Prithviraj Sukumaran Quotes

He was the first to conceive of movies as an art form. His belief was that if the traditional art form would not find room for him, then he would make an art form of his own.

The problem in cinema is that you can never predict what will happen.

To me, cinema is not a movie or a TV screen, and it's not a seat in a building versus one in your living room. It's the art of motion pictures.

Looking back now, if I went to film school, it probably would have helped knowing what the best of the best of foreign films were, but that wasn't the case. In some ways, I think that led to my originality, because I hadn't seen anybody else.

If you look over the history of cinema, changes happen when directors embrace new tools and technology and think outside the box.

If it feels like you're aiming for something too familiar, and you're not having a primary new experience, then what's the point of making that movie? It's been done before, so try to find something new out of it.

You hear again and again that audiences want to see movies that are different, and critics say we make the same thing again and again in Hollywood, then you go and make something different, and you get kicked in the gut for it.

If you want to keep on being relevant as a director, I think you have to embrace the times. And with the times come technologies and formats.

It is only in the shadows, when some fresh wave, truly original, truly creative, breaks upon the shore, that there will be a rediscovery of the West.

Make something new, and define territory that's never been. I fall in love with shows because I've never see that before. I fall in love with new vocabularies.

Repetitiveness is one of the things that's most difficult to get away from in genre pictures, because people come specifically to see certain kinds of things but get disappointed if they're presented in the same way. So to try to find a new way to show old stuff is always the challenge.

The first 50 years of the cinema were absolutely great years. Original minds were at work establishing the ways to tell a story. And what is happening now is a copying, a pastiche-ing of what was done by great men.

I mean, '8½' to me is such a great dissertation on the whole, you know, act of filmmaking and creativity.

Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.

I think most of the best new work is intended to have much more impact at once.

You're creating new things in movies and people are going to steal them.

Movies are art and the spirit of the movie depends on the creators.

With all due respect to the people who made the motorcycle movies during the '60s, I felt the sophistication level could be a bit higher, and I felt I could raise the bar on that, too.

I feel that cinema is my country. But it's not my business.

I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.

Cinema is visually powerful, it is a complete experience, reaches a different audience. It's something I really like. I like movies.

I live, therefore I make films. I make film, therefore I live. Life. Movement. I make home movies, therefore I live. I live, therefore I make home movies.

Directors only have instinct to work out of, because there is no formula. Formulas don't work. Actually, if you follow a formula, you will probably end up with a bad movie.

I love filmmakers.

You really want to keep ringing the changes - you hope that your work and your choices make people excited about where you're going next and that that might be somewhere unexpected.