Barun Sobti Quotes

Working on television is much more stressful than working for a movie. The pace of work is relaxed while shooting a movie.

I have as much artistic freedom in my television work as I have in my films.

When movie people go over into television, it's a little bit of a shock. It's much faster-paced. Everything is really last-minute. You won't know your schedule for the next episode until the last minute.

I very much love Los Angeles, and I love working here. I find it very inspiring and very creative, and some of the best crews are in Los Angeles.

Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.

I always think a successful television series is the best job because it gives you community, it doesn't demand temporary insanity the way movies do, and you can be almost a normal person.

TV has been very good to me, and I hope I've been good to it, but I also love film.

What I promise to my actors, and to my director, is to give them the salary and everything they need.

I love the consistency of working on television. You don't get that in working on film.

A film set is a workplace for me; it's my office, and nobody really wants to be in a stressful work environment.

Working on a film is so great because you have the luxury of more time when you're on a movie than when you're on television.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

I was involved with some great things in television that I could never have done in film.

I had been trying to make movies, but they were really hard to get made. TV wound up, by surprise, a much more fulfilling place to work. That said, I've always been drawn to make movies.

Working in TV films has a lot of advantages over the daily grind of doing an hour series.

I don't have a set target on the number of films I should do in a year.

When you are not working in TV and primarily doing film, you're working with one director for a long period of time, so getting to work with 12 different directors in the span of six months is incredible.

For me, working on the sets with Mani Ratnam is so familiar. It is the place where I grew up, so I am not nervous here.

I was really nervous, because I was certain it was going to be bigger than anything I'd ever done before. But I was relieved when I actually discovered that there was a family atmosphere on the set, with a brother-sister team, Barbara Broccoli and Michael Wilson running it all.

The major difference frequently is in time. The motion picture, for example, gives you considerably more freedom of expression than does the confined thirty-minute television show. But in essence, they're not that dissimilar.

I do like working on television but I prefer film. I just want to work mainly but the pace on a movie is slower and you get to form more of a family. There is more time to work with whereas TV is faster paced.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.

Matthew Vaughn phoned me up and he said, "Hey, listen, the movie has just done gangbusters. We've got to do the second one." And I was like, "Matthew, I have no second book. Dave and I haven't done it," and he's like, "You're kidding!" He said, "This movie's just made $420 million!" I was like, "...We've got nothing." So the amazing thing was, because we own the rights, we still get paid and everything, which is fantastic.

One of the things you have to understand with The Room, I never approached a studio to produce, because I know no one in Hollywood will produce this. I came to Hollywood and I said "I will produce this movie the way I want it."