Mira Nair's Quotes

We all know the power of film; we all know there's almost nothing more powerful than to see people on film that look and talk like you, like we do.

You have to want to be in the company of those you're making films about.

Bollywood actors are so set in what they want, and the way they want it. And why shouldn't they be? But it is not the same in Hollywood, because the love of the audience is not the same.

Christmas lights may be the loneliest thing for me, especially if you mix them up with reindeers and sleighs. I feel alone. I feel isolated. I feel I do not belong.

For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.

I am at home in many cultures. I live actively in three continents and I've done that for most of my life, so I just make films as I see the world, and that happens to speak to people. I do things that I want to do.

I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.

I grew up thinking anything was possible simply because of seeing women in power - like, you know, running the country. Which is a thought that continues to give Americans indigestion... Direction is about having a vision, but the practice of being a director is a con game - a confidence game.

I know what it's like to be in one place and dream of another. I also know what it's like to feel that nostalgia is a fairly useless thing because it is stasis.

I look for the humanity in people, however big the politics or oppressive the situation may be, whether it's subsumed within a human being or between two human beings. I want to help us hold a mirror to ourselves.

I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.

I started to make my own films, however small and however independent they were, from the beginning. And so, even though I was nobody, I was always the master of my own work.

I think films have to reach people and really grab them. That's what I hope to do when I make a film - to get under your skin and really make you think about something, and have a transporting time that takes you somewhere.

I think there's a level of ignorance, when, in the callowness of youth, you imagine that you are inventing the world for the first time. You imagine that your parents don't know what it feels like to fall in love.

I've been able to look at the world differently from three continents practically. I've always lived between India and the U.S. When I married Mahmood I became a daughter-in-law of Africa. That really changed my worldview. I can see it from so many perspectives.

I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.

In America, we have so many movies and so much media about the Islamic world, the sub-continental world, but it's not a conversation, it's a monologue. It's always from one point of view. 'If we don't tell our own stories, no one will tell them' is my mantra.

It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.

Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.

New York City is home to so many people from so many places and the uniqueness of it is that you never feel a foreigner. English is almost hardly ever heard in the subway. In fact, it's weird.

Once 9/11 happened, people who looked like me and whose children looked like us and whose husbands looked of a community, really were made to feel quite the other, and I thought that was impossible in a city like New York but I myself was witness to that.

There's nothing universal about Indian families except that the family itself is deeply important across the country. It's sort of the fabric and anchor of our country.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'