Quotes of All Topics . Occasions . Authors
I have people who love me and people that I love and a man that I love. So in that sense, I feel that I'm pretty well rounded.
For me, beauty comes from natural happiness. I think that a woman glows, and a man, even, when they're healthy and they're happy.
The beauty about being a producer is you sit there, and you explore ideas which become a passion, which slowly becomes a reality.
India is a great talent pool of actors. I see Freida Pinto making it big in Hollywood, and I am sure many others can also make it.
It's so important for me to do my own stunts. The sense of achievement is so immense. But the studios don't want to take the risk.
I have done many films across the globe and would love to be a part of Bollywood, but the script must have a strong character for me.
The Asia and the Pacific region is facing an epidemic of road death and injury, but we also have innovative Asian road safety solutions.
Your story may not have such a happy beginning, but that doesn't make you who you are. It is the rest of your story, who you choose to be.
For me, the director is the most important thing. He is steering the boat. If you don't trust him, you won't be able to give him your all.
When I made my first film, it was just an adventure. But after my first movie, I guess I got more of a feeling of what was happening around me.
It's very important for us all to understand that we are interconnected and we need to hold hands together, especially when the going gets tough.
As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.
If you were ever a ballerina, you know the pain: just to be able to look like it's all so light, but when they take off their shoes, it's all bloody.
The most important thing is that you have really good friends and family, and when you go back to them, it's like 'what?'. You carry on as who you are.
There is no guaranteed formula. And that's one of the interesting things about filmmaking. You could put $115 million in, and it doesn't guarantee success.
I'm not a fashion victim, and I don't closely follow trends. I dress the way I feel comfortable because, at the end of the day, you have to be comfortable.
I want to be there for all those who are left behind in this world, whether it's because they are born poor, born a woman, or born in an area affected by devastation.
You never know whether the subject matter will click with the audience at that particular time. I wish there was a formula, you know, 'That plus that equals success.'
As a producer, what you want to do is make the next hit. But you also want to lead the audience into wanting to watch different movies. You have to vary your content.
The first one I did was an action film with Sammo Hung and George Lam, but I had the usual female role for that time: you know, damsel in distress, rescued by the hero.
When you face up to bad things in the past, the most important thing is not to allow them to happen today or in the future, and as storytellers, we must play our part in that.
'The Lady' is an incredible love story about how a family was cut off from each other, about sacrifice, about the ability to put the needs of million of people before your own.
I gravitate towards roles where women find strength in very difficult, uncompromising situations but maintain clarity in mind, discipline at heart, and a certain strength in spirit.
My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
It was like baptism by fire. There was no school for studying acting. You just have to take it upon yourself to learn from your peers. It's about opening your eyes, listening, and watching.
As an actor, you hope to find roles that are challenging to you as an artist. Then if you are truly blessed, you will find that it also carries a message that you can impart to your audience.
In a movie, that's the only time when you're allowed these kind of fantasies to be lived. Being able to look so cool and be able to fight five bad guys and take them down. When can you do that?
I had an amazing teacher, who was Burmese, and she was living in Paris at the time, and she is one of very few who doesn't actually receive a credit in the film because she still has family over there.
For an actress, everything is always fine - you are looked after, you have your trailer, and everything provided. But the crew are the ones out there in the wilds all the time, hours before and after us.
I have been presented with roles with demand not just a physical ability but mental disciplines as well. 'Memoirs of a Geisha' was not so much about physical exertion...it was much more graceful and contained than that.
I have been presented with roles with demand not just a physical ability but mental disciplines as well. 'Memoirs of a Geisha' was not so much about physical exertion... it was much more graceful and contained than that.
With an award like the Asian Film Awards, we've sent a message saying that 'Asian Cinema is here, it matters, and more importantly, we are all part of the same fraternity!' The AFA is truly, then, an award for Asia, by Asia.
As an actor, you are always looking for roles that will challenge you, and when I came upon Aung San Suu Kyi, it wasn't just about that but also about stepping into the shoes of someone who means so much to millions of people.
Some of the martial arts films, the motivation is about martial arts. That's where it's coming from. It is a visual, commercial film, to showcase the next stunt, the biggest thing. And character development becomes a side thing.
Playing Aung San Suu Kyi was a journey in itself. She represents many things for many people and for many reasons. Although I have played many important roles in my life, I can say that this role has been a journey of self-realisation.
Action shouldn't just be seeing all those crashes. You can blow up a cathedral; next time you blow up the Great Wall of China, and then what? But when you're in love with your characters, the smallest action becomes an important action.
We have to make movies where we do not think this is for the American market or this is for the Chinese market. We have to make a good movie that anyone would just want to sit down and watch because love, language, culture transcend everything.
It's always important to understand as filmmakers that we're not making a documentary and it has to look good. It has to entertain, because otherwise your audience will switch and watch another series. It has to look better and larger than life.
Wai Lin is the first Bond Girl who is on a par with Bond, someone who can match up with him mentally and physically. From the moment our characters see each other, there is a wariness and a recognition that this person is not who she or he seems to be.
And I don't feel any fear in a sense, because I have every good intention in my heart. When you face up to bad things in the past, the most important thing is not to allow them to happen today or in the future, and as storytellers, we must play our part in that.
When it is real person, especially who means so much to millions of people, you have an obligation, you cannot take liberties, you cannot pretend to know. But we are telling the love story of Michael Aris and his wife, the story of a beautiful, lush country, and the emotions of a mother.
My grandmother had flawless skin just from using basic skincare - an old herbal remedy in the form of a white powder and cream. I don't actually know what was in it because when you're young, you're not interested in skincare, and I didn't want to walk around the house with a white face.
I was struck by Suu Kyi's warmth and generosity. No matter how petite she looks, she exudes amazing strength. More than anything else, I felt like I already knew her, like she was an old friend, because I'd been watching her so intently, and she was exactly what I had figured she would be.
I've taken this year to concentrate fully on the promotion of 'The Lady.' This movie has been so meaningful; until we have premiered in every part of the world and encouraged as many people as possible to shine the spotlight on the Burmese people and Daw Suu, I will not have a next project.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
It's all choreographed; it's a routine. So I told everyone I really wanted to try fighting in action films. I had no stunt experience, but I had the dance background, and I was very agile and coordinated. And the best thing about being a newcomer to acting is you can afford to try new things.
I have very supportive parents who said, 'Go and do what you want to do. Home is always here for you, and if you don't like it out there, come back. You can always do something different.' So when you have an option like that, you are able to choose roles or choose the things you want to be in.
Today, tomorrow and every day, we will see at least 2,000 young children killed or seriously injured on the world's roads. This is unacceptable, preventable, and we have to stop it. We have the vaccines for this disease: helmets, seatbelts, speed enforcement, safe road design. We just need to use them.
We always see Aung San as a strong, tough woman. There are two stories running in parallel. You see the contradictions between the East and the West, and you see someone who does mundane and normal things - someone who's supposed to be a housewife - and then someone who's become important and imprisoned.
I gathered as much reading material about Aung San Suu Kyi and about Burma as I could. And I read every article and every book she had written. I also had 200 hours of footage of her to watch. I tried to discover who were her heroes and where he desire and strength to pursue democracy in a non-violent fashion came from.