits lightly on his shoulders. His spirit is sustained by his spirituality and his courage by his convictions."

"Rajini is a very committed actor. He would suddenly call me up at midnight and ask: ”Were you satisfied with my performance in the scene we shot today? Should I have acted differently, sir."

"He gets flustered if I am not present at all the important functions in his home. He would keep asking people whether I had arrived. It has been so for years now."

"...supplanted the noted Hollywood star Leonardo DiCaprio as japans trendiest heartthrob in Japan."

"If Rajini is a diamond, then KB and I worked together to perfect him. KB discovered him. I helped to polish him."

"Rajini is the kind of person who is involved in every aspect of the film he is working on, right from the scripting stage. Even when doing an out-and-out commercial film, he has to sit with his script, get a feel of the character he is playing... You can't separate the actor from the star, because he is very involved with whatever role he plays. He is very demanding of himself, has to be one hundred per cent satisfied with every take he gives. He drives himself very hard."

"How do I describe the Rajinikanth I know? I would say he is, at the bottom of it all, human. That is the best adjective I have. It is this quality of humanness that stands out. He acts in front of the camera... never behind it. In the sense, he is a natural, unaffected person in real life. He is open, frank, very forthright, very loyal to his friends and family. A great human being."

"Twenty-five years in the industry for him, 25 films with him for me... It gives me great pleasure to realise that I too have had some small role to play in his success."

"He then did Sri Raghavendra, a saintly role completely at variance to his usual flamboyance. And the idea came from Rajini himself. He is a devotee of the saint. He took the idea to K Balachander (KB, as he is known) who produced the film. I directed it."

"His performance, his involvement in the film, was unforgettable. During the 90-day schedule, the entire unit was on a kind of vrat, abstaining from cigarettes and non-vegetarian food. We took the script first to Mantralayam, the abode of the saint, and got it blessed. We did the same thing again with the first copy."

"Continues that great tradition that binds reel-life with the larger than life-world as a popular hero."

"Truly come of age globally."

"Even ten years back, Indian film producers may not have thought of this scale, as there is a business logic to this new model aided by neo-liberal economic policies; when films are available on DVDs alongside Internet-based web interface, the first two weeks box-office collections make all the difference."

"Being fair-complexioned continues to be the norm in cinema."

"But it was the fire in Rajini’s eyes that convinced me that he has a future as an actor."

"...are all pointers tro how he was obsessed with creating a new trend in cinema,"

"If one analyses his career graph closely, one can understand that the arrow always pointed upwards. There were no major jumps, no deep plummeting…"

"Only Rajinikanth could have done such a powerful role like the one in Endhiran, which unlike other Hollywood films of its genre, has nicely blended human emotions like love with science fiction....“If in a conservative place like Dubai, people queue up early morning to see this film, then Rajinikanth is definitely God’s favourite child,”"

"Rajnikanth’s dedication, compassion for the welfare of co-artistes and passion for cinema have been key factors for his success as a mass-entertainer."

"Film-making is not an esoteric thing to me. I consider film-making – to start with – a personal thing. If a person does not have a vision of his own, he cannot create."

"Tagore once said– art has to be beautiful, but, before that, it has to be truthful. Now, what is truth? There is no eternal truth. Every artist has to learn private truth though a painful private process. And that is what he has to convey."

"In relation to man and his society, experiment can not dangle on void. It must belong. Belong to man."

"I believe in committed cinema. I mean, commitment in the broadest sense of the term."

"If the theme is simple, you can include a hundred details that create the illusion of actuality better."

"I never imagined that any of my films, especially Pather Panchali, would be seen throughout this country or in other countries. The fact that they have is an indication that, if you're able to portray universal feelings, universal relations, emotions, and characters, you can cross certain barriers and reach out to others, even non-Bengalis."

"Last, but not least -- in fact, this is most important -- you need a happy ending. However, if you can create tragic situations and jerk a few tears before the happy ending, it will work much better."

"...Indian cinema does not stand for just Bollywood. Kolkata is the place of Satyajit Ray..."

"Ray was a terrific director! He was versatile in choosing the subjects of his film. And his films were very sophisticated, very clean. I got some idea about India from his films."

"Sometimes even Satyajit Ray was criticized for portraying only the poverty of Bengal. That poverty is not the whole story of India, just a part."

"The Ray Gopi Gayan classic was known as much as a children's film, noted for Gupi, a singer, and Bagha, a drummer, as a social film which was a comment on poor governance, corruption at high places and lapses in administration in contemporary society."

"Oh, Mr. Ray is coming … the great film maker from India; you know, I am his fan and love his films; maybe I will be lucky to get to see him today; just start your car and follow me."

"In the late 60s, there was a big probability of Satyajit Ray coming down to Hollywood to shoot The Alien based on his own short story which appeared in the then popular Bengali magazine, Sandesh. The film was to be produced by 20th Century Fox and Hollywood was waiting to embrace Ray with open arms. Alas! Due to some dirty politics played by unknown quarters, Ray's Hollywood dream had to be shelved. I have no qualms in admitting that Spielberg's E.T. was influenced by Ray's Alien. Even Sir Richard Attenborough pointed this out to me."

"To me, Satyajit Ray is just Manikda. Our relationship dates back to 1958, when he introduced me to the silver screen. I was just 13."

"Manikda was always different from the others. He did everything — from writing the script to choosing the location, finalizing the cast to designing sets and costumes, supervising make-up to framing the shots to editing. He was involved with each and every part of his film and was always very clear about what he wanted. His films were Indian but the production process was western. He also proved that silence can say a million words if used properly and was very economical with dialogues. He used barking of dogs, birdcalls, mechanical clatter or other natural sounds to brilliant effect. It was because of this detailing that every scene of his films became powerful and meaningful. And though he played so many roles behind the scenes, he accepted remuneration from the producer only for direction."

"But after having worked with Manikda, working in Bombay was confusing. I was too normal and realistic in front of the camera — the way Manikda had always taught me. But the Bombay directors wanted more energetic and louder acting. But today, most actors act that way."

"He never treated his child artistes like kids. That's why they were always comfortable in front of the camera. Manikda became their friend after a few days of shooting"

"He always played the role of a story-teller — something that can be considered his most important contribution to the world of film making."

"Music has a natural place in our lives. Right from the shloka you recite in your morning puja and the milkman who comes whistling on his cycle, to the fakir singing as he begs for alms and your mother humming around the kitchen...Music fills our spaces naturally. It will always be dear to us."

"A good storyteller is the conscience-keeper."

"Words do not have teeth, still they bite; and once they bite, the wounds never heal."

"When you face your fear, you become familiar with it, and familiarity makes it lose its meaning, loosen its grip - fear ceases to be fear."

"Lata was beyond words. She was a miracle that will happen never again."

"If he says that I am the voice of the century, then I would say that he is the writer of the century."

"Everybody must definitely nod their head in appreciation at the list of books Dr. Bhyrappa has read in order to write not just about Tipu Sultan, but Muhammad Tughlaq, too. He has really worked hard. However, instead of going to such pains, he should have asked me directly, I would have told him: I don’t have an iota of interest in the historical Muhammad Tughlaq. I have no interest as to whether he was good or evil, whether he was pro or anti-Hindu. I wished to write an entertaining play, and in the endeavor, wanted to choose a fairly complex character. Tughlaq’s life provided me that material. I took as much I wanted and used it in the manner I wanted to use. My Tughlaq is not the historical Tughlaq. It is an imaginary character. If I wanted to write history, I would’ve written history instead, and not a play."

"The next prime minister (Narendra Modi) may be a man who organised the slaughter of more than 3000 Muslims in Gujarat. He is a candidate; he is being touted as the next prime minister."

"I see a legacy of my generation... I am happy to belong to a generation that had a Dharmaveer Bharti, a Mohan Rakesh, a Vijay Tendulkar and I. Together we can claim that we did create a national theatre for modern India."

"I've had a good life....I have managed to do all I could wish for --even be a government servant. Now I feel whatever time I have left should be spent doing what I like best -- writing plays."

"What a person understands as his or her Purusharthas could very according to his or her background stageand station in life, sex, etc., as well as the nature of the crisis he or she is facing"

"I have been lucky in having multipronged career. You know how I have been an actor, a publisher, a film maker. But in none of these fields have I felt quite as much at home as play writing."

"I was excited by the story of Yayati. This exchange of ages between the father and the son, which seemed to be terribly powerful and terribly modern. At the same time I was reading a lot of Sartre and the Existentialist. This consistent harping on responsibility which the Existentialist indulge in suddenly seemed to link up with the story of Yayati."

"The subject that interests most writers is, of course, themselves and it is easy subject to talk about. But you know it is always easier if you are a poet or a novelist because you are used to talking in your voice. You suspend your whole life talking as writer directly to the audience. The problem is being playwright is that everything that you write is for someone else to say."

"When people all around us are slaughtered in the name of a temple (and masjid) I hear echoes from those times long past."

"Girish Karnad is the foremost playwright of the contemporary Indian stage. He has given the Indian theatre a richness that could probably be equated only with his talents as an actor-director. His contribution goes beyond theater. He had directed feature films, documentaries and television serials in Kannada, Hindi and English and has played leading roles as an actor in Hindi and Kannada art films, commercial movies and television serials. H has represented India in foreign lands as an emissary of art and culture."

"Karnad is regarded as one of the three great writers of the Contemporary Indian Drama, the other two being Vijay Tendulkar and Badal Sircar. His significant plays include Yayati, Tughlaq, Naga-Mandala, Tale-Danda and Hayavadana."

"If calling Tagore a third rate playwright constitutes freedom of expression, then calling Karnad’s plays as bullshit is also freedom of expression."

"My interest was dance and, in the beginning, I didn't enjoy acting at all. It was my mother who brought me into films and who looked after my career. I remember each time a producer came to meet her, my only reaction was, 'Oh God, another year of my life gone.'"

"Politics is a jungle where destinies change every evening."

"I have been chanting Soundarya Lahari, written by Adi Shankara for about 16 years now. It is very popular here in the South but not many know of it in North India and this is my offering for the pooja season. I meditate to these shlokas and am very happy that Suresh Wadkar and Shankar Mahadevan have contributed to it, with Amitabh Bachchan giving the introduction."

"I am glad I got to be part of such a historic film,” she says and pauses to think. And then adds, “The movie is still popular and that’s great. It also means that for as long as people remember the film, I will also be there in their memories. That’s special. And of course, it is not just Sholay but people also remember me for Seeta Aur Geeta. When I am in the U.S., I love travelling in cabs. And there have been times when Russian cab drivers recognised me and hummed a few tunes from the movie!"

"There is no other choice. Modiji has to come back. It will be dangerous for the country if someone else wins. That’s why we all (BJP members) are working hard to bring him back."

