Quotes of All Topics . Occasions . Authors
It is stupid to think the audience is a bunch of fools who can be manipulated by long titles and NRI romances.
Films like 'Satya,' 'Company' needed a pan-Indian audience. The affinity for Hindi film and subjects was there.
'Bhoot' is a hold-on-to-your-seats horror film, while 'Darna Manaa Hai' is a hold-on-to-your-popcorn horror film.
Let me put it this way: if 'The Godfather' hadn't been made, 'Sarkaar' wouldn't have been made. That is the truth.
It's understandably obvious, when I was making 'Company,' of the underworld genre, people would compare it to 'Satya.'
I wrote 'Kshana Kshanam' with the one and only purpose of impressing Sridevi. 'Kshana Kshanam' was my love letter to her.
The shelf life of a specific film has decreased while the number of films required to fill multiplex cinemas has increased.
I don't think I take risks. People think I do, but I don't. In fact, I think conventional-formula filmmakers take more risks than me.
When I have a new idea, I'm charged up and want to start the film immediately, but I simply don't have the patience to wait for stars.
I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?
People favouring their relatives more than an outsider is what the biggest fight in democracy is, let it be in film industry or politics.
I despise all those who fight for peace. It's only the bad guys and the troublemakers who create entertaining and history-changing events.
A director standing by his film rejected by the audience is like him telling a girl 'I love myself and I don't care if you don't love me'.
The problem is I don't have respect for the films I make after I've made them. I detach myself and get embarrassed when I watch them later.
I make movies on gritty topics like crime, the underworld, and horror. I don't make movies with good-looking people in good-looking locales.
I hate Sridevi. I hate her for making me realise that she, too, is finally only just a human being. I hate that her heart, too, has to beat to live.
Many people don't understand that in filmmaking, if you make a fundamental mistake, everything goes wrong - but you don't realise it till the film is made.
The point is that a filmmaker is like a journalist in projecting reality in the true sense of the word. Only thing is he dramatically packages it to make more effect.
Sridevi is the most beautiful and the most sensuous woman God ever created, and I think He creates such exquisite pieces of art like her only once in a thousand years.
To see Sridevi making tea in Boney Kapoor's kitchen was a huge letdown. I won't forgive him because he brought the angel down from heaven to the kitchen of his apartment.
I don't think I have the patience required to undertake projects as huge as 'Baahubali.' You need to spend a lot of time and years to make something empowering like that.
The people who work with me know how focused I am, and so I would advise people who are not concerned with me to rather focus on themselves instead of focusing on my focus.
My greatest dream is to make a film on 'The Fountainhead,' which I have been restraining from doing because it is so much in the mind, and I am yet to be able to decode that.
Mammootty is a great phenomenon.. If I was one among the jury for honourary award of Oscars, I would have definitely selected him as best actor for the film Dr.Baba Saheb Ambedkar
If 'Bhoot' was called 'Man Ke Rishte,' no one would be interested. The title is a very essential part of a film. It subconsciously prepares the audience as to what they can expect.
Our society has a mentality that elderly people pass on their wealth to their son or immediate relatives, and I think we all do it. It's a part of nature and is an exaggerated topic.
When I was making 'Satya', many people said that nobody would like to watch such dirty people. But, when the film worked, the same people said it was so real that they could actually smell it!
Everything in 'Satya' was by chance. It was a film which just started evolving by itself. I just went mostly by instinct and kept on improvising on location, and the film just got made itself.
I think a lot before tweeting. I show it like I don't, but I do. Sometimes I don't mean it, sometimes I mean it, and sometimes I like to provoke a reaction from people. I enjoy reactions from them.
A film, I feel, is a state of mind. A film eventually comes from an idea: based on an idea, you make a decision, and once you make the decision, you keep comparing everything to that, but don't question the decision itself.
The industry has a standard way of judging actors: they do ten films, they get X price, and they get this number of awards, seen at page three parties and all that - that is how they measure success. I don't do it like that.
'D' is about a guy who starts off somewhere, and he's a very thinking kind of a guy. He's not an emotional person; he doesn't react to situations. Instead, he's virtually choreographing the situations. So it's a development of a character.
I have a habit of constantly dreaming and waking up every once in a while in the night to check out my cell phone, and I suddenly saw a message that Sridevi is no more... I thought that either it's a nightmare or a hoax, and I went back to sleep.
My journey to Sridevi started when I was preparing for my debut film 'Shiva.' I used to walk from Nagarjuna's office in Chennai to a neighbouring street where Sridevi used to live, and I used to just stand and watch Sridevi's house from outside her gate.
'Not A Love Story' is inspired by true events, but it is not based on those events completely. When I first read about the Maria Susairaj case, I was fascinated with the psychological aspects, that two seemingly very ordinary people can go completely berserk.
First of all, 'Sarkar' is not an underworld film. It's about a man at the head of a feudal set-up in the middle of a cosmopolitan city, where he almost runs a parallel government largely due to his personal charisma. And the film is about his friends and enemies and his family.
Everyone knows about Amitabh Bachchan being a legendary actor, and I had this sense of arrogance that I can make him do what I want. But what he did on locations completely blew me away. I realised that I understand the quality of performances even more after seeing him perform.
Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.