Max Richter Quotes

Coming from a different perspective on a society is really interesting. I love the Paul Thomas Anderson's 'Phantom Thread,' and that's a version of Britishness and Englishness made by an American.

Some Indians will come up and say that a story reminded them of something very specific to their experience. Which may or may not be the case for non-Indians.

Music has always been transnational; people pick up whatever interests them, and certainly a lot of classical music has absorbed influences from all over the world.

I am very conscious that, from the time of 'The God of Small Things' was published 10 years ago, we are in a different world... which needs to be written about differently, and I really very much want to do that.

Globalization means we have to re-examine some of our ideas, and look at ideas from other countries, from other cultures, and open ourselves to them. And that's not comfortable for the average person.

Companies in Europe should stop trying to do the U.S. version of a European idea.

I feel as if I can take Indian stories, make them mine and take them to the world.

It is urgently necessary that we recognize our own limitations as a moral and ideological force among the Asiatic peoples. Our political philosophy and our patterns for living have very little applicability to masses of people in Asia. They may be all right for us, with our highly developed political traditions running back into the centuries and with our peculiarly favorable geographic position; but they are simply not practical or helpful, today, for most of the people in Asia.

Cultural exchange rarely takes place on equal terms.

A border is not only a separation; it’s a connection.

Just as sport can, art has the capacity to cross so many boundaries like education, race and religion.

Adapting a book doesn't mean the book stops just because you've made a film out of it.

I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.

What's interesting about the 21st century is how people deal with cultural history. We don't necessarily feel like there are discrete categories. We consume it as a complete package, whether it's down the street or on the other side of the globe.

Our actors are crossing borders and now so are our stories. And that is what I saw in 'Bachaana.' The film is light and easy.

A common language doesn't soothe dry tongues and thirsty throats.

The mainstream consumed our culture.

Only cinema narrows its concern down to its content, that is to its story. It should, instead, concern itself with its form, its structure.

I don't think I write differently when I'm writing a screenplay, as opposed to a stage play or a teleplay. Maybe if I were in a film class and there was time to think about it, we could point out differences.

The argument now that the spread of pop culture and consumer goods around the world represents the triumph of Western civilization trivializes Western culture. The essence of Western civilization is the Magna Carta, not the Magna Mac. The fact that non-Westerners may bite into the latter has no implications for their accepting the former.

If we weren't doing remakes, nobody would know who Shakespeare was. I'm not saying that RoboCop is Shakespeare, but it's a way we're retelling. That's what we do as human beings. We retell our favorite stories.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

Acting is an imaginative leap, really. And imaginations prosper in different circumstances. And it's being able - I can't tell you how one does, but one tries to read those circumstances correctly.

We have taken so much from your culture, I wish you had taken something from ours...For there were some beautiful and good things within it. Perhaps now that the time has come, We are fearful that what you take will be lost.... I shall grab the instruments of the white man's success: His education, his skills, and society.

In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.