"We went to Kumbh, we had a very nice bath. It is right that an incident took place, but it was not a very big incident. I don't know how big it was. It is being exaggerated. It was very well-managed, and everything was done very well...So many people are coming, it is very difficult to manage but we are doing our best."

"Though I was too young to understand the complexities of marriage, I understand that the premise of their disagreement was unfair. Why must a woman have to give up her passion after marriage when the same is never asked of a man."

"It has been my most appreciated performance to date and though I have played myriad characters over the years, some how none was as complex or as passionate as Suadamini. The director later told me that the only reason he cast me was because I was a dancer and capable of delivering navarasas [nine forms]."

"I was cast opposite multiple heroes and as luck would have it, the chemistry worked with most."

"Learning the long lines and delivering them in one take was a nightmare, but Rameshji helped me as also the fact that I have a good memory. It is only when you become successful that you realize how everything contributes to your success."

"So many roles, so many trends, so many kinds of cinema and so many stories…I have projected different images during different decades, voiced different concerns –sometimes as a daughter, sometimes as a wife and mother- but often I ask myself if things have really changed. I am not sure."

"I made a serial called Nupur in which I danced for one particular shloka of Soundarya Lahari . The show was mostly about dance. It is then that I started learning to chant Soundarya Lahari . …People only know me as an actor and a dancer but recently I thought about doing this album."

"One day she will be the biggest star of the Indian screen."

"It has been more than three decades but Hema Malini’s passion for dance has not diminished. Starting in the early 70s with solo Bhratanatyam performances, the diva has reinvented herself at every stage of her career. When she felt that the pure classical dance form would not be appreciated by a less aware audience, she expanded her art form to include ballets."

"He is making money but I am earning love. His money will get spent, but the respect and love that I get will remain for him when I leave. I only hope he keeps it up.Somewhere he will take care of my respect and love."

"There should be no statues or a street named after me, no postal stamp with my face or any a organization after me. I like people to remember me by following my work"

"During Partition, my entire family was saved by a Muslim. His name was Yakub -- a friend of my father's who lived a mile-and-a-half away from our village."

"Somehow, this hatred should come to an end. I am a believer of nonviolence. I believe we all are one, whichever religion we belong to."

"I wish it culminates in something positive and we can both grow economically. The money we spend on weapons can be used to give water to the people, to educate everybody, to give them medical aid and to give employment to the youth of the country."

"If there is no friendship with one's neighbours, no one can progress. Look at Canada and the USA -- both countries help each other."

"It dates back to a day in 1987 when Punjab was burning. I read about a spastic girl and her parents being killed in Amritsar. It disturbed me and I decided to march to Amritsar from Mumbai on foot. It was part of Gandhian philosophy that if your people are doing wrong you punish yourself. Gandhiji would fast; likewise, I decided to walk and inflict some pain on myself. It was a way of sharing the pain."

"I have been a lifelong Congressman because I believe in the party's philosophy."

"Rejuvenate the Youth Congress. Make it more effective. People-oriented. I will supervise how the Youth Congress is performing and suggest ways and means to improve the way it works. It has to have a positive, dynamic image."

"One of my first tasks is to instill discipline into the organisation. We do not need slogan shouting. Too many 'leaders' do nothing but sit on podiums or get themselves photographed with other leaders. This must stop. The Youth Congress leaders must go back to the roots and serve the people. I want to bring back value-based politics to the youth wing."

"My concept of secularism is to be a good human being who respects all religions."

"I never knew there was a romance. The only thing I knew was that she came into my life. I was not concerned about her past. I know these questions arise. But I am concerned about the person who comes in my life; what matters from that day on is how true the person is to me. The past is nothing to me."

"In my career I met so many movie stars, but starting a life together and building a home goes beyond all other relationships," he explains. "I found in her a human being and a woman who would take care of my family. I found in my wife both compassion and understanding."

"I have heard about Christ, but I am very happy that I am walking with Christ [Sunil Dutt]."

"Mr Dutt was a man who worked for world peace."

"He was true soldier without a gun. Although life had played many tricks with him, he always overcame them."

"He was a man who was prepared to discuss topics for the improvement of sports in the country."

"Every shooter winning a medal at the CommonWealth event received a personal fax from Mr. Sunil Dutt, Iy made us feel special."

"It was his support and encouragement that had helped me to go abroad for training. He was great supporter of sports in general and his passing away is a big loss."

"His passing away is not only a great loss to the sports fraternity but that to the nation as avery popular man of art and culture and a great national political leader."

"After extended-and successful-battles against w:cancer:cancer, drugs and anti-terrorism laws, all of which touched his family, Sunil Dutt has opened on another front. This time the fight is also personal. The National Census for 2001 ignores the disabled on grounds that such a surveyis beyond the scope and capacity of its operations. But this man in a wheel-chair, refuses to let the matter lie. Sunil Dutt, MP, Mumbai northwest, partially paralyzed by a spinal disorder, is spearheading the movement against the ongoing census.In a letter to Prime Minister Atal Bihari Vajpayee, Dutt has demanded that the census should also take into account the disabled of the country. “Are they not people?”, he asks as he tries to rise to his feet."

"A very special human being...He had friends and admirers not just in India but also across the world who will now miss him."

"From impoverished Partition refugee to popular film star to Member of Parliament to a Minister in the Union Cabinet — the story of Sunil Dutt's life reads like a film script."

"His life reads like a film script; his commitment to social issues superseded his loyalty to the Congress"

"Son, I don't have money even to buy poison.Please help –"

"I have to keep making films in my country so that it gets established as an industry at home."

"While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen.Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony."

"During this period I was constantly preoccupied with the analysis of every film, which I saw, and in considering whether I could make them here. There was no doubt whatsoever about the utility of the profession and its importance as an industry...this was the period of the Swadeshi movement and there was profuse talking and lecturing on the subject. For me personally, this led to the resignation of my comfortable government job and taking to an independent profession. I took this opportunity to explain my ideas to my friends and leaders of the Swadeshi movement. Even people who were familiar with me for 15 years found my ideas impracticable."

"Those who are susceptible to depravity do not need cinema or theatre to mislead them. There are numerous other factors which lead to immorality."

"Yes, there is a stamp in his honour, some roads, and Mumbai's film city is dedicated to him. There are statues in Mumbai and Nashik, besides the annual top film honour and other token international recognition. However, we think both Dadasaheb and Saraswati deserve a Bharat Ratna and we must be invited to witness the presentation. The centenary year of Indian cinema is the most appropriate occasion."

"He brought the first movie camera from Germany, but nobody knows what happened to it afterwards. Maybe it is lying with some antique collector. There were absolutely no film-making facilities - production or distribution - available as people believed films had no future. But, whatever he did from scratch set a precedent for the future generations of film-makers."

"The inspiration for the film came from Dadasaheb Phalke. His adventure of film making is the basis of the film, says Paresh Mokashi, director and writer of the film. Harishchandrachi Factory — which faced competition from 15 films including New York and Delhi 6 — captures the first two years of Phalke's cinematic career. The two-hour-long film starts with Phalke giving up his printing business after a fight with his partner. Soon, he accidentally comes across a tent theatre, screening a silent film. An awestruck Phalke decided to make a film and was encouraged by his wife and two enthusiastic children. The Oscar-nominated film ends with Phalke delivering Indian film industry's first hit using his advertising acumen."

"He produced, directed, processed and did everything to make the first Indian feature film Raja Harishchandra. Unlike most film makers of those days, Phalke did not have the westernized audience in mind. His vision was to use the medium to narrate an Indian story to the audience."

"As Gandhi refashioned the world of protest, another man was reinventing story telling. In 1913, Dhund Raj Govind Phalke or Dadasaheb Phalke as he came to be later known as, made the first full length feature film Raja Harsihchandra. Within seven years there was a regular film industry functioning in the country with Bombay as its main player."

"Consistent with Martin Luther King's vision, the government should stop color-coding its citizens."

"Colonial possessions added to the prestige, and to a much lesser degree to the wealth, of Europe. But the primary cause of Western affluence and power is internal – the institutions of science, democracy, and capitalism acting in concert."

"America is the most magnanimous of all imperial powers that have ever existed."

"One way to be effective as a conservative is to figure out what annoys and disturbs liberals the most, and then keep doing it."

"Virtue has great power, but not if it is imposed – only when it is chosen."

"Atheism, not religion, is the real force behind the mass murders of history."

"The crimes of atheism have generally been perpetrated through a hubristic ideology that sees man, not God, as the creator of values. Using the latest techniques of science and technology, man seeks to displace God and create a secular utopia here on earth."

"I've been studying radical Islamic thought—specifically, the thinkers who have influenced contemporary radical Muslims. When you read their work, you find that there are no denunciations of modernity, no condemnations of science, no condemnations of freedom. In fact, their whole argument seems to be that the United States—through our support of secular dictators in the region—is denying Muslims freedom and control over their own destiny."

"If the televangelists are guilty of producing some simple-minded, self-righteous Christians, then the atheist authors are guilty of producing self-congratulatory buffoons like Condell."

"The ideas that define Western civilization, Nietzsche said, are based on Christianity. Because some of these ideas seem to have taken on a life of their own, we might have the illusion that we can abandon Christianity while retaining them. This illusion, Nietzsche warns us, is just that. Remove Christianity and the ideas fall too."

"Our President is trapped in his father's time machine. Incredibly, the U.S. is being ruled according to the dreams of a Luo tribesman of the 1950s. This philandering, inebriated African socialist, who raged against the world for denying him the realization of his anticolonial ambitions, is now setting the nation's agenda through the reincarnation of his dreams in his son. The son makes it happen, but he candidly admits he is only living out his father's dream. The invisible father provides the inspiration, and the son dutifully gets the job done. America today is governed by a ghost."

"The American Indians sold Manhattan to the Dutch for $700 in today's money. My point is, that's what Manhattan was worth then. It was useless, it was just a piece of land, like any other piece of land which you can buy today for $700 in many places in the world. Manhattan today is the result of the people who built it, not the original inhabitants who occupied or sold it."

"The American idea of wealth creation is being embraced in India, in China, all over the world. It's lifting hundreds of millions of people out of poverty. So ironically this American formula that we are moving away from at home under Obama is being enthusiastically embraced all around the world."

"Scaring the children: for Halloween last night, I dressed as a Democrat and when kids came to my door, I took half of their candy!"

"georgesoros, now a principle financial backer of violent #Antifa thugs, admits his collaboration with Hitler and says he has no regrets:"

"If you follow Jan. 6 at the granular level with the facts that are coming out slowly, they are coming out because the government has been very reluctant to release footage, particularly footage of what happened in the tunnel on Jan. 6, where you now begin to see these cops using massive amounts of force against unarmed Trump supporters, including women. The death of Rosanne Boyland is now being called into question. Was she the second Trump supporter that was killed by the authorities?"

