Rana Daggubati Quotes

I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.

I was making a lot of independent movies before the independent movement.

In case you don't know this, we're not in the '90s anymore. Indie cinema does not reign.

Every five years, there is a shift in cinema space, but we are slow to catch that. Young people understand that shift.

I was around New York at a time when independent cinema was at its peak and became kind of popular and mainstream. It got some hype, culturally. After that, studios started to have independent companies within their studio system, and they found bigger stars willing to do new material. That's kind of what it's turned into.

I think I might like to try film again just as an experiment, but I know that I could never do the mainstream thing again.

The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.

I don't want to only make the movies that studios will greenlight.

I guess in Australia every film is sort of an indie film because there are no studios.

When I was doing indie films, it wasn't cool and hip.

Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.

There's a big difference between the independent film world and the Hollywood film world, and I don't know that I understood that until I got into certain rooms, and people's faces go blank when you talk about Sundance.

I would like to be part of sensible cinema, irrespective of whether it is a commercial or niche film, but it doesn't always pan out like that.

Jacques Audiard has always been an outlier in a French film industry that is starkly bifurcated between high and low.

Whenever a film doesn't follow to the letter the preset strict conventional rules of today's commercial cinema, it's considered weird.

I don't want to just make the safe, easy commercial films.

I grew up in England, and at the time, cinema was very heavy arthouse cinema, and there was no one making movies that were designed to be in multiplexes.

When the mumblecore 'Tiny Furniture' thing happened, it reminded me of the thing we were trying to do in my little 1995 way.

When you watch a film like 'Warning,' you would realize that it can't be made with stars.

I assisted on a lot of films outside my dad's company. I only did two of his films.

I don't think international cinema is ready to embrace mainstream Indian cinema unconditionally. Even Mira Nair's 'Monsoon Wedding' didn't get to the Oscars after being nominated for the Golden Globe Awards.

I think it's important for us not just to edit the culture that capitalism creates but to create the material basis for a culture that we want.

I want to do one or two commercial films, but also want to do off-beat movies.

I want our generation to break stereotypes, and I want Indians who are making their foray in Hollywood to get all kinds of roles.

A film like 'Kai Po Che!', 'Queen', 'Behen Hogi Teri' and 'Bareilly Ki Barfi' are not really independent films.