Emraan Hashmi Quotes

It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.

What I have to offer as a writer/director is the stuff with the feeling in it.

You always want your films to go as far as they can.

It's disappointing to see films become pure entertainment, so that it's not an art form.

I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.

I've turned down a lot of arena dates because I've done the big-arena thing. Now, I want to do something where people can feel me and I can feel them.

I always felt there was a kind of humanistic impulse in my thinking about film as well as a real interest in its formal and aesthetic properties - just this idea that it can bring you into a very intimate encounter with people.

Not every work of art connects with the audience.

I decided that I have certain taste in cinema and I will take it forward. I know there is an audience for such cinema.

I don't want people to look back at my matches and say, 'When you did that move, it was good, and I liked it because it was cool.' I want people to sort of remember a rush of images and the emotion that they felt when they saw it. That's when I think you have a real masterpiece in your hands.

The great movies and the great commercials always work on every single level.

I love that theatre can be political. You can go watch a play; it sends out messages, and you can go away thinking differently to the way you thought about it before.

You hear it said time and time again by successful directors: You have to make a movie for yourself. Don't make it for anyone else. My style of filmmaking happens to be give the audience what they know they don't want, but they want. Ultimately I have to write and direct in a way that let's just say, you don't want to regret making a choice.

A Mozart symphony is very much like a Pixar movie - in the sense that Pixar movies are hugely successful because they operate on several levels at the same time.

Now there’s us, staking out our piece of cinematic turf (might be small but it’s ours). And the music has to fit the vision as specifically as it did for [Star Wars and The Matrix.] OUR music comes from THEIR music, this scrappled bunch. It is spare, intimate, mournful and indefatigable.

Because of the influence of the cinema, most reports or stories of violence are so pictorial that they lack content or meaning. The camera brings them to our eyes, but does not settle them in our minds, nor in time.

In not-for-profit theater, you don't worry so much about how the audience is going to react. You want to make them absorb the piece.

It’s history. It’s poetry.

In good films, there is always a directness that entirely frees us from the itch to interpret.

An artist is an entertainer, number one - a storyteller who takes people someplace, who gives them what they didn't know they wanted.

There's the artist's intimacy and truthfulness to himself, but an equal intimacy to the Other [the one drawn]. Picasso drawings are like that... the Rembrandts are like that. The artist who most often did that was Van Gogh.

A playwright... is... the litmus paper of the arts. He's got to be, because if he isn't working on the same wave length as the audience, no one would know what in hell he was talking about.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

But rather that we should lose our sense that neither can become the other, that the traditional novel form continues to enlarge our experience in those very areas where the wide-angle lense and the Cinerama screen tend to narrow it.