Top 66 Shoojit Sircar Quotes

We make films because cinemas exhibit it, and they exhibit as we make films.

Lucknow’s architecture is a part of life in the city.

Any fictional story will take things from real events.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

My dad was suffering with cancer for six years and my mum was in coma for three-and-a-half months. So, I have seen the hospital life.

Once the censorship board clears a film, there should not be any other obstacle for a film’s theatrical run.

Yes, I can be rigid and adamant about a point of view.

Delhi is not just India Gate and Lal Qila, its way beyond that. There are a lot of things that’s Delhi, which only a Dilliwalla can understand.

The unparalleled love of a mother is always there for the kids, specially when they’re growing up and about to leave the family and go away.

In a satire, you need foolishness.

If I bother about the expectations how will I make a film?

‘Vicky Donor’ is now seen as a case study and the intelligentsias are looking at it from a strong academic point of view. I keep getting calls from medical practitioners who constantly thank me for making this film.

‘Piku’ is not at all a film in the Bollywood kind of way.

I try not to shoot unnecessarily or spend on extra expenses that normally happen on a film set – like actors’ fees.

Patriarchy is so ingrained in our psyche, that most us propagate it in small ways even without realizing.

It is difficult to make movies on your own terms and also to make a film and convince somebody to have faith in it.

When you’re not working, it does affect you. It destroys you if your film doesn’t release.

I love to do subjects that are very common, relatable.

I have seen many festival films and I will be blunt, I don’t think ‘Madras Cafe’ was ready for festivals.

Slice of life comedy is something which I enjoy more. These moments make you smile when you think about them. And these moments work for a film as well, rather than slapstick comedy.

My first visit to Lucknow was perhaps in 1995-96. I was then working with theatre director Ranjit Kapur on the production of ‘Court Martial’ and we travelled to Lucknow on assignment.

I decided that I have certain taste in cinema and I will take it forward. I know there is an audience for such cinema.

I remember watching an Iranian film, ‘A Separation.’ When the film ended, I felt like going to Iran, getting that family together, hug them and just being with them.

I’ve done a lot of ad films where an idea can be translated in 30 or 40 seconds. But in a movie, an idea needs to be stretched for two hours, and requires you to draw a bit from your experiences in life.

It is easier to make a film but difficult to make it on your own terms. In that sense ‘Madras Cafe’ was a very satisfying experience.

There is no definition to love. It is a feeling.

I remember I used to play football in my childhood and my team had people from different faiths and backgrounds. It had the son of the person who would take us to the school on his rickshaw or the guy who came to pick up our garbage but I never knew this.

Documentary films have always been my passion, I have done documentaries.

Human beings have become so insensitive to daily life, they don’t remember what happened five minutes back.

It doesn’t matter even if I am slow or fast as long as my films are honest and carries my integrity.

My major influence is Satyajit Ray; his film ‘Shatranj ke Khilari’ was set in Awadh and it gave us memorable characters. Ray’s musical scores and soundtracks were an intrinsic part of his films. And music to me is important, too.

My films are always a struggle to make and will remain so.

Whatever subject I choose, I do a PhD in it.

‘Gulabo Sitabo’ is the biggest release for me. The film is going to 203 countries simultaneously and it is successfully being subtitled in 20 languages including Portuguese, German, Spanish, Russian, French and many more.

The word ‘cinema’ itself means that you have to go to the cinemas and watch it.

Lucknow is a bustling city with warm, friendly people. ‘Gulabo Sitabo’ is the essence of this city.

For all my films, location plays an important role because I like to give the authentic look of the place. And for that, one must go there and shoot at the right spots.

No one is bigger than cinema.

I purposely adopted a style in my storytelling wherein I don’t have to explain everything or why the story is moving in a particular way.

Making a film on Mary Kom means that people should be watching it across the globe; it should be that level.

All my films were based on sensitive issues, and they were passed without any problems. I give full credit to the Censor Board for being capable enough to do their work well.

I don’t spend unnecessarily. The problem with the industry is we don’t budget our films. Plus, we spend bizarre amounts on marketing. If you have a good film and a good trailer, you don’t need to spend so much.

In my films writers are more important than actors.

The first thing I control is the cost by not shooting for many days. It is not control, but somebody has to drive the whole thing. If I shoot unnecessary things, it will raise cost.

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

I think Mary Kom should be an international star.

Women have shown their skills and that’s why they have been accepted in the industry. It’s through their skill that they have managed to make a mark for themselves and also earned respect.

I think actors do need some hand holding to know what they are doing.

For me, it took a little time to understand the nitty-gritties of Lucknow.

I stopped caring about industry rules after my ‘Shoebite’ did not release.

Foremost is the casting; you need convincing faces. Most of our films suffer from casting.

Love is not just defined by making love or kisses or gifts. It is beyond that.

My films are based on themes, so I always go for theme tracks and background score.

A lot of expectations come from a Shoojit Sircar film, especially after ‘Piku.’

My films are completely offbeat.

When I made ‘Vicky Donor,’ people said it’s not a family drama, it is for youngsters. But families also went and watched the film. Same happened with ‘Piku’ and ‘October.’

When I got to Mumbai, I missed the Delhi parks and grounds.

When a film is made, its release is decided by its destiny. Nothing is bigger than that, not even me.

Women have initiated the change all by themselves. The credit goes to them. Men have had no role to play in the rise in women’s representation on a film set.

I never try and send messages through my feature films; it’s always naturally woven in and comes through on its own, as that’s the way I think about society.

I can’t speak for other people but the budget of my films is super tight to an extent that people can’t even imagine.

I have been thinking of many subjects to work around football, but nothing has inspired me. ‘Sports’ is a good subject. But, nothing has inspired me to make a film.

I am mostly at home and I do my housework, I read and I love watching documentaries. In short, I love staying at home.

Cinema leaves a deep impact on the society. As creative people and entertainment film-makers, we have to be responsible at some point as we are also the conscious citizens of this country.

All my stories are mainly slice-of-life and rooted to real issues and situations that I have experienced myself.

Both ‘Gulabo Sitabo’ and ‘Udham Singh’ are cinematic experiences; nothing is less, nothing is more. It’s all about creating good cinema.