Javier Camara Quotes

I hope people like me in the film and love the film because I think 'Befikre' is a very sweet film.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

A film engages you emotionally and intellectually.

I really loved making 'A Walk to Remember', so I'm not afraid of making smaller films. But for me, I just need to connect to the characters.

I think films have to reach people and really grab them. That's what I hope to do when I make a film - to get under your skin and really make you think about something, and have a transporting time that takes you somewhere.

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

I am trying to do films that stay with me for some time. 'Banaras' stays with me.

Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.

I watch films, so I know what it is to be there in a theatre as the audience. So I always want to communicate with them when I make films, but that is not the only thing. I also want to say something which I feel deeply, and which I feel I can connect with the rest of the audience.

The most incredible part of seeing people embrace and recognize my music is experiencing the lives of people when they are powerfully affected, encouraged, and personally impacted.

Those of us who make films try to make something that we're feeling and that we would like. Then we just hope an audience responds the same way. It's very important to have the electrical circuit made, but I don't have control over how people feel when they flip the switch. So the whole idea of marketing research and test screenings is just foreign to me.

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

The most compelling narrative, expressed in sentences with which I have no chemical reaction, or an adverse one, leaves me cold.

I want to make a movie that can grab people by the heartstrings.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

That's what writing is all about, after all, making others see what you have put down on the page and believing that it does, or could, exist and you want to go there.

I want to make movies that pierce people's hearts and touch them in some way, even if it's just for the night while they're in the cinema; in that moment, I want to bring actual tears to their eyes and goosebumps to their skin.

Ruby in Paradise and the intensity and quality that I was able to experience on Smoke were equally as important to me as working on this movie every day for three-and-a-half months.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

I never get scared making these kinds of movies because it's all make-believe, but I did cry when I saw the finished version of Man On Fire because it is so sad.

I tell stories. Because I believe you can do things that joke tellers can't do, and that is, bring your audience along.

I'm the type of artist who touches people, that's the type of artist that I am.

I think that the mark of a great book is that it will meet you wherever you're at and you'll feel and experience something new and different each time you read it.

I don't cry at books or movies. Ever. So imagine my shock and awe when I read 'The Time Traveler's Wife' for the second time, and I knew the ending, and I started to cry.

At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.