Vishwajeet Pradhan Quotes

I don't know, a lot of people go crazy about 'Breaking Bad,' but I don't like the soap opera aspect of it and only following one character. I like the context to all of it, all the pieces, like 'The Wire.' It's more about the state of things; it's not about the narrative of a person.

I think there's been a tendency to place me in what has been characterised as the 'moral centre' of the film. In films like 'The Ice Storm' and 'The Crucible' and 'Nixon,' that's the sort of the persona that emerged.

In 'Sanju,' there are too many colours. Some other filmmaker could have taken a dark side to that story.

I love when you get the feeling of some social reality with a fictional film.

In a film, you have to externalize things that are internal and of course it becomes a debate about to what extent you do that.

Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.

I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.

Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.

In a way, we tried to make 'The Salvation' a contemporary film with contemporary emotions. At the same time, in the script, you get a feel that all the small talk is not a part of our universe. It's more precise talk.

Film is the only language I speak, and I have been lucky to be involved in some great stories. You don't want to preach to people, but you want them to think about why things are the way they are, the history that is there as well as the possibilities.

Actually, I think that 'Seinfeld' tackles the same kinds of issues as 'Six Feet Under,' just in a different way.

Screenwriting is always about what people say or do, whereas good writing is about a thought process or an abstract image or an internal monologue, none of which works on screen.

The big influence on me was Robert Altman, who, especially in 'Nashville,' transformed my sense of dramatic structure and showed how you could handle overlapping stories.

I've always been a huge fan of thrillers like David Fincher's 'Se7en.' I am fascinated by the disturbing, dark underbelly of life. I find such films deeply engrossing. They delve deep into the human psyche, and that's a place worth exploring.

'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.

I would say what Mad Men has taught me has been a super elevated evaluation of text in general, and understanding subtext, and understanding where a character comes from - what he means by this or by that.

There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

So one of the most unique things on screen in American movies today is everyday behavior.

Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.

Realism is always subjective in film. There's no such thing as cinema verite.

One of the things about the '70s films I love - the films 'Nightcrawler' is being compared to, like, 'Taxi Driver' - is that they never put their flawed characters into any one box.

I know that movies are basically meant to be entertainment, but I'm not that interested in entertainment.