चाहे वह 'द टर्मिनल' फ़िल्म के विक्टर नार्वोस्की की तरह किसी एयरपोर्ट पर रहने वाला इंसान हो, टोरंटो का एनविल हो, या फिर अपनी ही सफलता के शिकंजे में कैद अल्फ़्रेड हिचकाक हों; इन सभी किरदारों में एक बात एक जैसी है। मुझे नहीं पता कि मैं इन चीज़ों की طرف क्यों खिंचा चला जाता हूँ। लोगों ने मुझे यह बात बताई है, लेकिन मैं खुद इसे समझ नहीं पाया हूँ।
Whether it's a guy living in an airport like Viktor Navorski in The Terminal, or Anvil in Toronto, or Alfred Hitchcock who's imprisoned by his success; there is a common thread to all these characters. I don't know why I'm particularly drawn to it. It's been pointed out to me, and I don't understand it myself.
Whether it's a guy living in an airport like Viktor Navorski in The Terminal, or Anvil in Toronto, or Alfred Hitchcock who's imprisoned by his success; there is a common thread to all these characters. I don't know why I'm particularly drawn to it. It's been pointed out to me, and I don't understand it myself.
मुझे लगता है अल्फ़्रेड हिचकाक केवल अल्मा रेविल पर ही सबसे ज़्यादा भरोसा करते थे। बात चाहे पसंद-नापसंद की हो, या दर्शक क्या देखना चाहते हैं इसकी, यहाँ तक कि संपादन (एडिटिंग), पटकथा (स्क्रिप्ट) और कलाकारों के चयन की—वे सबसे पहले उन्हीं की सलाह लेते थे। वे उनकी जीवनसंगिनी थीं।
I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner.
I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner.
अंग्रेज़ होने की वजह से मुझे हॉलीवुड में मंडराने वाले इन सनकी अंग्रेज़ों को थोड़ा बेहतर समझने में ज़रूर मदद मिली।
Being English definitely gave me some insight into these eccentric Brits puttering around Hollywood.
Being English definitely gave me some insight into these eccentric Brits puttering around Hollywood.
मैंने फ़िल्म स्कूल में पढ़ाई की और अल्फ़्रेड हिचकाक का अध्ययन किया। मैं अल्मा रेविल के अस्तित्व के बारे में जानता था, लेकिन सच कहूँ तो मुझे यह बिल्कुल अंदाज़ा नहीं था कि वह कौन थीं या हिचकाक पर उनका कितना प्रभाव था। वह हमेशा परदे के पीछे रहीं। आप ऑनलाइन खोजेंगे, तो उनकी शायद ही कोई तस्वीर या फ़िल्म मिलेगी। उन्होंने जानबूझकर लाइमलाइट (प्रसिद्धि) से दूरी बनाए रखी। वह इसे चाहती ही नहीं थीं, और मुझे लगता है यही एक वजह है कि वह हिचकाक के इतिहास की परछाई में कहीं खो सी गई हैं।
I went to film school and studied Alfred Hitchcock. I knew of Alma Reville existence, but had no idea really who she was or how influential she was on him. She stayed in the shadows. Go online, and there are hardly any images or film of her. She really stayed out of the limelight on purpose. She didn't want it, and I think that's one of the reasons that she's really lost in the shadows of Hitchcock's history to a degree.
I went to film school and studied Alfred Hitchcock. I knew of Alma Reville existence, but had no idea really who she was or how influential she was on him. She stayed in the shadows. Go online, and there are hardly any images or film of her. She really stayed out of the limelight on purpose. She didn't want it, and I think that's one of the reasons that she's really lost in the shadows of Hitchcock's history to a degree.
मुझे लगता है कि जिस किसी ने भी अल्फ़्रेड हिचकाक की फ़िल्म 'साइको' देखी है, उस पर उसका गहरा असर पड़ा है, जैसा कि मैंने बचपन में देखी थी। शॉवर वाला सीन पागल कर देने वाला है। आज भी वैसा ही है, और मुझे लगता है कि इसकी सबसे अच्छी बात यह है कि यह भावना सार्वभौमिक है। लोग उस अंधेरे और हिंसा को समझते हैं, और यह झकझोर देने वाला है।
I think everyone who saw Alfred Hitchcock Psycho movie, as I did when I was young, was impacted. The shower scene is nuts. It still is, and I think what's wonderful about it is that it's universal. People understand the darkness and the violence, and it's shocking.
I think everyone who saw Alfred Hitchcock Psycho movie, as I did when I was young, was impacted. The shower scene is nuts. It still is, and I think what's wonderful about it is that it's universal. People understand the darkness and the violence, and it's shocking.
