The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

As a child, as a cinemagoer, I think there is nothing better than being in a cinema or watching a film. I think it's just a while magical... it almost feels like you're at a big party in India, where you're singing, you're dancing, you're laughing, you're crying, you feel like you're at a wedding because our films invariably cover all emotions.

Photography is truth. The cinema is truth twenty-four times per second.

I think, in terms of activism associated with my films, be it 'Salaam Baalak Trust' or 'Maisha,' taking the idea of cinema as a way to change people, I feel heartened. I am glad that we have impacted thousands of lives.

I'm confident that the wrong cinematographer on a project can very much derail the mood and the feeling on set when you're trying to create a bubble of trust, effectively.

There's something about using the cinematic device as a tool to connect with dimensions of the world that you don't know too well, you're not too familiar with. It's like a creating a bridge, or a spaceship to travel to the unknown.

Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.

Cinema reflects culture and there is no harm in adapting technology, but not at the cost of losing your originality.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.

We need women in cinema to know first that they have a safe space to open up about their struggles without being judged and marginalised.

Ray Bradbury's connections to fantasy, space, cinema, to the macabre and the melancholy, were all born of his years spent running, jumping, galloping through the woods, across the fields, and down the brick-paved streets of Waukegan.

Cinema has a large scope as it is a mirror of society and with the mindset changing, people are taking it more seriously.

Cinema is a reflection of society and, in most cases, has the ability to be a mirror and not just show the problems but also give solutions and help them reach a large number of people through faces and voices that matter.

Cinema is a reflection of its own society.

Everyone is so occupied that they hardly get time to laugh their fullest. So, I feel blessed that through the medium of cinema, I can bring a smile on someone's face.

Everything about 'UY' is new and fresh, and we are extremely happy at the response from the audiences, as most people are walking out of cinema halls with a smile on their faces.

Of course it's true: the public want to see young people - young people are the people who go to the cinema. It's a sad fact of life, but you've got to accept it and not whine about it.

I don't want to be typecast as a heroine who does a certain kind of cinema, which is why I experiment with the types of films that I do. But yes, I won't deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching.

When I was a child, the temptation to sin was always a romantic option. This romantic option led me to the cinema, a place where sin was welcome.

That's what I like about film-it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.

Cinema is my religion. It is a way to make people sensitive, through emotions. To make them feel, experience empathy. People are touched and act ethically when they are emotionally touched.

Folk tales, fairy tales, religion, the occult - these are the things I'm most passionate about, even more than cinema. And I'm very passionate about cinema.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.