Ayushmann Khurrana Quotes

Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.

I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.

Usually in France we prefer to say bad things about the Nouvelle Vague, but I'm always impressed with its freedom and the fact of not making a film to give your opinion but just as a piece of art, which to me means the Nouvelle Vague.

Confusion seems to have become the vogue of European directors.

Independent films are the ones with the great possibility of keeping you on your toes, challenging your craft and skills, and forcing you to learn something new.

Every time we come out, there's a hunger for creative expression or creative ways to put out content that isn't duplicated from our last run. Whether it's technology, messaging, visual… we're always pushing the envelope.

Non-studio entities can experiment with storytelling that might be too niche... for a studio.

I've chosen films that are different compared to the conventional Bollywood films we all know and love.

I can't wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say "f off". But after a while you can get away with things.

I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative.

The notion of art as the dearly purchased outcome of an immense spiritual risk, one whose cost goes up with the entry and participation of each new player in the game.

The heft of a life in the hands grows both lighter and weightier. Over time, my life has become more saturated with its shape and made-ness, while my poems have become more and more free. The first word of every poem might be "Yes." The next words: "And then."

Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.

The concept of number is the obvious distinction between the beast and man. Thanks to number, the cry becomes a song, noise acquires rhythm, the spring is transformed into a dance, force becomes dynamic, and outlines figures.

Spontaneous is what you get after the seventeenth draft.

There's no point in making films unless you intend to show us something special, otherwise just go out and watch a play. Kubrick showed us something special. Every film was a challenge, and a direct assault on cinema's conventions.

Roman Candles was shown in a church, and so was Eat Your Makeup, so was Mondo Trasho, and so was Multiple Maniacs (1970). It's hard to imagine that churches showed these movies but a few in the '60s, like St. Mark's Church, or on the Bowery, they always were left-wing.

One of the reasons I moved away from painting was because I eventually discovered that I wanted to deal more with motion, time, and performance - and that became a much bigger part of my life both as an actor and as a musician and someone who goes on stage and travels around the world and works on productions.

Songs are kind of alive, I think; once you finish writing them, that doesn't mean that that's it for the song. It can have its own little life, I think.

We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent wasa youthful effervescence which we have now lost.

I always hesitate when people call me a musician.I have had no musical training. I can't play anything. I really think of myself as a performer. It's always been writing for me. I evolved with my band in rock 'n' roll through poetry, not through music.

One of the reasons I love making movies is because it's an opportunity to share with the world a different way of being or a different way of living or seeing the world. If it's something you've already seen before, if I have too many reference points for it, then it's not exciting for me to make.

I love develop as an artist, to push my envelope, to grow, to make mistakes, to learn from them and to try and be the very best that I can be while I'm on this earth.

The personal lives of painters are tragic and inevitable and do not explain the artist. For the artist is his work and no longer human.

To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.