Sudeep Quotes

I always say that in my career as an actress, I've always worked with people like David Lynch or Guy Maddin or Peter Weir who are considered not mainstream directors and that could be because they are like my dad. They are pioneers, and pioneers, by definition, invent something new.

For the theatrical experience to survive, spectacle films need to expand their definition of what they can be. They need to be unique and true voices of the filmmakers behind them. They can't just be copying what came before them.

I do not want myself to be restricted to a pigeonholed kind of filmmaker.

But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.

Find your own specific voice in filmmaking and go for it. Either people will get it or they won't and that's what it's all about.

No film should try to follow a trend, and do what film people think the public wants. There's no such thing as knowing what the public wants.

Playwriting is the last great bastion of the individual writer. It's exciting precisely because it's where the money isn't. Money goes to safety, to consensus. It's not individualism.

My theory is, independent movies only work if you're willing to push the material and do something different.

I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

This sounds really craven on some level, but on some level, a lot of what I'm doing is trying to not do a typical TV show.

Almost anything can be justified as a style of filmmaking if it works.

The reverberation of the freedom of making 'Schizopolis' absolutely resulted in 'Out of Sight' and everything that followed.

Independent filmmaking burns off a lot of storytelling fat.

I have always chosen subjects which are little different, and not subjects that you see. That challenges me and the actors who work in the project.

Some people have iconic directors in their mind, or they want to make particular styles of films they have seen before. I think this is a waste of time and energy.

People are fed up of formula films, and we are getting new space to experiment.

I used to like Lady Gaga. I still love her. But what I like about LMFAO is that they're completely outside of the box; they're completely different. They're not ridiculous, but they are not afraid of it. And also, it's a certain type of artistry.

I was criticised for making 'Devdas' so ostentatious. But stark and realistic cinema isn't the only real cinema in this country.

I don't use conventional voices for my compositions.

It takes someone like Ram Gopal Varma to change the norms, bend the rules, shake convention, and come up with something like 'Road.'

We become comfortable saying that there's nothing new, and then something like Malarky comes along, which is new and old and different and familiar, but ultimately itself, comfortable in its own skin, wise and smart and crazy-sexy or maybe sexy-crazy-well, you just have to read it to understand. It's a novel that sets its own course, sure and steady, even when it seems like it might be about to go over the edge of the world.

I've always liked to be the kind of drummer and musician who likes to go outside of what's expected of me.