Irrfan Khan Quotes

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

If I can still have Hollywood and a piece of Bollywood, I will take it.

I don't know about the whole song-and-dance thing. But if India will have me, the independent cinema scene there is something I'm really interested in.

The cinematic language and interior destiny of each Iranian film-maker is different. The international influences on them vary from Rossellini to Fellini, Akira Kurosawa to Hou Hsiao-hsien, but there is a strong sense of solidarity.

Art is collaboration: we are artists all over the world. I believe that people are always going to watch Hindi films... that's never going to die, but I think it's amazing that collaborations like that are happening.

Cinema is diversifying; there's room for every kind of cinema today.

I want to make films with a broad scope; produced in Italy but looking at the world.

My wishlist of directors, who I want to work with is endless. I want to work with Vishal Bhardwaj, Dibakar Banerjee, Karan Johar and many more.

They make Spy Kids, they make Scream, they make A Scary Movie. This doesn't do that, so it could be a very bad marriage. I'm trying to keep this potential nightmare quiet because we're just finishing editing.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.

The truth is, a director wins an Oscar for a writer's script and actors' performances.

It is very good to bridge the gaps between Indian and international cinema.

The BAFTAs give the British point of view, and the Oscars give the American point of view, but the truth is we're all working in an international industry.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.

I want to make films that cater to the world audiences.

I loved working with Peter Weir. I think he's one of the greats and will be remembered as one of the greats.

I always try to make popular films. Even in black-and-white and silent.

Acting is a community where you come in and out of each other's lives. I'm slightly envious of the Golden Age of Hollywood. It must have been frustrating to be owned by the studio, but it was also like being in a company, working with the same people, and that appeals to me.

I think it's rare for anyone that a really accomplished, amazing director calls you up and says, 'I want to make a movie around you, and I want it to be this.'

I'm just trying to do all kinds of films.

I have always thought of films as stories for the world.

Krishna Vamsi is a very good director.