मुझे लगता है कि कोई भी फ़िल्म बनाना मुश्किल होता है, और किसी किरदार पर आधारित कहानी बनाना तो उससे भी कठिन है। बड़े-बड़े सितारे होने के बावजूद, जो कि हमारे साथ थे, कई चुनौतियाँ थीं। लेकिन हमने उन सबका सामना किया और हमें बेहद खुशी है कि हमने यह फ़िल्म बनाई। विशालकाय रोबोट्स वाली फ़िल्में बनाना आसान होता है, लेकिन मैं उस रेस में नहीं हूँ।
I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
एनविल फ़िल्म निर्माण शैली की अच्छी बात यह थी कि इसमें सब कुछ अनियोजित और तात्कालिक होता था। वहाँ सुरक्षा के लिए कोई जाल नहीं था।
The good thing about the Anvil school of filmmaking was that it was fly by the seat of your pants. There was no safety net.
The good thing about the Anvil school of filmmaking was that it was fly by the seat of your pants. There was no safety net.
मैं बाहरी या अलग-थलग दिखने वाले किरदारों से बहुत जुड़ाव महसूस करता हूँ। खासकर अल्फ़्रेड हिचकाक, 'द टर्मिनल' के विक्टर नार्वोस्की, या एनविल के लड़कों जैसे सनकी और अनोखे पागलों से। मैंने जो भी काम किया है, वह ऐसे ही थोड़े अजीब और अलहदा लोगों के बारे में है जिन्हें आप पहली नज़र में किसी और रूप में देखते हैं, लेकिन थोड़ा सा टटोलने पर आपको एहसास होता है कि वे आपसे बहुत अलग नहीं हैं। मुझे लगता है कि इनमें एक ऐसा तत्व है जो हम सबको जोड़ता है।
I really relate to outsider characters. Especially the eccentric, lunatic weirdos like Alfred Hitchcock, Viktor Navorski in The Terminal, or the Anvil guys. Everything I've done is about these quite eccentric, exotic outsiders who you might see in a certain light at first, but once you scratch the surface a little, you realize that they're not that different from you. I think there's an element of that which unites.
I really relate to outsider characters. Especially the eccentric, lunatic weirdos like Alfred Hitchcock, Viktor Navorski in The Terminal, or the Anvil guys. Everything I've done is about these quite eccentric, exotic outsiders who you might see in a certain light at first, but once you scratch the surface a little, you realize that they're not that different from you. I think there's an element of that which unites.
मुझे रचनात्मक सहयोग का विचार बहुत पसंद है। मुझे ऐसे रिश्तों और शादियों की पड़تال करना अच्छा लगता है, खासकर जो लंबे समय से चले आ रहे हों।
I love the idea of creative collaboration. I love the idea of exploring marriages, particularly ones that are in process for a long time.
I love the idea of creative collaboration. I love the idea of exploring marriages, particularly ones that are in process for a long time.
ज़ाहिर है, जब आप कुछ ऐसा करते हैं जो लीक से हटकर हो, तो लोगों की उस पर अपनी एक अलग राय होगी ही। लेकिन मुझे लगता है कि हिचकाक कौन थे और लोगों के लिए उनका क्या मतलब है, इस पर एक स्वस्थ बहस होना अच्छी बात है। उनके काम इतने बेहतरीन हैं कि अलग-अलग लोगों के लिए उनका मतलब भी अलग-अलग है। अगर फ़िल्में शानदार न होतीं, तो कोई भी उनमें इतनी दिलचस्पी नहीं दिखाता।
Of course, when you're doing something that's unexpected, people are going to have a very specific point of view about it, but I think it's all good to have a healthy debate about who Hitchcock was and what that means to people. He means a lot of different things to a lot of different people because the films are so great. If the movies were not great, no one would be bothering to show any interest.
Of course, when you're doing something that's unexpected, people are going to have a very specific point of view about it, but I think it's all good to have a healthy debate about who Hitchcock was and what that means to people. He means a lot of different things to a lot of different people because the films are so great. If the movies were not great, no one would be bothering to show any interest.
जब आप हिचकाक पर हाथ डालते हैं, तो आप जानते हैं कि इससे कुछ न कुछ विवाद ज़रूर पैदा होगा। इसकी वजह यह थी कि बहुत से लोग इस किताब [स्टीफन रिबेलो की 'अल्फ़्रेड हिचकाक एंड द मेकिंग ऑफ़ साइको'] के बारे में बात कर रहे थे और चाहते थे कि यह फ़िल्म इसी किताब पर आधारित हो। लेकिन वह काम तो पहले ही हो चुका था। वह किताब में दर्ज हो चुका था, और खुद स्टीफन रिबेलो ने कहा था, "मैं एक ऐसी फ़िल्म चाहता हूँ जो दर्शकों का मनोरंजन करे।" इसलिए हमने सोच-समझकर यह फ़ैसला लिया।
When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.
When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.