Rohit Shetty Quotes

I have a particular taste, I do films according to it and promote it accordingly.

You have to realize, making movies is the weirdest thing you could ever do. It's a contrivance, but you're attempting to reach people's hearts in the dark, and there are so many factors that are out of your control.

They started saying stuff like 'Should we cut the movie? Is it too this, too that?' It got drastic. It got heated. I said, 'Wait a minute, folks. I didn't make 'Smokey' for big-city audiences. I made it for the South, the Midwest and Northwest. Those are my people.'

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

Every show I've ever, you know, produced, essentially it's the show I want to watch myself.

When I'm making a film, I'm the audience.

I love that there's a beginning, middle and end to a film and you can craft what the whole journey is going to look like.

When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.

If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.

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.

A lot of my branding has come from stubbornness - I knew what I liked. I knew what I wanted to do.

To me, the director is the most important, rather than the story.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

Ultimately when I throw myself behind a movie, I have to really believe in that director's vision.

The director is the channel through which a motion picture reaches the screen.

It's different being a director. I suppose, especially if it's a story you've written and you feel compelled to tell, in some ways it's a lot easier than acting because you're orchestrating the piece. As an actor, sometimes you're trying to second-guess what people want.

To me the recognition of the audience is part of the filmmaking process. When you make a movie, it's for them.

The most important thing when you do a movie is that you find an audience that really understands what you want to do and is really supportive of it.

That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

When you're actually making the film, you're constantly battling to maintain its integrity.

I make movies that audiences like, that I'd want to see. That's all.

I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.