film-directors-from-india

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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 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."

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

"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."

"[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”."

"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."

"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."

"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."

"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)"

"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 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."

"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 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)"

"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 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 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."

"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)"

"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)"

"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 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."

"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."

"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)"

"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."

"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."

"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."

"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."

"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)"

"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)"

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

"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."

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

"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."