New Wave Cinema Quotes

My films are completely new. I am not similar to anybody in the history of movies.

Indie film isn't dead, it just grew up.

What I'm trying to do is to make films - 'I Origins' is one of them - with the new generation of filmmakers. I want to support that.

In the early '90s when the American independent movie started, it held personal vision as a premium. That was brilliant timing.

I'm sure I can make a movie that doesn't feel like a seventies movie! But the truth is, that's my favorite era in American filmmaking. To me, those were the great years.

I really like Larry Clark's films, as weird as that is. I like Richard Kern films.

I'm always very interested in going and discovering a young director's films.

In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.

My heroes were people like Jim Jarmusch. Scorsese was my god. Spike Lee was exciting, doing exactly what we thought we were going to do: personal movies based in, and about, New York. My heroes were all participating in an economic model that was collapsing as I was finishing film school.

When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!

However, that old mode of Polish filmmaking virtually disappeared.

And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.

You can't geek out with a lot of people about Linda Manz.

I have been fortunate to get different types of work, but by and large till 90s for actors like me there were not many opportunities besides playing brother of the heroine or friend of the hero or young college villain after the earlier new wave was consumed by television.

These new-age directors like Karthik Subbaraj are bringing about a change that I want to be a part of.

I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

I was lucky to land up in Mumbai when serious cinema was just beginning to flower.

I was in college in the sixties when movies really got good. I'm a fan of Bergman and Hitchcock and Polanski and Antonioni. Those are my gods.

Shyam Benegal has found a lovely voice in this film. We've all seen the kind of cinema he's come up with over the years. His films like 'Mandi,' 'Manthan,' 'Sooraj Ka Saatvan Ghoda' all have revolutionised the face of Indian cinema. And in 'Well Done Abba,' he has once again found a relevant subject, which even youngsters can relate with.

That was the magical thing about the Seventies: artists ruled. Because films were relatively low-budget, nobody cared. We could just go off and work.

In 2003, when I wrote the first 'Dhoom,' we were at the end of the curve of a certain kind of Hindi film, which was quite plastic. 'Dhoom' was unconventional then.

I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.