"Anti-Americanism from abroad would not be such a problem if Americans were united in standing up for their own country. But in this country itself, there are those who blame America for most of the evils in the world. On the political left, many fault the United States for a history of slavery, and for continuing inequality and racism. Even on the right, traditionally the home of patriotism, we hear influential figures say that America has become so decadent... If these critics are right, then America should be destroyed. And who can dispute some of their particulars? This country did have a history of slavery and racism continues to exist. There is much in our culture that is vulgar and decadent. But the critics are wrong about America, because they are missing the big picture. In their indignation over the sins of America, they ignore what is unique and good about American civilization."

"In the American view, there is nothing vile or degraded about serving your customers either as a CEO or as a waiter. The ordinary life of production and supporting a family is more highly valued in the United States than in any other country. America is the only country in the world where we call the waiter 'sir', as if he were a knight. America has achieved greater social equality than any other society. True, there are large inequalities of income and wealth in America. In purely economic terms, Europe is more egalitarian. But Americans are socially more equal than any other people, and this is unaffected by economic disparities. Alexis de Tocqueville noticed this egalitarianism a century and a half ago and it is, if anything, more prevalent today. For all his riches, Bill Gates could not approach the typical American and say, 'Here's a $100 bill. I'll give it to you if you kiss my feet'. Most likely, the person would tell Gates to go to hell! The American view is that the rich guy may have more money, but he isn't in any fundamental sense better than anyone else."

"Visitors to places like New York are amazed to see the way in which Serbs and Croatians, Sikhs and Hindus, Irish Catholics and Irish Protestants, Jews and Palestinians, all seem to work and live together in harmony. How is this possible when these same groups are spearing each other and burning each other's homes in so many places in the world?"

"America, the freest nation on Earth, is also the most virtuous nation on Earth. This point seems counter-intuitive, given the amount of conspicuous vulgarity, vice and immorality in America. Some Islamic fundamentalists argue that their regimes are morally superior to the United States because they seek to foster virtue among the citizens. Virtue, these fundamentalists argue, is a higher principle than liberty. Indeed it is. And let us admit that in a free society, freedom will frequently be used badly. Freedom, by definition, includes the freedom to do good or evil, to act nobly or basely. But if freedom brings out the worst in people, it also brings out the best. The millions of Americans who live decent, praiseworthy lives deserve our highest admiration because they have opted for the good when the good is not the only available option. Even amid the temptations of a rich and free society, they have remained on the straight path. Their virtue has special luster because it is freely chosen. By contrast, the societies that many Islamic fundamentalists seek would eliminate the possibility of virtue. If the supply of virtue is insufficient in a free society like America, it is almost nonexistent in an unfree society like Iran's. The reason is that coerced virtues are not virtues at all. Consider the woman who is required to wear a veil. There is no modesty in this, because she is being compelled. Compulsion cannot produce virtue, it can only produce the outward semblance of virtue. Thus a free society like America's is not merely more prosperous, more varied, more peaceful, and more tolerant; it is also morally superior to the theocratic and authoritarian regimes that America's enemies advocate."

"We should love our country not just because it is ours, but also because it is good. America is far from perfect, and there is lots of room for improvement. In spite of its flaws, however, American life as it is lived today is the best life that our world has to offer. Ultimately America is worthy of our love and sacrifice because, more than any other society, it makes possible the good life, and the life that is good."

"If I had remained in India, I would probably have lived my whole life within a five-mile radius of where I was born. I would undoubtedly have married a woman of my identical religious and socioeconomic background. I would almost certainly have become a medical doctor, or an engineer, or a computer programmer. I would have socialized entirely within my ethnic community. I would have a whole set of opinions that could be predicted in advance; indeed, they would not be very different from what my father believed, or his father before him. In sum, my destiny would to a large degree have been given to me... The typical American could come to India, live for 40 years, and take Indian citizenship. But he could not 'become Indian'. He wouldn't see himself that way, nor would most Indians see him that way. In America, by contrast, hundreds of millions have come from far-flung shores and over time they, or at least their children, have in a profound and full sense 'become American'."

"If racism is not the main problem for blacks, what is? Liberal antiracism."

"Racism originated not in ignorance and fear but as part of an enlightened enterprise of intellectual discovery."

"The main contemporary obstacle facing African Americans is neither white racism, as many liberals claim, nor black genetic deficiency, as Charles Murray and others imply. Rather it involves destructive and pathological cultural patterns of behavior: excessive reliance on government, conspiratorial paranoia about racism, a resistance to academic achievement as "acting white," a celebration of the criminal and outlaw as authentically black, and the normalization of illegitimacy and dependency."

"The American slave was treated like property, which is to say, pretty well."

"The worst decay in the two-parent black family unit seems to have occurred not during slavery or as a result of slavery, but much later and for different reasons. Nor is there any evidence that as a consequence of slavery, blacks condoned illegitimacy as acceptable within the community. For the decline and fragility of the contemporary black family, the institution of slavery bears only a minor responsibility."

"Strictly speaking, relativism does not permit social progress, because the new culture is by definition no better than the one it replaced."

"It is understandable but implausible...to insist upon prominent media accounts about law-abiding citizens and quotidian virtue; this is a bit like the airline industry complaining that the press does not write stories about airplanes that land safely."

"Black rage is largely a response not to white racism but to black failure."

"If biological differences do exist, they cannot be wished away. However unpopular the investigation, we have to take the possibility of natural differences seriously. What is at stake is nothing less than the foundation of contemporary liberalism."

"Americans are the friendliest people you will encounter, but they have few friends."

"What the immigrant cannot help noticing is that America is a country where the poor live comparatively well. This fact was dramatized in the 1980s, when CBS television broadcast an anti-Reagan documentary, "People Like Us", which was intended to show the miseries of the poor during an American recession. The Soviet Union also broadcast the documentary, with a view to embarrassing the Reagan administration. But by the testimony of former Soviet leaders, it had the opposite effect. Ordinary people across the Soviet Union saw that the poorest Americans have television sets and microwave ovens and cars. They arrived at the same perception of America that I witnessed in a friend of mine from Bombay who has been unsuccessfully trying to move to the United States for nearly a decade. Finally I asked him, "Why are you so eager to come to America"? He replied, "Because I really want to live in a country where the poor people are fat.""

"In most countries in the world, your fate and your identity are handed to you; in America, you determine them for yourself. America is a country where you get to write the script of your own life. Your life is like a blank sheet of paper, and you are the artist."

"As an immigrant, I am constantly surprised by how much I hear racism talked about and how little I actually see it. (Even fewer are the incidents in which I have experienced it directly.)"

"America is a new kind of society that produces a new kind of human being. That human being—confident, self-reliant, tolerant, generous, future oriented—is a vast improvement over the wretched, servile, fatalistic, and intolerant human being that traditional societies have always produced, and that Islamic societies produce now."

"America is the greatest, freest, and most decent society in existence. It is an oasis of goodness in a desert of cynicism and barbarism. This country, once an experiment unique in the world, is now the last best hope for the world."

"The cultural left, and its allies in Congress, the media, Hollywood, the nonprofit sector, and the universities are the primary cause of the volcano of anger toward America that is erupting from the Islamic world."

"The [George W.] Bush administration and the conservatives must stop promoting American popular culture because it is producing a blowback of Muslim rage. With a few exceptions, the right should not bother to defend American movies, music, and television. From the point of view of traditional values, they are indefensible. Moreover, why should the right stand up for the left's debased values? Why should our people defend their America? Rather, American conservatives should join the Muslims and others in condemning the global moral degeneracy that is produced by liberal values."

"They [atheists] want to control school curricula so they can promote a secular ideology and undermine Christianity."

"Today courts wrongly interpret separation of church and state to mean that religion has no place in the public arena, or that morality derived from religion should not be permitted to shape our laws. Somehow freedom for religious expression has become freedom from religious expression. Secularists want to empty the public square of religion and religious-based morality so they can monopolize the shared space of society with their own views."

"My conclusion is that contrary to popular belief, atheism is not primarily an intellectual revolt, it is a moral revolt. Atheists don't find God invisible so much as objectionable. They aren't adjusting their desires to the truth, but rather the truth to fit their desires. [...] This is the perennial appeal of atheism: it gets rid of the stern fellow with the long beard and liberates us for the pleasures of sin and depravity. The atheist seeks to get rid of moral judgment by getting rid of the judge."

"Do you believe in the existence of Socrates? Alexander the Great? Julius Caesar? If historicity is established by written records in multiple copies that date originally from near contemporaneous sources, there is far more proof for Christ's existence than for any of theirs."

"It is the anti-colonial ideology of his African father that Barack Obama took to heart."

"We are today living out the script for America and the world that was dreamt up not by Obama but by Obama's father. How do I know this? Because Obama says so himself. Reflect for a moment on the title of his book: it's not Dreams of My Father but rather Dreams from My Father. In other words, Obama is not writing a book about his father's dreams; he is writing a book about the dreams that he got from his father.Think about what this means. The most powerful country in the world is being governed according to the dreams of a Luo tribesman of the 1950s—a polygamist who abandoned his wives, drank himself into stupors, and bounced around on two iron legs (after his real legs had to be amputated because of a car crash caused by his drunk driving). This philandering, inebriated African socialist, who raged against the world for denying him the realization of his anti-colonial ambitions, is now setting the nation’s agenda through the reincarnation of his dreams in his son. The son is the one who is making it happen, but the son is, as he candidly admits, only living out his father’s dream. The invisible father provides the inspiration, and the son dutifully gets the job done. America today is being governed by a ghost."

"How, for example, did Obama get elected as a complete unknown? ... There is a one word answer: slavery. America's national guilt over slavery continues to benefit Obama, who ironically is not himself descended from slaves."

"Did America owe something to the slaves whose labor had been stolen? ... That debt...is best discharged through memory, because the slaves are dead and their descendants...are better off as a consequence of their ancestors being hauled from Africa to America."

"Better off? The point is illustrated by the great African American boxer Muhammad Ali. In the early 1970s Muhammad Ali fought for the heavyweight title against George Foreman. The fight was held in the African nation of Zaire; it was insensitively called the "rumble in the jungle." Ali won the fight, and upon returning to the United States, he was asked by a reporter, "Champ, what did you think of Africa?" Ali replied, "Thank God my granddaddy got on that boat!" There is a characteristic mischievous pungency to Ali's remark, yet it also expresses a widely held sentiment. Ali recognizes that for all the horror of slavery, it was the transmission belt that brought Africans into the orbit of Western freedom. The slaves were not better off—the boat Ali refers to brought the slaves through a horrific Middle Passage to a life of painful servitude—yet their descendants today, even if they won't admit it, are better off. Ali was honest enough to admit it."

