Anurag Kashyap
I do not make movies to send any message, but my treatment makes my viewers think on the subject.Collection: Movies
Through movies, I have met nearly everyone I have wanted to, except Woody Allen.Collection: Movies
I am not born to make dreamy movies.Collection: Movies
I've become a lot more tolerant; I think before I talk. I can take a lot now. I don't get as angry as I used to. Whenever I do, I channel my anger into my work.Collection: Anger
Independent graphic novelists have already achieved good work in terms of design, but all these great minds are writing in English. There is a need for people to write in Hindi.Collection: Design
I was 16 when I got admission in Hans Raj College. I completed school when I was 16, so everyone in my class - Zoology Honours batch 92 - was 18, and I was often treated like a kid.
I'm a huge Coppola fan. But more of 'Apocalypse Now' and 'The Conversation.' 'The Godfather' for me is, like, number three or four on the list.
Conventional Indian cinema is about people falling in love. They sing, they dance.
It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.
I'm very emotional and possessive about all my films.
One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.
The censor boards are mere redundant forces conspiring to keep the 'bold' films out of reach of the audience.
India needs better producers than screenwriters. No producer wants to invest in out-of-the way scripts.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
There shouldn't be any censorship on making a film.
My cards and flowers always got rejected on Valentines Day.
I am still where I started. I am still struggling. In fact, the struggle has only got bigger. I always try to go beyond my means, and this where the struggle comes in.
Entertainment's definition has been reduced to making people happy.
To get noticed, I had to take my films in a space which was much more democratic in terms of cinema - the international film festivals.
In India, there is a psychological problem that movies going to film festivals are boring. It is a problem with exhibitors.
I guess short films have a bright future... The advantage is budget.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
All those pseudo-Hollywood movies set nowhere, with everybody good looking and having great physique - that's not working any more.
People always accuse me of making these dark, depressing movies. 'Why do you have to pick up on real issues? People are so exhausted and miserable.'
'Aiyyaa' is a very quirky film.
Politicians take something out of context to create problems.
Cinema is much more than heroes and villains.
Politicians need a film appreciation course.
'Bombay Velvet' is my first film in a trilogy about Bombay, before it became a metropolis.
When violence is real and you flinch away from it, violence does not push people to try and imitate that. Often, we shun the violence that makes us flinch, because it disturbs us. And what makes us uncomfortable and disturbs us is not often bad. What disturbs us will not make us imitate that.
Studios never put pressure. They know the kind of films I want to make.
I love Back Stage. I have lots of theater friends and actors who depend on Back Stage.
We need to stop objectifying our women in what we call our second religion... Our films. And our TV shows.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
Cinema is an art form.
The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.
The lower the cost of the film, the more you can experiment.
I think about my films for a long time, maybe years, but I write them in days.
I think the perspective that small-town directors bring to films is very different.
I didn't ask anyone to make me a poster boy, because poster boys always end up on dart boards.
Fans are your greatest enemies because they tend to bracket you. And the moment someone expects I should do something, I break out. I often tell fans who say, 'Make a 'Gulal 2' or 'Gangs 3,' that I am living my dream, not theirs.
I love travelling, and most scripts have been written while I have been travelling.
Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
I shoot reality-based movies, and in actual locations, shooting them with a star is next to impossible.
In 'Gangs of Wasseypur,' I wanted to take violence forward and play it up.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
When I'm making a film, I don't want my producer to be on the sets. So when I'm producing a film, I don't want to be on the sets!
I don't know if I'd ever want to show my college life in the films I make. I think I've passed that stage long ago.
I think I had more freedom when I began making films. I did not know what could not be done. I was naive. I did what I wanted to. As you gain awareness, you start losing freedom.
For me, any kind of thing that has stood for 100 years tells me of the health of that thing. So, cinema completing a hundred years in India just says that it is very healthy.