Prosenjit Chatterjee Quotes

Let's face it, making movies is all risk. Most of the time, batting average-wise, the reward does not outweigh the risk.

Historically, filmmakers always fall in love with every frame, but now that even neophytes are given final cut, this love affair carries with it serious economic implications.

I think you get in trouble if you make experimental big studio films.

This indication of audience interest is good for all horror movie makers at any budget level.

I've made over 20 movies, and 5 of them are good.

There's not a lot of good movies being made.

I always felt that if I made a movie, it would be one movie; I didn't see how they could make 26 swimming movies.

Sometimes it's very difficult to do a movie that's good and then have that movie make it to the light of day.

Good films will happen only if there are people to produce good films and there are people to encourage the endeavour.

I always say that I'm a filmmaker, not a factory. I don't have to churn out films every six months.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

I'd be fine to make movies and have them never come out. But you have to deal with the business side. You can't get too emotionally invested, because again, you've got no control. There's going to be some huge film out that everyone goes to, and it probably won't be mine.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

I think technology is having a democratising effect on film.

The trouble with this business is the dearth of bad pictures.

I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.

Writing a good movie brings a writer about as much fame as steering a bicycle. It gets him, however, more jobs. If his movie is bad it will attract only critical tut-tut for him. The producer, director and stars are the geniuses who get the hosannas when it's a hit. Theirs are also the heads that are mounted on spears when it's a flop.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

I'd been out of the movies for years, I had had a wonderful stage career, yes, in musicals and so on, but you don't really make any money in the theater.

I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.

Sometimes things work out, sometimes they don't. I never know how successful a movie is going to be - when you make a movie you're always hoping for the best.

There's many more films being made in America than there are in Australia. You make four hundred and fifty films a year, we make twenty-five.

When you make movies, you've picked the most expensive art form, and somebody has to pay for it. You kind of owe it to them to at least let them know how you expect to make it as accessible to as many people as you can, given the story you're telling.

I mean, I made The Phantom, although The Phantom was, believe it or not, an independent film. It was just a very large, expensive independent film.

Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.