"While posing as the pursuer of thieves, and the restorer of stolen goods, the government is actually the biggest thief of all. In fact, progressives have turned a large body of Americans—basically, Democratic voters—into accessories of theft by convincing them that they are doing something just and moral by picking their fellow citizens' pockets."

"Progressives have convinced people that they are fighting theft. If a greedy capitalist has looted your possessions, you would want the government to do something about it. An essential function of government is to bring thieves to justice and to restore stolen possessions to their rightful owners. If the progressive critique is valid, then it doesn't matter if government does it inefficiently, since there is no one else to do the job: inefficient justice is better than no justice. Moreover, when we ask the police to go after bad guys and repossess their stolen goods, we aren't concerned with whether we foster virtue among the "giver" and gratitude in the "receiver." That's because the giver isn't really giving; he's merely giving back, and the receiver has no cause for gratitude since he (or she) is merely being made whole. In this scenario, Americans who are sitting in the bandwagon have earned that right, and the people pulling are the thieves who deserve to be penalized and castigated. This is why I've devoted the bulk of this book to refuting the theft critique. If I've succeeded, then the whole progressive argument collapses and our federal government, far from being an instrument of justice, now becomes an instrument of plunder."

"Here's the formula for Obama's success: "They work, and you eat.""

"The Chinese, the Indians, the Brazilians, and the Russians are all getting richer and stronger due to wealth creation. Yet the leaders of these countries, while they appreciate wealth creation as one way to gain power, have never given up on the conquest ethic as another way to gain power. In fact, they see wealth creation as away to increase their military power; then that power can be deployed to acquire more wealth through conquest. [Americans] no longer have the conquest ethic. But the Chinese do; they have never given it up. This is why the world still needs America. We remain the custodians of the idea that wealth should be obtained through invention and trade, not through forced seizure."

"If we think of the Titanic as symbolizing the American era, Obama wants that ship to go down. Obama is the architect of American decline, and progressivism is the ideology of American suicide."

"This is our turn at the wheel, and history will judge us based on how we handle it. Decline is a choice, but so is liberty."

"My podium is a little narrow, but I guess that's okay since I remembered to wear pants."

"Dan has raised so many points... I feel a bit like the mosquito at the nudist colony—I'm just not sure where to begin!"

"The first time, we did not know what change would look like. Now we do. The first time, we did not know Barack Obama. Now we do. Which dream will we carry into 2016? The American dream or Obama's dream? The future is not in my hands. It's not even in Obama's hands. The future is in your hands."

"Imagine the unimaginable... What would the world look like if America did not exist?"

"Did America steal the country from the Native Americans? Much of this critique focuses on Columbus and the actions of the Spanish conquistadors. But Columbus never even landed in America. And the actions of the Spanish, that was 150 years before America."

"Slavery existed all over the world. The Egyptians had slaves. The Chinese had slaves. The Africans did. American Indians had slaves long before Columbus. And tragically, slavery continues today in many countries. What's uniquely Western is the abolition of slavery. And what's uniquely American is the fighting of a great war to end it."

"Capitalism works not through coercion or conquest, but through the consent of the consumer."

"The Obama administration tried to shut me up."

"By limiting state power, conservatives seek among other things to protect the right of the people to keep the fruit of their own labor. Abraham Lincoln, America’s first Republican president, placed himself squarely in the founding tradition when he said, ‘I always thought the man who made the corn should eat the corn.’ Lincoln, like the founders, was not concerned that private property or private earnings might cause economic inequality. Rather, he believed, as three of the founders themselves wrote in the Federalist Papers No. 10, that ‘the protection of different and unequal faculties of acquiring property’ is the ‘first object of government.’"

"Gentile was, in fact, a lifelong socialist. Like Marx, he viewed socialism as the sine qua non of social justice, the ultimate formula for everyone paying their ‘fair share.’ For Gentile, fascism is nothing more than a modified form of socialism, a socialism arising not merely from material deprivation but also from an aroused national consciousness, a socialism that unites rather than divides communities."

"Gentile also perceived fascism emerging out of revolutionary struggle, what the media today terms ‘protest’ or ‘activism.’ Unlike Marx, he conceived the struggle not between the working class and the capitalists, but between the selfish individual trying to live for himself and the fully actualized individual who willingly puts himself at the behest of society and the state. Gentile seems to be the unacknowledged ancestor of the street activism of Antifa and other leftist groups. ‘One of the major virtues of fascism,’ he writes, ‘is that it obliged those who watched from their windows to come down into the street.’"

"One might naively expect the Left, then, to embrace and celebrate Gentile. This, of course, will never happen. The Left has the desperate need to conceal fascism’s association with contemporary leftism. Even when the Left uses Gentilean rhetoric, it’s source can never be publicly acknowledged. And since the Left dominates academia and popular culture, it has the clout to perform this vanishing trick. That’s why the progressives intend to keep Gentile where they’ve got him: dead, buried, and forgotten."

"If you read the Nazi platform without knowing its source, you could easily be forgiven for thinking you were reading the 2016 platform of the Democratic Party. Or at least a Democratic platform drafted jointly by Bernie Sanders and Elizabeth Warren. Sure, some of the language is out of date. The Democrats can’t talk about ‘usury’ these days; they’d have to substitute ‘Wall Street greed.’ But otherwise, it’s all there. All you have to do is cross out the word ‘Nazi’ and write in the word ‘Democrat.’"

"The fascists adopted an economic policy that is closely parallel to, and in many respects identical with, today’s progressivism. Mussolini called this policy ‘corporatism,’ but a more descriptive term would be state-run capitalism. Mussolini envisioned a powerful centralized state directing the institutions of the private sector, forcing their private welfare into line with the national welfare… Although today’s American Left dares not invoke Mussolini’s name, the honest among them will have to admit that it was he and his fellow fascists who were their pioneers and paved their way."

"As he thought about these problems, Hitler’s attention was turned to America. Hitler didn’t know a lot about America. He had never been to America. And he despised America. ‘My feeling against Americanism,’ he later said in 1942, ‘are feeling of hatred and deep repugnance.’ Why? He claimed, ’Everything about the behavior of American society reveals that it’s half Judaized and the other half negrified.’ Moreover, America is ‘a country where everything is built on the dollar.’ For Hitler, America represented the worst case of unrestricted Jewish capitalism"

"FDR Franklin D. Roosevelt cozied up to and made deals with the worst racists in America… FDR appointed Hugo Black, a former Ku Klux Klansman, to the Supreme Court. Black was completely unqualified—his only judicial experience had been eighteen months as a municipal court judge—but he had a reputation as an enthusiastic New Dealer who had publicly endorsed FDR’s court-packing plan. Black was also an active Klan member who had spoken at and led Klan rallies and marches throughout his native Alabama."

"FDR also supported racist Democrats in Congress in their efforts to thwart anti-lynching laws. This was a key condition the racists put before FDR. They said they would not support FDR’s New Deal programs unless FDR supported their effort to block Republican anti-lynching bills. So FDR convinced even northern Democrats and progressives to back their southern counterparts in keeping these bills from coming to the floor for a vote. This is one of the most disgraceful legacies of the FDR presidency and it goes virtually unmentioned in progressive FDR biographies."

"I do not wish to neutralize the horror I feel at the destruction of Buddhist monuments with the thought that my national leaders did the same thing a decade ago. But I do believe that if this act sparks in us the desire to fight intolerance of all kinds, then surely the Buddha will not have lived and taught in vain."

"You have to be a filmmaker, and then you have to be a lawyer as well."

"It does not need much imagination to see that even in so-called advanced nations like the UK and the US, a great deal of racism and deep-seated religious prejudice fuels the propensity towards righteous war and the belief that one's own nation is always right and that "terrorism" resides only in the other."

"In India, the early documentary scene was dominated by government propaganda made by the Films Division of India, which produced newsreels and documentaries that were compulsorily shown before every commercial film. People either arrived deliberately late or walked out for a smoke during these films, and the tag of "boring" became inescapably attached to the documentary. It has taken several decades of sustained independent work to break this tag."

"One problem with our democracy is that a rigid class and caste hierarchy coupled with gross gender inequality has kept large sections of our population traditionally without a voice. But having no voice does not mean having no brain! On the contrary the voiceless have much to say and we can learn so much from their ways of seeing and thinking. Feelings of humanity seem to survive much better amongst the powerless than among the affluent and powerful."

"My entry into the world of the documentary began as a means of political, social intervention and thirty odd years later this is still a primary motive. If I am not satisfied with the results, it is not because of a failure of the medium, but because of the limits that our system puts on the distribution of such films. All my films are badly under-utilized and hence did not have the impact on the real world that they could have had."

"The real issues of the information gathering and disseminating systems have more to do with what kinds of programs are made, who makes and airs them and what impact they have. The role of the developed world as consumer and the role of the developing world as the consumed may now be complicated as the latter yields its own voracious elite, but the former continues to determine taste."

"Hindutva ranked their enemies in order – Muslims, Christians and Communists. It applauded Hitler’s “national” pride and invoked the Nazi model of dealing with minorities. Like Hitler, Hindutva believed in race superiority and dreamt of world dominance. Yesterday it collaborated with the British. Today it flaunts the tricolor it had openly denigrated, pretends to uphold a Constitution it wanted replaced with the Laws of Manu, a misogynist, Brahminical text, and is busy selling every available public asset to the nearest foreign or Indian crony. Without stating it in words, their murder of Gandhi in 1948 added a new enemy to the list – Hindus who stood against the project of Hindutva."

"I have an observation to make. Why is it that the Leftist crusader of truth, Shri Anand Patwardhan, while speaking only looks down, never looking in the eyes? You are a genius scriptwriter who studies characters. Is this how men with convictions address the most sensitive issue which can shatter the secular foundations of Hindustan?"

"When I reached the venue, Anand Patwardhan was already there. I said hello with a smile to which he gave a very cold response. He asked me why I had opposed the petition. I gave him my reasons but he wasn’t willing to listen and instead kept telling me how bad the Gujarat model was. He was confident that Modi could never win. Every pore of his body was oozing hatred for Modi and his supporters... In his tone, manner, and content, there was so much authoritarianism, entitlement, arrogance, hatred and contempt for these common supporters of Modi that he did not realize that he was professing exactly what he condemned – fascism. ... I kept looking at him and wondered how his frail body could contain so much hatred and anger. His aura was dark and negative."

"The promise of survival beyond individual death or dispersion appeals to the most primal driving force of existence. Promises of transcendence have evolved out of the thriving desire to ward off the inevitable threat of individual death. Most systems propose a more or less perfect immortality – one where memories, hopes, desires, knowledge and even experiences survive the death of the physical body. An engagement and acceptance of this meme makes death particularly irrelevant. The upholding of the promise at the cost of individual sacrifice becomes acceptable. Individual sacrifices even become necessary in validating the promise."

