Lillete Dubey Quotes

What's interesting when you see 'Black Panther' is you realize it couldn't have been directed by anybody else but Ryan Coogler. It's a great adventure movie, and it works on all those different levels as entertainment, but it has this kind of cultural through-line that is so specific that it makes it universal.

Salaam Bombay' and 'Monsoon Wedding' are the two Mira Nair films I go back to.

I think what Hollywood is learning at large is that there is profitability in stories that are culturally specific and that you can only address the universal through the specific.

'Namastey London' is my favourite Bollywood film, it is a complete pack - it has entertainment, drama, emotion and comedy.

When I was writing stories about Chinese American characters in my fiction classes, I'd get comments like, 'You should consider writing more universal stories.' But anything can happen to a Chinese American girl - just as much of the canon of English literature involves white men or women.

I was able to do To Sleep with Anger, a very powerful film about African Americans, their spirituality, and the things that happened within a small community and a family.

I don't think you can ever be ahead of your time with cynicism about that subject. No, I don't think it was ahead of its time. I think it was very much a product of its time.

The average Indian doesn't care about Hollywood movies because they have far too many movies of their own to watch, to miss, and I hope a story like 'Million Dollar Arm,' that is actually about India and deals with these two Indian kids, resonates over there and makes people want to go and see the movie.

Shakespeare is repeated around the world in different languages, just because it's good storytelling.

What's amazing about 'Desi Rascals' is that once you get over the all-Asian cast, what it seems to be mainly about is what everyone else is concerned about. Young people. Getting off with each other. Being embarrassed by your parents. Being hurt by romance. You'll watch it because it is entertaining, because it is moving, not because it is Asian.

The parent characters that I portray are Indian because I grew up in an Indian household. Having said that, I feel like people of all cultures would relate to those parents.

I don't know if foreigners will take to my novels or not. It may be that my books appeal only to a particular gender or age group rather than convey a more universal appeal.

'Gods of Wheat Street' has been described as an Aboriginal 'Neighbours' or 'Home and Away.' But on set, we were calling it 'Black to the Rafters.'

When my first film 'The Seventh Continent' was presented here 12 years ago, non-Austrian spectators would come up to me and say, 'Is Austria that terrible?', whereas for me it wasn't about Austria but about highly industrialised cultures everywhere.

I never sit down to write anything personal unless I know the subject is going to go beyond my own experience and address something larger and more universal.

I think that my films are basically family stories, beyond the fact that they are global and have political and social commentary.

'Moby-Dick' has a remarkable way of resonating with whatever is going on in the world at that particular moment.

Film-makers are always going to be interested in making movies that plug into society around them. That's what a vibrant, artistically alert community should be doing. After all, it would be sad if we only made films about alien robots.

What's nice about 'Skinwalkers' is it's allowing an audience to see a different Indian perspective... I think, for myself, I'm trying to put the Indian perspective in a different dimension.

From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.

I wanted to make films that were culturally relevant in my own country, that challenged people, and that people talked about.

That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.

Great art, the more specific you are, the more universal it becomes, and that's the thing that I loved about 'The Wire.'

These are human issues. These are human stories. I think that's why 'Fences' has been able to resonate and been able to hit so many people over the years because it is just that. You can't run away from the racial specifics of it, but that's just a part of it.

I remember 'Resurrection Boulevard.' It was on for such a brief moment, but they were trying to do a good, Latino, Mexican-American family with a patriarch.