I was never attracted to being a very proficient singer or player. I suppose I was interested in creating a vision; in the same way I was very drawn to tension within cinema.
I suppose I was interested in creating a vision; in the same way, I was very drawn to tension within cinema. Hitchcock was my other early obsession - 'Psycho' and its score. So there was the sense of trying to create an atmosphere: how a sound resonates and makes an effect.
Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
The thing is, making movies as an actress, you learn so many things. Like when you're making a movie with Quentin Tarantino you're just at the best cinema school ever.
It's shocking to say, but the cinema is quite a while away from me, and I haven't got a car yet.
I was exceptionally opinionated as a teenager, never afraid to rant and ruin a birthday party or cinema trip.
They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.
I do not want to be a part of Hindi cinema's rat race. But yes, if I get offers and characters which I feel would suit me as well as make some difference to me, I will do a Hindi film.
Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.
When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.
Bollywood works as hard as regional cinema makers.
I request the audience to not mix cinema with politics.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
Cinema was my rite of passage.
Sacramento is where I grew up, so I felt like it had not been given its proper due in cinema.
My mother and stepfather were documentary filmmakers and, of course, had a very healthy Scandinavian mentality. When it came to cinema, my mother was very obsessed with the French New Wave. That was her generation.
That's the way life is: meaning is always there, but there is no clearly given way of decoding it. Conventional cinema obscures this with an easy reduction of meaning to plot and schematic characters.
I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality.
Work in the theater sharpened my verse and my cinema.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