"Seekers of meaning may not find meaning, but they do find each other. (From 'Eulogy for a Friend')"

"Simulation systems (mathematical models, philosophical thought experiments) that don’t have real world applications are like SPACs - shells with all the paperwork in place till something operational is ready to merge into them."

"What if we were as concerned with what we put into our minds as we are becoming with what we put into our bodies? What if there was inalienable evidence that culture is as important as food - would we scorn at junk culture?"

"We now remain, at least on paper, one of the last few countries in the world, where if you don’t die successfully, you’ll go to jail for attempting."

"The ability and the desire to transmit knowhow, intention, and insight to others around us have co-evolved with humanity itself. Mixed reality is a huge milestone in that human project of record keeping, perspective sharing, empathising, and merging with the ‘other’, a project that began with the first cave painting, or even earlier."

"As a child, I wanted to become a scientist, a magician, a poet, an architect, an illustrator, a sculptor, an actor, a philosopher, a photographer, a playwright and an animator. So by the time I was 13 or 14, I was convinced that it would be possible to a be of all of these if I made films."

"We are closer to understanding ourselves and our environment than we were two centuries or two thousand years ago, so we are definitely more equipped with knowledge and information than the Buddha was, or even Darwin was. Darwin didn’t know about DNA, we know about DNA. Just imagine if we could go back in time and inform Darwin about DNA or inform Buddha about it. What they were dealing with was intuition, with a logical breakdown of what they had observed. We have scientific tools for those things. We are using the energies of the past to create something new and I’m very confident that what I’ve done has never been done before. I feel no pressure about it, I’m just taking the next step."

"In a deeply interconnected world, there is no 'other'."

"One singular aspiration in all my work is to attain the state of awe. And what is awe? Awe is when you come across something that is infinitely complex and inexplicable by all your memory and thought systems — and yet comprehensible in a singular gasp of experience. It is an incredibly important emotion for me - the inexplicable is an invitation to engage with the cosmic void that humanity has been in a constant dialogue with for 250,000 years. And for the longest time, the void hasn’t answered back. In the last century, we have steadily found relevant answers, exponentially accumulating and organising into a more holistic meaning. A century ago the narrative was (and it still is, in many places) that if we probe too much into our universe and selves, we would lose out on our capacity of wonder, but exactly the reverse that has happened. When we’ve looked into the molecule we found the atom and when we looked into the atom we found the electron and when we’ve looked at the electron we have experienced sheer awe at its quantum probabilistic nature. So each time the scope of awe has expanded— expanding with it, our foresight, worldview and free will — for me, a film has to grasp that, and translate that experience."

"Ship of Theseus writer and director Anand Gandhi is one of those remarkable people who seem to know nearly everything and yet doesn’t boast about it or try to make you feel small."

"My new fav person to discuss tech, ethics, and the future - filmmaker Anand Gandhi."

"I don’t think my lifestyle will change. This is how I am. This is where I am comfortable."

"Can there ever be enough of kindness, generosity and praise?"

"Without my family I’m nothing, they kept me in the right place, I believe that I’m the luckiest person in the country when I’m with them."

"We're still in a daze. We're still processing it. It's leapt beyond every expectation of ours so right now if you ask me, I feel surreal. It'll take another month or so for me to actually realize the scale at which the film has worked."

"I have huge respect for Sridevi ji as a flag-bearer of the southern film industries in Mumbai for many years. I wish her all the best. And I wish Mom a big success. The trailer looks very intriguing and promising."

"Talking about the massacre of Sikhs that took place in Delhi in 1984, Vivek Agnihotri said, “It’s (1984) is a dark chapter of Indian history. The way the entire Punjab terrorism situation was handled, was inhuman & it was purely from vote bank politics & that’s why terrorism was cultivated by the Congress party in Punjab.”"

"“But if history is taught to people, facts are told to people then people stand up & they seek justice & that’s when governments bend down.”"

"Dear Wikipedia, You forgot to add ‘Islamophobia propaganda Sanghi bigot etc’. You are failing your Secular credentials. Hurry, edit more."

"I didn't get up from the corner of my study couch until I discovered a unique and dangerous nexus between the Naxal mafia and middlemen disguised as intellectuals. Like Prasoon would have desired, I had inverted the pyramid of intellectuals. I had found the theme of the film: Intellectual Terrorists."

"Little did Vanbala know that Naxalism is just a vehicle to take her from one hell to another hell."

"I am utterly confused and tired. Everything is becoming clinical. I remember in 1985, a Leftist friend of mine had tried explaining the Naxal organizational structure to me, and finally exasperated, he’d said, ‘Trying to understand the Naxal movement is like peeling an onion. In the end, you will have only tears in your eyes and many disconnected and scattered layers of the onion.’"

"My pain? This was the pain of an Indian girl. These girls were mostly from Delhi and a few from Bangalore and Mumbai. Normally, the story of an Indian girl’s pain comes from the victims, survivors, or the feminists. A regular girl's suffering in her day-to-day life doesn’t ever feature in the national feminist narrative. They have been conditioned to accept it as part of living, as an everyday struggle. A part of the culture that wants to crush their dreams. Their aspirations. Their confidence."

"Varavara Rao, referring to North-East insurgencies, stated on May 13, 2007: ‘This is a time for all revolutionary, democratic, and nationality movements, like the ones in Kashmir and the North-East, to unite and something will come out of this unity’."

"It is 6 AM and I am working. I am absentminded, reckless, heedless of social obligations. It is as it must be. I have reached a point where the film can beat about the bush or become explosive by exposing the skeletons that have been meticulously hidden from the public eye by the ‘ecosystem’."

"I have to be a risk-taker and just tell the truth the way it is. Everything that bothers me. Everything that must be told. Fearlessly. My loyalty is to the inner vision. There is no other way work of artistic worth can be done."

"I knew at that very moment that I would never be invited by Barkha on NDTV again and that is exactly what happened, but ‘Intellectual Mafia’ became legitimate jargon in social media."

"But after this show with Barkha, they stopped taking my calls and till date, I don’t know what made an advanced negotiation stop without any further discussion. I found it strange and I had no idea then that suddenly I had created lots of Gudsa Usendis who didn’t want me to succeed with this film. They were using all their tactics to destroy me. I had only two choices: speak up or shut up. I spoke up."

"I wrote another blog which again went immensely viral. With this blog on ‘Intellectual Mafia’, I went for a frontal attack and discovered an audience for my voice."

"To cover up his illicit romances, rising corruption, the undercurrent of a revolt and massive defeat and humiliation by the Chinese, Nehru nurtured an ‘intelligentsia’ which justified his impractical economics and failed politics to the masses. The coterie of intellectuals he created was immoral. Historians know that whenever a king has surrounded himself with immoral thinkers, debauchery has begun. These short-sighted and opportunistic intellectuals justified ‘socialism’. Socialism has corruption in its very DNA. Nehru chose Big State over Big Market. More State-sponsored programmes meant inefficient system, red-tapism, favouritism, weaker economy, and corruption. It meant bigger disparity between masses and policy makers. More subsidies, doles, freebies meant more arrogance of rulers for they were the ones distributing alms. They became the givers. And us, the obliged masses, the takers. Thus, India arrived at State vs Masses. Corrupt vs Masses. Intellectuals vs Masses. Givers vs Takers."

"Emergency was declared. Sanjay Gandhi took over. He created an army of morally corrupt, foreign-educated intellectuals with no track record. Their biggest strength was their unconditional loyalty to the Gandhi family. This tradition has continued. Loyalty over merit. Scheming over competence. Loot over contribution. Corruption grew. Guilt grew. Fear grew. With every scam, the family started making the intellectual wall bigger and bigger. Today this wall is full of scammers, crooks, agents, brokers, pimps, lobbyists, character assassins, land sharks etc. disguised as lawyers, journalists, NGOs, feminists, advisors, professors, socialists etc. Simply put, beneficiaries of Congress’s largesse."

"Their strategy was simple. Moral domination. Nehru was a thinker. But Rajiv, Sonia, and Rahul are no intellectuals. They took a different route. They redefined morality. Secularism included. Anti-Congress was new immoral. Pro-Hindu became anti-Muslim. India was morally polarized. Morality is subjective. No one can say with guarantee what is pure morality. Masses were forced to choose between moral standards (Secularism, unity in diversity, inclusive etc.) and quality of life (development). People who wanted quality of life were made to feel guilty. Hindus who wanted to celebrate their religious freedom were made to feel guilty. Muslims who wanted to be part of mainstream India were made to feel guilty. They filled India’s psyche with fear, hate and guilt. They hated all indigenous, grassroots thinkers. They hated Sardar Patel, Lal Bahadur Shastri, Morarji Desai, Charan Singh, Chandrashekhar, P.V. Narsimha Rao, Atal Bihari Vajpayee, and now Modi. They are the land grabbers of Sainik Farms and Adarsh Societies of India. They run NGOs. They run media. They coin useless and irrelevant jargon to confuse the masses. They have designations but no real jobs. They are irrelevant NRIs who want us to see a reality which doesn’t exist. They want a plebiscite in Kashmir. They defend stone-pelters. They want Maoists to participate in mainstream politics. They want Tejpal to be freed. Yaqub to be pardoned. But they want Modi to be hanged. They are the hijackers of national morality. Secularism included. They are the robbers of Indian treasury. They are the brokers of power. They are the pimps of secularism. They are the Intellectual Mafia."

"Reliance’s Big cinema had backed out as sponsors of MAMI as it was going through a massive financial crunch and there were rumours that it might shut down. ... From down-to-earth, genuine filmmakers like Shyam Benegal, the festival now was in the hands of corporates, critics, powerful people’s wives and their admirers. This was the year when MAMI officially transformed from a cinema lovers’ festival to a corporate club festival. I learnt this when I reached Chandan cinema with Pallavi for the closing award ceremony. We were official nominees, yet we were asked to sit in a corner seat in the tenth or twelfth row whereas the front rows were all occupied by commercial stars, star wives, their friends and people who are inconsequential to indie cinema. I was officially nominated; my wife Pallavi, besides being a senior actor is a national award winner and has been on the jury of the national awards, but nobody was ready to recognize those who did not make great press."

"That day I saw the change with my own eyes. The MAMI organizers’ agenda wasn’t to promote these films anymore but to promote themselves. MAMI is just another club of the elites."

"MAMI did two things for me: it gave the film the respectability it deserved, and it made me realize that my journey from here on was going to be lonely as Bollywood would only pull this film down. I had to find my audience. My market. My space. And my voice. All alone."

