It was a tough subject to deal with, Bala has deftly handled the film. Frankly, I never expected a film like Naan Kadavul from Tamil. That shows how different Bala is in his thinking and approach.
With all awards and accolades at the international level and his outstanding contribution to classical music, his appeal was not restricted to purists or the elite connoisseur. He endeared himself to the public at large by his tasteful rendering of light music and film songs.
The film moves at what I consider to be the speed of art — which is slow. Cremaster 2 does what I think sculpture does: It moves slowly and requires that one move around it to understand it, and to visit it repeatedly.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
[About the end of the The L Word] Everything has its cycle. I think it’s appropriate for us to be ending now. But the beauty of storytelling, and the beauty of film and television is that it continues on.
Soros and the Tides Foundation have been trying to indoctrinate our kids. Do you remember that stupid— what was the name of that film that they did? [clip comes up on monitor] There it is, The Story of Stuff.
What's interesting is that you can have a set that's very calm, very smooth, very cooperative…and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film -- it's interesting in that way.
You learn a lot watching that, because so much of what you do in film and television is technical. You could go to acting class until you're blue in the face, but when it really comes down to it, you'd better have that acting training where so much of what you do is actually technical.
