Meghan Markle Quotes

Every cinematographer I worked with had his own way of solving problems.

When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.

So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.

If I go home from a day of shooting, and I haven't at some point felt the magic, I'm really frustrated.

The first scene I ever shot for 'Louie Bluie,' on that first day, I had never seen the camera before. I didn't know where to put it. I just knew what was strong about these guys and what I wanted to capture, so I tried to work backward from there and figure it out. Trial and error. Hopefully I got a little bit better at it.

I love that first-time feeling that I can't build in myself anymore, where I can learn and emulate other filmmakers. Be it Ayan Mukherjee, Punit Mahotra, Karan Malhotra, Tarun Mansukhani or Shakun Batra, all of them have taught me something or the other.

The directing is something that is incredibly satisfying to me and challenging to me because it's asking me to draw on everything I've been able to absorb over all these years of acting and having all this set experience.

I originally went to school to be a filmmaker. And so it's a big part of how I think and how I write. And it inspires me a lot.

In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.

My father is an absolute inspiration and such a gifted filmmaker. I have learned and continue to learn so much from him.

I think the way you make a movie dictates the movie that you make.

With filmmaking in general, I have never absorbed the traditional knowledge of film history or filmmaking. It has always been just pick up the camera and go figure it out.

Effectively, as a cinematographer, I am always on the lookout for a project that makes me want to go to the cinema.

My mother has been in films for 50 years. She is very insightful. She has been invaluable to me in choosing films and other routine things.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

My whole approach is very much about using the locations as a world, trying to find the beauty in the time of day we shoot or the ugliness of it, in cases.

Back-light is the cinematographer's friend.

You know, 'Top Gun' was the movie I saw in high school that made me want to be a filmmaker. I remember very specifically coming out of the Century 21 Theater in Colorado from seeing it, and my friend saying, 'What did you think of the movie?' And I said, 'I think I know what I want to do for a living.' That's a true story.

I learned a lot from Direk Brillante Mendoza and Bing Lao.

I've been lucky to be educated by watching the old and the great movies, working with good filmmakers, and being educated on sets.

I actually didn't really start to get into the research of film until I was much older. I decided I wanted to direct a lot earlier than I started to do the research, which is really strange, but it is the case.

I started learning filmmaking by joining a weekend film school in Bengaluru. I made some amateur short films that got appreciation from people around me.

Three years at the institute had not taught me as much as two weeks on the sets of 'Susman.'

As a filmmaker, every tool you get to tell the scene better is important.

Lighting practically whenever I can when shooting period really helps with authenticity.