"I remember Prime Minister Modi sharing his belief that the cultural space shouldn’t be ‘rajya aashrit’, government-dependent, as it takes away the voice of reason but it should be ‘rajya puraskarit’, awarded by the State. And without ‘fearless cultural evolution’, we would be a robotic society. He clarified that he never received any request from any ‘kalakar’ to meet him. ‘One day I saw on TV that Shri Munnawar Rana was saying that if PM invites us, we’ll go and tell him about our concerns, so I immediately called my secretary and asked him to invite Shri Rana at his convenience but till date no one has come. As a PM, I can’t go beyond this. Home Minister Rajnath Singhji has publicly extended the invitation, twice, but no one has responded.’"

"PM Modi gave an example of administrative intolerance. During the last days of the Vajpayee government, it was decided to build six All India Institutes of Medical Sciences (AIIMS). The then health minister Sushma Swaraj named the Patna AIIMS Jaiprakash Narayan Institute, and similarly, the other five were also named after non-Congress national leaders. Vajpayee’s government lost the elections and the Congress-led UPA came to power. The UPA passed a Bill in Parliament and ‘banned’ these names to be used for any government project. That was the level of intolerance, he said."

"He said emphatically, ‘If there is a loss to the country due to my mistake, please criticize me which you must… punish me… but just to oppose me or any other political rival, one shouldn’t forget national interest. This much intolerance is not good.’"

"He quoted how Galileo was nearly killed for opposing a belief but in India, when Charvak, an atheist, challenged the Vedas with logic and rejected the idea of reincarnation, he was given the title of ‘rishi’. Indian thought isn’t about tolerance, it’s about acceptance. He reminded us that societies which champion the cause of human rights are the ones who started two world wars whereas India has been the most peace-generating country in the global context. He said, ‘I have absolute faith that the tapasya of thousands of years can’t be destroyed by you and me.’"

"The evolved, enlightened and reasonable voice of India is absolutely absent from the national discourse. Who has divided us? Our society is divided into ‘overclass’ (as described by Michael Find) and ‘underclass’. Overclass has systematically siphoned off the national wealth, leaving the underclass to fight for two square meals. They either inherited or, in collusion with corrupt regimes, appointed themselves to positions of power and influence. With strong control over information, they kept the underclass in the dark. Their word was the final word. The biggest trick the overclass played on the underclass is keeping the hope alive that only they can get them out of this abject poverty. That we have problems and they have the solution. This is the same trick godmen and Satan play on us. This overclass with social, economic, and political clout has constantly shown disdain and contempt for the traditional social values and the underclass is now questioning their motives. If different ideologies, traditions and cultures co-exist and democracy finds popular favour, it’s not due to this narrow but influential elite. It’s due to the tolerance level of the underclass."

"Two phenomena disturbed this status quo. One, the advent of social media, and second, the rise of Narendra Modi. With easy access to social and digital media, the underclass started questioning the authenticity of information provided by the overclass. Suddenly, their statements are scrutinized, their credibility is questioned, their sinister campaigns and lies are exposed. Their dilemma is that if they quit social media, they lose their relevance, and if they stay, they lose their credibility. This war of intolerance isn’t between HDL (Hindu Defence League) and MDL (Muslim Defence league). This isn’t between the left and the right. This is between the overclass and the underclass."

"The intellectual hierarchy has been demolished. It’s a sad commentary that in the world’s largest democracy, writers’ protest has become a subject of jokes. The power-hungry artists, writers, academics, and media-persons in India waste a huge amount of time making political statements to hide behind their lack of intellectual stands. Michel Houellebecq wrote Submission, a strong political statement; he didn’t get press coverage for returning some award. The lustre is gone from our intellectual discourse. Secularism has lost its ideological currency. Artists, writers, activists are all suspect. Media czars have lost their access to the corridors of power and to people’s hearts. It’s the overclass’ space that has been taken over by the underclass. Their discomfort is with the new order where the others are also heard. Hence, the feeling of shrinking space. They are intolerant of this new phenomenon – the emergence of the underclass. They try to devalue this new, empowered underclass by associating it with Modi and, therefore, Hindutva, and that’s a grave mistake. The universe that was full of their voice has expanded to accommodate this new voice. This is what they call an attack on FoE and growing intolerance."

"They work exactly like religion. Most religious books are based on fear. If you do this, that will happen. Nobody knows what ‘this’ or ‘that’ is. Social justice, if it has to come, will come only from a free and fair market. Why didn’t our liberals tell us this simple truth? When agendas, vote banks, and self-delusion take over, reasoning and sympathy are needed to keep up a common conversation. Without it, there is aggression, deafness, and an obsession with purification; hence the divisive politics of Boutique Liberalism. Boutique Liberalism is an Indian tragedy and a very damaging detour into the quicksand of communalism. Indian Liberalism has come to mean the colour opposite of saffron. That’s their failure. In a desperate attempt, their new mantra is – ‘We don’t care if you are a murderer, we want to know whether you are a liberal or a Sanghi murderer?’"

"A pattern is emerging. The Urban Naxals are installed in top institutes. Institutes which matter, which engineer the narrative. They are using these campuses as ‘intellectual training zones’. Like in the military, no point of view other than the combat is allowed to enter a soldier’s mind; in these campuses, no narrative other than theirs is allowed to pass through the minds of their intellectual soldiers."

"[He said:] ‘Students belonging to SC/ST are attracted to Leftist propaganda because of the fraud theory of Aryan-Dravidian divide. Leftists have also misrepresented Indian epics like Manu Smriti and manipulated Indian history books to brainwash students. Students from Kashmir with a jihadi mentality easily get attracted towards Leftists as they both have a common agenda of weakening India.’"

"Both the worlds are so polarized. So different and contradictory. Yet, they have some things in common. Complexity, chaos, and conflict. And there is no place for any other narrative."

"I open the newspapers but there is no news about the sabotage. It would have been national news backed up with protests if I were a Dalit or a Muslim or a Leftist or a liberal. Indian media, especially the metro-based English media, is the most dishonest institution of India. They are always in a hurry, their questions are statements, they have no courtesy, they are arrogant, rude and humiliating. They are always running late for something and, therefore, have no concentration. I am not talking about those hundreds and thousands of hard-working young girls and boys who are running from one breaking news to another. I am talking about those who instruct them to twist the news. Or who twist it themselves to further their or someone else’s agenda. And it’s no rocket science to understand the design of this parallel politics. They have become victims of their own agenda. For the last 70 years, English media has loved to paint any rightist organization, especially RSS, as regressive, uncivilized, aggressive and fundamentalist. Any organization connected with RSS e.g. ABVP is considered a party of goons. Whereas the student members of left-wing parties are considered rebels, revolutionaries, progressive and intellectuals. It’s more like a perception battle. The media has created a ‘group of somebodies’ and a ‘group of nobodies’. Those raising slogans against the State of India are painted as The Superiors and the ones singing ‘Vande Mataram’ as The Inferiors. This is the reason why people like to associate themselves with the left – The Superiors. Some people like to believe they are liberals. Liberals are those who do liberal things, not the ones who are against the right. If you look at the reporting of the Jadavpur University crisis after the seditious JNU incident, they always wrote ‘left-wing students’ and ABVP goons or outsiders. I realized this when a journalist asked me at JU, ‘What do you have to say about the presence of some outsiders, ABVP goons?’ I wondered, ‘Aren’t they students here? Aren’t they called Akhil Bhartiya VIDYARTHI Parishad? Vidyarthi means student.’ She was taken aback and said ‘But…no… yeah… But…’ I knew she had no answer, only biases. I again asked her, ‘Aren’t they students of the same university? What do they need to do to be recognized as students? Raise anti-India slogans?’ She got upset and left me to cover the protesting students – the real students, according to her."

"Another problem with our media, intellectuals, elites and posh class is that they are always negative. Desperate. Insecure. All signs of a weak institution. They are scared that if the hungry masses get empowered, they will destroy their empires built on the blood and sweat of the same people. That’s why they constantly try to keep the masses deprived, and their very existence in fear. They never let the masses forget who is Superior and who is Inferior."

"‘But as soon as you enter a university, we witness a radical and communal face of Communism. Here, they propagate the weaknesses and evils of Hindu culture. They manipulate and twist ancient books to misrepresent them and provoke students. For example, they use Tulsidas’ chaupai, without mentioning the rest of the Ramcharitmanas, which is the real context. “ढोल गंवार शूद्र पशु नारी, सकल ताडना के अधिकारी.” Dhol ganvar shudra pashu nari, sakal tadana ke adhikari. ‘The above lines are spoken by the Sea Deity Samudra to Ram. When Lord Ram got angry and took out his weapon in order to evaporate the whole sea, the deity appeared and said the above lines in the context of boundaries that are created by God himself in order to hold his creations. ‘What Leftists do is that they very cleverly translate it literally in Hindi, ignoring the fact that Ramcharitmanas is written in Awadhi and the same word means one thing in Hindi and another in Awadhi. While the literal meaning of the line in Hindi is ‘Drums, the illiterate, lower caste, animals and women deserve a beating to straighten up and get the acts together’, its real meaning in Awadhi is different. In Awadhi, tadna means to take care, to protect. Whereas, in Hindi, the same word means punishment, torture, oppression. Samudra meant that like drums, the illiterate, Shudra, animals and women need special care and need to be protected in the boundary of a social safety net. In the same way, the sea also needs to reside within the boundaries created by God. And hence, Samudra gave the suggestion to create the iconic Ram Setu. ‘Here, Shudra doesn’t mean lower caste or today’s Dalit. It meant people employed in cottage industries.’ I remember there is a book by R.C. Dutta, Economic Interpretation of History, in which he has said that when the Indian economy was based on the principles of Varna, handicrafts accounted for over twenty-five percent of the economy. Artisans and labour who were involved in the handicraft business were called ‘Shudra’. If there was so much caste-based discrimination, why would Brahmins use their produce? Both Dutta and Dadabhai Naoroji have written that the terminology of ‘caste discrimination’ was used by the British to divide Indian society on those lines. Manish continues, ‘Like the British, they provoke young students to believe that Hindu scriptures are against Dalits and women and want them to suffer torture. Young students are emotional and passionate. They come here with the dream of changing the world. The concept of “revolution” attracts them and they get swayed by an illogical logic.’"

"They tried to shut me up by painting me as a part of the Hindutva campaign. But it was never about Hindutva. It’s neither about freedom of speech or intolerance. This is a tactic employed to protect their castles. They confuse the issue by bringing in lots of counter news and views. They quote laws. They try to make it look like an anti-RSS, anti-BJP issue. This isn’t about any of the above. It’s about a war against India. In 2010, there was an intelligence report that terror groups were making inroads in Indian universities. Everyone ignored it exactly like when intelligence said Ishrat Jahan was a suicide bomber. They believe in intelligence reports only when it suits them. This is India’s real threat."

