I just want to make good films on my own wherever I can.
I think about all the people who have created something that lives after them - works of art, plays, music, films, literature, poetry that will be read, seen, performed, and heard for the rest of time. If I could do something that lives after me, then I think I will have had a life well led.
I realized that I really, almost by accident, had fallen into a labyrinthine, very powerful paradigm for dealing with these things through genre films. And once I realized that and realized the power of it, and the fact that because horror films aren't, in general, studio products - studios back them sometimes, but they don't try to meddle too much, because they kind of don't want to sully their skirts - you have a lot of freedom.
After I learn more English, I'll work hard and make more films.
It's always a problem with television and with films, you always shoot things out of sequence, so you just take your best stab at every moment. You can't really - you'll drive yourself crazy if you dwell on the negative aspects of it or your shortcomings.
I am a writer who was able to direct the films that I write.
You grow up watching certain films or admiring certain filmmakers, and to write a love letter to one and have them validate it, it's extraordinary.
I couldn't see my father's films because they were restricted and we didn't have videos or DVDs back then.
A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
The films that influenced me were so disparate that there's almost no pattern.
I prefer to write music for family films. I like people.
I love films that are made with almost no budget.
In most horror films, you don't really get to understand why this character is the way he is.
Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
But now I wish I could back to Stockholm to make international films there.
When you see period films, it tends to often be with older actors.
In Tim's films, more than most, if you miss the tone, you don't get the film.
I have always done my own stunts, and I have been in hundreds of fights in films, but I have never been in a fist fight outside the movies.