Gurinder Chadha

Gurinder Chadha
Gurinder Chadha OBEis an English film director of Punjabi Sikh Kenyan Asian origin. Most of her films explore the lives of Indians living in England. This common theme among her work showcases the trials of Indian women living in England and how they must reconcile their converging traditional and modern cultures. Although many of her films seem like simple quirky comedies about Indian women, they actually address many social and emotional issues, especially ones faced by immigrants caught between two...
NationalityEnglish
ProfessionDirector
Date of Birth10 January 1960
CityNairobi, Kenya
Australians have a fantastic sense of humour and incredible taste. I was there for 'Bend It Like Beckham,' and I had a great time. Aussies loved it, and I think 'Bride & Prejudice' is going to do well, too, because it's all about having a good time.
Southall Broadway, in west London, has been a constant part of my life from the day I arrived in England as a baby from Kenya in 1962. My parents rented a room in one of the terraces off the Broadway, and I've seen it change from an ordinary English high street to what is now 'Little India.' with a confident Asian community.
The more I make films, the more I feel less inclined to talk about them and just let people watch them. I feel that the pictures are telling the story, and I can't really add anything except just talking about the technicalities of what happened on the day.
Third-generation Indians love maintaining their cultural traditions, but they can also go down the pub, shop till they drop, do whatever anyone else does.
I went to my local pub to watch the games and was amazed to see grown men crying when England were out of the cup. I'd only ever seen the country like this when Lady Diana died. I had got the football bug and thought wouldn't it be great to take all this energy, and put two girls in the middle of it all?
I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.
Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.
Once I started writing the screenplay of 'Bride & Prejudice,' I was convinced Jane Austen was a Punjabi in her previous birth.
Well, I think there was a time when I first started that there was such a thing called 'a woman's film' and there were certain scripts that women would make. But I think that's changed a lot now. I think that if a woman director walks into a room with a script, it doesn't really matter what the subject matter is, or the genre is, so long as the financiers feel that the woman has the skills to make the film
After 'Bhaji On The Beach', I didn't make a movie for six years. I couldn't get a movie off the ground for love nor money. It was a very tough time and I almost gave up. If I had been an Oxbridge bloke after 'Bhaji', my career would have been very different
It is hard directing. The hours are terrible and you have to sort of suspend your life when you're in production. So, being a mother is very hard. I can absolutely see why there are so few women directing, because it's physically a very demanding thing to do. Fathers can only do it because they have wives at home doing all the other stuff. I can only do it because I have a husband that helps with the kids at home
If you tell me I can't do something, that's the worst thing to tell me. And that's what I tell girls, and what Beckham's about: you can do it, you can do it better, and you can do it in the way you want.
If you want to be a director, work with writers and find different ways of telling stories with film, then do a course. This way you can consolidate what you've learnt and use the course to go further.
You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.