Artistic Choices Quotes

Films are all about decisions, and that's what I love.

There are definitely people who disagree with certain creative decisions you make. Pleasing everyone is pretty hard.

There are no minor decisions in movie making. Each decision will either contribute to a good piece of work or bring the whole movie crashing down around my head many months later.

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.

People will say, 'There are a million ways to shoot a scene,' but I don't think so. I think there are two, maybe. And the other one is wrong.

When I decided to collaborate with people, I wanted to collaborate more with the underdogs, the street people, messing with the people like Jae Millz and Papoose. When I went to New York, they were all over the mixtapes, so I wanted to get down with those guys instead of trying to go safe with all the super-big names.

I think the British audience might be more open-minded with some of my imagery and weird choices.

Van Gogh would’ve sold more than one painting if he’d put tigers in them.

I watched all the Academy screeners and I wanted to slit my wrists. Whether they are good or not good, I don't know why you make Foxcatcher? I don't know why you do it. What is it giving anybody except to have Steve Carell put on a rubber nose?

When you're producing, you're really just making a series of decisions.

If I did things for the money, I'd have done adverts in the 1980s, when I was hot enough to be offered them, and 'Police Academy 6,' which I was asked to write.

I've never understood why you would turn down a great role.

I don't want to do every independent film offered to me.

The audience for 'Lootera' is far less than for my other kind of films. Just because I pulled it off doesn't mean I will change my tastes. I love to watch masala films, and I love to sing, dance and say those larger-than-life dialogues. But whenever I get a chance, and I really feel the connect, I will do a performance-oriented film.

Films are a very personal experience - just like a martini - so I try to think about what I like, what projects I like to be in, and make sure I feel proud about it because, at the end, I'm the only one that's going to look back and feel proud or not about what I was doing.

It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: 'Am I doing it right?'

When I was on set I tried not to bug Steven Soderbergh too much. "Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.

I think the reason I've survived that long is because I've taken my work so seriously. Maybe sometimes too seriously, but it's always been important for me to do my best regardless of the film. I think the biggest compliment I get is when people on the street stop me and say they've liked the choices I've made.

Very few movies I've done I regret being involved in.

Each creative choice you make has 'x' many impacts on budgetary choices, which in turn have 'y' many impacts on your subsequent creative choices. They feed each other.

Aishwarya, my parent's daughter, has been brought up with enough values inculcated where I will use my discretion in my choices. At the same time, I recognize I am an actor, I am an artist, and if I feel the need to be liberated and do the kind of work I need to do, I will.

As a writer, you have to be willing to kill your darlings, and I'm a writer first. As a director, I've got no problem cutting the scenes.

Very bad roles were coming my way, and I didn't want to do them. Hence, I was doing small films like 'Delhi Belly,' where, though the footage wasn't long, the role was good.

A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

I was offered 'Pretty Woman.' I was offered 'Big' and 'Dead Poets Society.' But what was important to me in those years was to make movies, to make these Albert Brooks movies.