"The people who work as their mouthpieces also know very well but they succeed in spreading the lie as they have been controlling the narrative. We broke into it, challenged it and tried to introduce a new narrative. In the last six months, we have travelled in deep Bastar and recorded umpteen stories of Naxal barbarity and exploitation of Adivasis. The awareness the film created has given a lot of confidence to ex-Naxals who have been secretly wanting to share their stories with me. This is the victory of Buddha."

"There may not be a place for the alternate narrative in Naxal-infested jungles, campuses, media and minds but in the world of real, rational and sane people, there is always a place for truth – the only narrative one needs to know. Satyameva Jayate."

"Read the book because some people don't want you to."

"In India, people fight with all their might to kill an idea. The privileged people. The biggest problem with our establishment is that it has no space for a new idea. Art, cinema, and media haven’t developed enough to present new ideas for adoption. They are engaged in the politics of survival and therefore the outcome is mediocre and very often regressive. Most of the ideas are perceived as dissent. As disruption. As treason. Sometimes ideas like Naxalism, become violent and seditious. Despite being a democracy, in our country there is very little room for an alternate narrative. Whenever a child comes up with an innovative idea, parents, neighbours, teachers, and society crush the idea by telling him 'Kyon apna waqt barbad karte ho, yahan kuch nahin hone wala—don't waste your time.’ It can't be that all of them are idiots. They speak from their experience. 'Aise hi chalta hai … don't be stupid '…. Nothing is going to change… you don't know their power.'"

"I had spent years working on a superhero subject. It was a simple story, rooted in Indian mythology. And that was its biggest problem. There is a mindset in Bollywood that doesn't let Indic ideas flourish."

"Somewhere in the race to survive in Bollywood, I started telling stories that I believed people wanted to hear, and not the ones I wanted to tell. The ones which ought to be told."

"In Bollywood, people concentrate more on lifestyle, vanity and interpersonal equations than their craft. Though we made a big film, a Bollywood film remains only as big as its star. I was in Bollywood’s ‘big’ club."

"That day I learnt that in the big fat world of Bollywood, the problem isn’t whether the pyramid should be inverted or not. The problem is there isn’t any pyramid."

"I had given up on the Bollywood style of filmmaking. I had given up on mediocrity. I had resigned from Bollywood."

"If it has any chance of getting financed, it’s going to be from someone outside of Bollywood. Bollywood can't finance this film for they have no clue about this dimension of India. It’s going to be somebody who is bold enough to disrupt the status quo of an agenda-driven narrative."

"Sadly, Bollywood doesn’t invest in R&D. That’s why most of our films have no insights to offer. As a result, small, independent films have become the R&D lab for the Indian film industry. These films have to do an extraordinary research, for their only strength is transporting the audience to another universe, where they can feel and relate with the characters, their concerns, and their behaviour. In the mainstream films, the world is unreal, devoid of any real human concern, and the characters are like caricatures. Hence, this kind of cinema ends up becoming ‘Escapist Cinema’. Like a circus."

"In Bollywood, stars don't support small, meaningful cinema. They are more inclined to support a leave-your-brains-at-home kind of cinema, if only it can be called cinema."

"We have moved from nationalization to liberalization to globalization but our narrative remains stuck in the 1960s-70s. They hide their regressive ideology behind a fake humanitarian concern in the name of art or indie cinema. All film festivals are their properties. If you are not part of the club, you’ll never be invited to these festivals. David Dhawan, Rohit Shetty, Feroz Nadiadwala and other commercial filmmakers, whose one film makes more money than the films of all the filmmakers of this club put together, are never seen in such festivals. The media loves this club because it helps the media’s agenda. The media gets intellectual support and in return, they get good reviews. They have become the voice of Bollywood. When I started questioning this unfair equation, they started unfollowing me. Then they started blocking me on Twitter. And, slowly, from their lives."

"Discrimination isn’t always gender, race or colour-based. The most damaging discrimination is of the mind and ideology. I was discriminated against by almost all my Bollywood friends, whom I used to hang around with because, like them, I also believed in a certain ideology but found it fake and alienated from reality, and elitist."

"Everyone needs a villain and Narendra Modi became the media’s and the intellectual gangs’ main villain as 2002 was tailor-made to suit their agenda of secularism. Secularism was nothing but a ploy to attract Muslim votes and keep a control on Hindus from asserting themselves. In order to give it sanctity, the Congress regime under Sonia Gandhi patronized every creative and intellectual voice that helped her further her agenda against a potential contender, Modi, by giving them alms."

"With no avenue left, I published a blog titled ‘15 Communal Questions to The Secular Bollywood’, which went viral. The response came from unexpected quarters – the real India. People who couldn’t articulate their thoughts but felt strongly against the intellectual discrimination and fakeness of secularism started connecting with me. Mine was the lone Bollywood voice of dissent against a very powerful cabal of Leftists who wanted Modi’s head. They say that big fires start with small sparks and that you climb Mt. Everest by taking a small step."

"Sonia Gandhi led UPA has brought us to this. Where Indians are pitted against Indians."

"Secular, as I understand, means that religion should not play any role in governance. If it’s true, then why were you quiet for last 10 years when the ruling party was continuously giving alms to Muslims? Did you and your fellow signatories utter a word when PM M.M. Singh said that minorities have first right over natural resources?"

"Or a party which believes in Hindu secularism and is led by ‘the-man-you-hate’ who says 10 times a day that his only mantra is ‘Justice for all. Appeasement for none.’"

"If your fellow ‘secular’ filmwallas feel so strongly about the ‘secular foundations’ and its preservation thereof, how come they never uttered a word against the Muzzafarnagar riots? Or against Shri Mulayam Singh Yadav? Or Azam Khan? Or Abu Azmi?"

"Shrimati Sonia Gandhi also issued an appeal a few days ago. Is it a coincidence that your appeal is reinforcing exactly the same? Can you vouch it for yourself and the other signatories that none has ever been a beneficiary of Congress’s alms? And that none of you have any vested interest, no political agenda? And no one is firing from your shoulders? If not, where was the need to get organized and send an appeal in such a hurry? Did you send this mail to all listed film professionals or just to those who you knew will sign blindly?"

"Writer and director Vivek Agnihotri deserves a lot of credit for having the will to fight for years to be able to make this film. There were reports that he could have made a deal with Netflix if he had agreed to not mention Islamic terrorism, which would be akin to making a movie about the Holocaust that doesn’t mention the Nazis. Good for him and his team for not caving to such a cowardly and ridiculous demand."

"Unfortunately, some conflict entrepreneurs live off conflicts. Just as the war industries would cease to exist if human hatred evaporated, conflict entrepreneurs have a tremendous investment in this hatred. To keep the demon alive is to keep their God alive. They draw sustenance from this hatred. Those who talk of secular values need to go back and study the Mahatma because in the pages of the Mahatma, there is no concept of the kshatru (enemy)."

"Bhatt sahib told me, “Yaar, I have never seen any other politician or chief minister act with such alacrity and determination anywhere else in India.” He openly praised Modi’s conduct in the Film Federation meeting saying, “one does not see any other state of India demonstrate such strong commitment to the rule of law.”"

"Women are not exempt from patriarchy, they are also products of it. So, they also come in with that system of 'am I right' or 'am I wrong'."

"I think the most important thing, when you are directing is perspective on the story. What is your take? What are you saying? What does it mean?."

"No. If I am in such a temper, then the person I am in a temper with needs to leave. (as an answer to the question: Have you ever walked of a set, in a temper?)"

"From Mira Nair. Who told me to, stay true to the story. Told me not to lose my femininity, because I am directing. So if I want to go to work in a skirt and lipstick, I should. I don't have to be male, to be the boss. And to never hook up with the actors. Best piece of Advise. (as an answer to the question: Whats the most useful advise you ever got from a fellow director?)"

"When you're writing a character, you have to know where they're coming from. You may never use that information, but you have to know it. It just helps you mark the journey better."

"I never want to be on a pedestal. Because the same people who put you on a pedestal will throw you of it. I really don't want to be appreciated to the extent that I start living for their appreciation."

"Art has different meaning for different people. For some its realism, for some its escapism, and you have to accept that."

"I could actually tell stories and narratives which were little alternative and radical. For whatever its worth, you can support imperfection. (as an answer to the evolving tastes of the Indian Audience and the rise of the Digital Streaming Platforms)"

"I think that the best of artists are androgynous in a sense. If a man is a very macho male, I don't know whether he'll make a very good director, he may make a very good craftsman. Or if a woman is a very sort of typically feminine woman, I don't think she will make a very good film. She has to have a bit of both."

"When you start getting into the process of writing, then the characters start coming alive. And then they tell you what to write."

"We cannot avoid or escape, but we can sing. (As to why the title of the film Bulbul Can Sing has the word sing, and why it matters to the story)"

"I was shooting Man with the Binoculars, which was my first feature film, and I discovered these children and villagers celebrating life [while] living in deprivation. It made me realize what I was missing in Mumbai even surrounded with all this technology. (about the inspiration for Village Rockstars, and life in rural Assam)"

"I chose this profession not for the money or the glamour. I want to push boundaries, enjoy the process of filmmaking."

"If people are criticising your work, take it in the right spirit and try to find out what is wrong. I made a lot of mistakes on my first film and told myself not to do it again. Remember that you’re not making a film to keep it in a box, it’s for the people."

"No one can teach you how to compose a shot. You are only guided by an instinct. It has to come from within. I learned cinema by working on my films. The best thing was that I bought my own camera, and since I was working on the digital medium, I had the freedom to experiment, shoot more."

"I didn’t want to infuse positivism forcefully, but I wanted it to spread naturally. Hope is the only weapon we have most of the time, isn’t it? If we don’t dream and be hopeful, how would we survive! (about the overall subtle positivity in Village Rockstars)"

"The characters are teenagers in high school, it is natural that they will want to explore their sexual desires, date people, and want to make out. That is what puberty does to you. It is very disturbing when something as natural as this is scrutinised, scandalised and made into gossip. (about moral policing of teenagers in Bulbul Can Sing)"

"When I started watching movies, I liked that realistic approach. The story in this movie is fictional but I didn't want to compromise in the way I presented the way they are living their lives. I didn't have any storyboards -- I mostly followed them for four years. I became one of them. I wanted the audience to feel the beauty and the freshness that I felt in that village."

"I draw inspiration from Wong Kar-wai, Majid Majidi and our very own Satyajit Ray. I learn by watching their films. Ingmar Bergman and Quentin Tarantino have also influenced me. I spend hours watching films. Even while working on my projects, I take time out to watch films. This relaxes me."

