Jiang Wen Quotes

Personally, I don't give a toss about French viewers. I make films for foreigners - it's a bit like Ken Loach, who's not very popular in England but has had a lot of success in France. Cinema is always an experience in a foreign body.

David Michôd changed my life, quite literally, along with the chaps at Sony Pictures Classics. That's what set me on my way. I thought we did good work and had a good film, but when it was so praised at Sundance that year that's what really started the ball rolling. We all paid our own way to Sundance.

I'm really interested in making movies that people see: I've made a lot of independent films and it's really depressing when no one sees them.

The film 'Back to the Future' certainly did a lot to put me where I am today, and I did not foresee that. I just was hoping the film would open successfully, the first one, but it's gone way beyond what I think most of us have imagined.

I just hope, every now and then, the studios still slip one of my movies in.

For me, to be in a place where I'm on the 'favourite' list of top directors I like, that's being number one. There is no other definition to me. It's not money; it's not how many songs you're seen in or how many clothes you're changing in the film.

When my second film 'Dus' released, I was still getting compliments for 'Tum Bin' because it was a hit on satellite channels.

If my films did better at the box office in Japan, it would be easier to get them made.

The Prosenjit-Rituparna jodi is a huge contribution to Bengali cinema as we have delivered several hits.

Take me to any other film industry, and they will be wondering why Telugu audiences love me so much.

I think 'Sound of My Voice' was the first film where suddenly I could point to something I had done that I was proud of and say, 'Look at this piece of work.' And that's probably what led to 'Fruitvale Station,' which was the real break.

At the end of the day, all I want is that my films should do well.

No one - black, white, or any different - walks away from a three-picture deal with a studio. That's every filmmaker's dream. But it wasn't mine.

I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.

I do not keep a track of numbers as such, but I am definitely aware of how a film of mine is doing when it is playing in theatres. More than the numbers, it is important to know how the audience is reacting to the film.

For a filmmaker, whether the film is liked, understood or appreciated counts as much as the moolah.

After acting in a critically acclaimed film like 'Kaaka Muttai,' I didn't get any offers for more than a year.

I don't really think about the box office, but I want my films to do well.

No star is bigger than the success of a film.

Anyone who's worked on a film would want their work to be watched and appreciated.

Films will break barriers - and good films will travel all over India.

I have never had the problem of finding a producer for my films. I think I am just lucky because my first film didn't do great box office business.

I'd reached the point at West Brom where I'd play well, score goals, set up goals and nothing would come from it. I'd go home, come back the next day and everything would be the same. No reward, no response.

I would want to believe that every film I do turns out to be the turning point of my career.

'Baahubali' has definitely increased hopes for a lot of regional filmmakers. After all, what I have learnt is that it only takes one 'Baahubali' to enter into the audience's hearts and cross the boundaries.