Ram Charan Quotes

What matters to me as a creative artist is the credibility of the production house, the honesty in the script, and the way the filmmaker has conceived the characters in the narrative.

I'd just like to be in films that I would like to see.

The filmmaker's got to make it his story and the actors have got to make it their story.

It's funny: the reason I did 'Beautiful Creatures' was the same reason I did everything else - even though it was a genre film and existed at a more studio level, the script and the characters were so well written.

All the films that I have signed or I intend to sign are purely on the basis of merit of what the films are about.

I am doing films that are content-oriented and where I have the scope to perform. Rarely do such scripts happen.

You will never see me dancing around the trees, chasing a heroine; I will never do films, no matter what the budget, for the heck of it.

I am always open to any film from any place, given the role and the script is interesting.

People don't think of genres anymore. The script is all that matters. And as long as it appeals to my sensibilities as an actor-producer, I'm on.

When I go for a project, I wonder what underpinning a project will have that's going to give the audience some emotional access to it.

I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.

I'll do any kind of movie, as long as it's a good version of it.

I hope I can become a good enough filmmaker where I can take a script that I'm not 'heart and soul' into, but I could still make something really great out of it.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.

I'm very opinionated, and when you're put in a position where you're getting the storylines that are not necessarily what's cranking at the back of your mind, or digging at the potential of your character and you have to sit on your hands, that's frustrating.

I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.

When I sit down to write, I don't think, 'OK, what is the next David O. Russell film I can write, or what is Harvey Weinstein going to want to buy?' Or even, 'What are filmgoers going to want.' I try to think, tell a good story. Just do what you do.

I really want to do film, but I want to do the right film. The truth for me is that I'm really driven by stories. So there are stories I want to tell, and if it's a good story then I want to do it, whatever genre it is.

The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.

All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.

I'm not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.

Of course you want to be good and you want to do the best you can, but I am inspired by great writing. If there's something about the script, that's what I go for, although I know that that doesn't always translate because sometimes it's about the vision of the director.