I think that the success of the film is as much about it being something that families could share as anything else.
I did not grow up a cinefile. No one in my family was in the film business or even anything close to it.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.
I did a film very quickly, and then a lot of work for television, and then I did stage work.
When you come to do the film, it is not the time to wonder why you do it. It's just how to do it
I always loved experimenting in film.
I'm really drawn to European films.
I have not been a follower of how many millions my films made or did not make.
I have not given much credence to reviews of my films. Sometimes they're wrong, but it didn't matter to me.
The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.
When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.
The truth is, I just don't have that much time to see movies. So if I get two hours where I can actually see a film, I don't want to go backwards, I want to go forwards.
I love doing kids' films.
I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.
I've done some music for films and I really enjoy doing it.
The directors [who know every detail] make films that are complete, basically.
Every single film I've done, it's about the character.
There's a lot of films I've done I don't ever wanna see again.
That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.
I like making films about old people because they are repositories of amazing stories that they tell well. And they're incredibly good telly.
I've only used my own voice about four times on film.
I'm not usually attracted to big-budget American films.
I think sequels are very dangerous if you assume and presume success. I think you have to plan each film as a standalone and commit yourself to that as your primary objective.
Ultimately as much as the film industry is a business, it's a democracy. And the audience votes on how they feel based on the way they spend their money for tickets.
