Shoojit Sircar Quotes

I always say that I'm a filmmaker, not a factory. I don't have to churn out films every six months.

When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.

I'm not in a race with anybody to make the biggest hit movie anymore. I am just trying to tell stories that I can stay interested in for the two years it takes me to supervise the writing and to direct them.

I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.

With directing, you always have three or four things constantly on the go. It's a tough industry and a tough time, particularly if you're doing things a little outside the box or independent features.

I have a freedom that's incredibly valuable. Obviously my freedom is far smaller in scale than people like Zemeckis and Spielberg have here. But it's comparable. I can dream up a project, develop it, make it, control it, release it.

I don't make movies because I think audiences will want to go see them.

When you're actually making the film, you're constantly battling to maintain its integrity.

No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.

If you think of movie studio executives, say, as society, then I root for the independent producers.

Since childhood, I'd dreamed of making a film, but producers in France and Germany wanted to make commercial films with chinoiserie. I refused.

If you can get your movie made the way you want to get it made, no matter what the end result is going to be, if people are going to see it, that's awesome.

I bow down to the altar of genre, because it allowed me to get 'The Witch' financed.

It's not easy to make films that one wants to because it is not easy to find a producer that fast for the subjects I want to make. They are not hot cakes in the market.

The kinds of movies I make are not easy to get made.

I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.

Persistence is half the battle. That's what I love about independent movies. They don't have to be made. There's no studio with an agenda to set up a franchise like 'Batman' or to make a vehicle for a celebrity actor. My films are made because I love the process.

I direct, and I make movies I can't finance. I can't raise money. I can't sell anything. I make things.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

On the last couple of movies I made - big-budget Hollywood movies - I really missed being able to create my own material.

To make independent films, you can't think about them too much, ponder on them too much, get overwhelmed by the enormity of it.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.

I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.

All the director wants is their idea of the movie to be believed in.