Anurag Kashyap Quotes

So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.

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.

National culture can act as a bridge, instead of an obstacle, to mutual spiritual and intellectual understanding.

The Garden of Wonders project encompasses the knowledge that Be Open has accumulated over the years of work on different continents and different spheres.

Science, for hundreds of years, has spanned the differences between cultures and between countries.

I'm fascinated by Bollywood.

I hope to use dialogue and culture as a means of bringing people of various cultures together, and using that as a way to resolve conflict.

I make American films for American audiences and Asian films for Asian audiences.

I am a Westerner. We're not going to change the West by going East. The East has a lot to teach us, but essentially it's like a mirror, saying, hey, can't you see what's here in your own religion, what are you, stupid?

I'm trying to strike a balance between Bollywood and Hollywood.

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.

So, thanks God, our films, our first films were suddenly being appreciated by the Western media; especially France was very good, and Switzerland was very good.

It always struck me that Africa was, in a strange way, a futuristic place and had elements and vibes and spirits that were going to inform the future. Africa Express is an attempt to engage that power outside Africa, and for everyone to benefit from it.

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.

I've always seen movies in English with Spanish subtitles. For audiences around the world, the language is less important than if it's a good film.

Executives in Hollywood are missing a lot because they don't want to watch other cultures.

The world is shrinking, and everyone is majorly interested in Indian films now.

I don't care about the internal political system of the United States. I want to be a friend of United States, of its baseball, its institutions, its rock and roll, its workers, and its technology because we need it. I want to be friends of the Arab people, of the Persian people, of the Asian people.

The arts bridge cultures; they're good for the economy, and they're good for fostering empathy and decency.

When directors like Joe Russo, who understand story from a very global perspective, start working more and more with Chinese filmmakers, you'll start seeing Chinese films that connect with audiences all over Asia, Europe, and South America - maybe even North America.

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.

Speaking French is good for me and also a mark of respect for the PSG institution.

Like the ancient Silk Road itself, 'The Sound of Silk' will make the foreign familiar while challenging long-held notions of identity and our place in the world.

As a member of the audience, when you see someone from your country working in an international project, your curiosity about that film increases manifold.