"Filmmaking is a journey. Some people are lucky, they get instant success but for others it’s a process, it’s not something that can be achieved in a day. You might even get success overnight but the effort, the dedication, the passion and the love for making films are a continuous process."

"Strange. I have never been consciously feminist. I am more a humanist. I like dealing with the situation of the underdog and, somehow, I feel women are such a minority in this country. Also, I feel if my voice can be heard, why shouldn't I highlight their situation and create awareness and hope? I'm not consciously making women-oriented films. Maybe, subconsciously, the feminist inside me veers towards highlighting women's issues. (when asked if it was a conscious decision to concentrate on women-centric films)"

"Situations like the one showed in Ek Pal exist in the lower classes and the upper classes and are more easily acceptable. It is the middle-class who gets horrified. It is the middle class who wants to act out, but can’t. (discussing the themes of adultery in the film and morality of the middle class)"

"Bhupso (Kalpana endearingly addresses Hazarika as Bhupso) did offer to marry me two years ago, but I said no. May be he wanted to give me the status of wife, but I was not interested. For me, the relationship, the trust and the respect that we share with each other are more important than marriage. (discussing her unique relationship with Bhupen Hazarika)"

"Well, my kidneys have failed. I haven't (laughs). (discussing her Kidney Cancer)"

"I am itching to get back to filmmaking. The industry has changed so much since I last directed a movie. Those days when my films like 'Ek Pal' and 'Rudaali' were so appreciated, now seem remote. We've gone from the era from Mahesh Bhatt to the era of Alia Bhatt. And I'm proud I know both of them as wonderful human beings. It's been a wonderful journey. I've enjoyed every minute of it. And I am not done as yet. (hopes of recovering from Kidney Cancer and returning to filmmaking after a long hiatus)"

"Kalpana was an amazing raconteur, who brought any incident or story to life in front of your eyes. It was visual, you could sense it and taste it. A passionate person, who had a great sense of humour and enjoyed laughing at herself and her own foibles. She was a people’s person and loved to make friends. She filled the room with laughter and positivity. (As to how the prolonged illness had not seriously dented Kalpana's vivacity till the end)"

"I set out to assist two amazing filmmakers Sai Paranjpye and Kalpana Lajmi, both torchbearers of qualitative cinema. Through them I had a solid foundation to understand cinema and its intricacies. With Sai Paranjpye I learnt to use everyday humour, and with Kalpana Lajmi I learnt how to envisage a grand mise-en-scène. (After completing a course in film appreciation at FTII Pune)"

"I was shocked by the response to my adaptation of Neil Simon’s Last of the Red Hot Lovers, about a 50yish man who resolves to have flings with women. The audience roared with laughter but after the show, several people whose opinion I counted on, said, ‘This was not expected of you Sai. How can you bring up the topic of adulterous affairs?’"

"I always like to maintain that I am a writer first and then a director. But unfortunately, I am not known as much as a writer. I am a first-class writer and a second-class director."

"I guess I was born with a grin, I have this attitude or aptitude to look on the bright side. Pollyanna always looked on the bright side too. Somewhere, this must have had an unknown effect on me. We Indians tend to take life too seriously. We constantly pontificate and get philosophical about every little thing. Having fun is frowned upon, it’s almost sinful. I have done serious things, but I will not let go of that thread that keeps me bubbling along and happy and merry."

"Women actually have a fantastic sense of humour, better than men. Men tend to have crass and predictable humour. Women see human foibles and minute details, and they can laugh at eccentricities and peculiarities. They are also more understanding. Go ahead and quote me and let me make some enemies."

"I am sure I speak for all my sisters when I say that we prefer to be known as directors, not just as women directors. To the eternal question that I am plagued with — what is the main disadvantage of being a woman director — my answer is: being endlessly harangued with this very question"

"I was very fat then, and Alkazi would scold me about my chubbiness. ‘An actor must look trim,’ he would tell me. ‘You will never get good roles if you don’t watch your weight!’ I was least interested in good roles. Writing and directing were my passions. But I did not tell him that. I kept nodding my head and agreed with him. I did not lose any weight, though. (sarcastic remark about her time training at the National School of Drama in Delhi, in the years 1962/63)"

"I used my imagination to make up for what I lacked in physical swiftness"

"Many filmmakers. In Malayalam, I love the films of Bharathan, Padmarajan and Sathyan Anthikkad, among others. Then, there are films of Balu Mahendra, and of many directors in Tamil. In Bollywood, Mukul Anand is an all-time favourite. I keep watching his films. I love films of Manmohan Desai, Hrishikesh Mukherjee and of course, Sai Paranjpe. Once on Twitter, there was a question – ‘which filmmaker’s universe would you like to live in?’ – for me, it would be Sai Paranjpe’s. (as an answer to who are some of his favourite directors)"

"Wit, warmth and wisdom define Sai as a person and her writing is unfailingly pithy, perceptive and pulls no punches. (as a comment about Sai Paranjpye and her English Autobiography - A Patchwork Quilt: A Collage of My Creative Life)"

"I set out to assist two amazing filmmakers Sai Paranjpye and Kalpana Lajmi, both torchbearers of qualitative cinema. Through them I had a solid foundation to understand cinema and its intricacies. With Sai Paranjpye I learnt to use everyday humour, and with Kalpana Lajmi I learnt how to envisage a grand mise-en-scène. (After completing a course in film appreciation at FTII Pune)"

"I find it hugely problematic and disturbing, because what really makes me upset is that it’s being done just to go with the popular narrative. I can understand when a filmmaker has researched something and a filmmaker wants to make a point… Of course, there can be different viewpoints. If you want to demonise the Mughals, please base it on some research and make us understand why; why they were the villains that you think they were. Because if you do some research and read history, it’s very tough to understand why they have to be villainised."

"I think they were the original nation-builders, and to write them off and say they murdered people… But what are you basing it on? Please point out the historical evidence. Please have an open debate, just don’t go with the narrative that you think will be popular."

"It’s the easiest thing today, demonising the Mughals and various other Muslim rulers that India had at different points in its history. Trying to fit them into preconceived stereotypes, it is distressing. I cannot respect those films, unfortunately. That’s my personal opinion, of course, I can’t speak for larger audiences, but I definitely get upset by those kind of portrayals."

"Politics is the way we see anything in this world, the way we look at women is our politics, the way we look at minorities is politics, the way we look at people living on the fringes of society is politics, the way we look at the people in power is politics which has to come through."

"I would not make compromises, I would never make compromises on my ideology, or rather not do that story, then make compromises on ideology."

"I can forgive bad writing, shoddy camera work, you know, sloppy editing, but I can never forgive bad politics because mainstream media films are a very powerful platform and they can really influence a lot of people. So, when I see wrong politics being highlighted (in films), it really makes me angry."

"More recently, in late September, the issue of mistreatment of women once against came to the fore when a Delhi court overturned the rape conviction of filmmaker Mahmood Farooqui, saying that "a feeble no" could still signal willingness on the part of an alleged victim."

"An Indian court has overturned a rape conviction against a film director, ruling that a “feeble no” can signal consent, especially in cases where the alleged victim is well-educated... Mahmood Farooqui was sentenced to seven years in prison in 2016 for sexually assaulting an American postgraduate student while she was visiting his home in Delhi."

"William Darymple asking my rapist to speak at #JLF and then blocking me for criticizing him is the reality that many women who come forward against powerful men face. The rapist isn’t considered the problem, the survivor is. If only they would stay silent the issue would go away."

"[Justice Ashutosh Kumar had said that the appellant] “had no idea that the prosecutrix was unwilling, and there are instances when a feeble ‘no’ on the part of a woman may mean ‘yes’ during the course of a sexual act”... “In cases where the parties are known to each other, it could be really difficult to decipher whether a feeble ‘no’ – (accompanied by) little or no resistance – actually amounts to denial of consent,” ... “And even if it did occur, (there is lack of clarity on) whether it was without the consent/will of the prosecutrix,”.... “it may not necessarily always mean yes in case of yes or no in case of no” during “an act of passion, actuated by libido”."

"Those who speak aggressively on upholding Sanatana Dharma and Hindutva are not Hindus. They project themselves as contractors of Hindutva. We must tell them that they are speaking for furthering their political ill-intentions. People must understand it and I hope they will."

"So much has changed in terms of the market; the audience has so many options, and you’re reaching for all kinds of attention when you’re making a film. I suppose when it’s really regressive sort of messaging, and it makes hundreds of crores, it hurts. Because you had the opportunity to push the needle in some direction and you didn’t. Those are the things that sometimes bother me. Having said that, every filmmaker has their goals."

"I now invite to address you, “The Merchant of Death.” The “merchant of death” to terrorism, the “merchant of death” to corruption, the “merchant of death” to nepotism, the “merchant of death” to official inefficiency, the “merchant of death” to bureaucratic negligence, the “merchant of death” to poverty and ignorance, the “merchant of death” to darkness and despair."

"I have been friends with this girl for a long time. She accompanied me on many trips. However, there was a rift in our friendship, and we haven't been in contact for six months. She also acted in my recent movie. Now, as the new movie started, she came forward with such a complaint. The motive behind such an accusation could be her frustration at not being given a chance in the film. Sometimes, it could also be part of an attempt to extort money."

"Life is not a fairytale. If you lose your shoe at midnight, you are drunk. If you fall, I will always be there…Much love, Floor. When life shuts a door, open it again. It’s a door. That’s how they work. I like long walks, especially when they are taken by people who annoy me. I’m so single right now that I stood on a cliff and shouted I love you and my echo replied I just want to be friends."

"I am a product of Indian cinema; I’ve grown up watching Indian films ever since I can remember. And song and dance is part of our lives; it’s part of our culture; we wake up to songs, we sleep to lullabies, you know, we celebrate every religious and traditional function with music. I want to walk the red carpet at the Oscars. I am in awe of the ceremony, and winning an Oscar would be the most magical moment of my life. I want to make that speech and hold that trophy and say, ‘This is for you, India.’ That’s the line I have rehearsed for God knows how long. But that has to be for a Hindi language film."

"When you have a sense of low self-esteem, and when you achieve success, there’s relief more than arrogance. To love someone is such a feeling of power, because even if you don’t get that love back, you still have it. It could be a weakness, it could be strength. It’s how you look at it. I look at the love I had as a source of great strength."

"Surround yourself with the best people you can find, but also know how to be happy alone. The conversation you are avoiding is the one you need the most."

"My journey has been a continuous learning process, marked by a commitment to storytelling that resonates with the audience. Each project is a step in that evolution, a quest to connect with people on a deeper, more meaningful level. A producer is more than just an investor; they are the architects of a film. Responsible for the entire creative and business process, from idea conception to assembling the right team, managing budgets, and overseeing production. While not visible on screen, a producer’s influence is integral to every aspect of the filmmaking journey."