Adrienne C. Moore Quotes

I'm conflicted with theater in the city because you want to reach a diverse audience, and that audience doesn't typically go to the theater.

Minority views expressed in films simply don't sell tickets.

You can work and scratch out a living in the theatre, but, if you want to make money, you've got to hit the road. You've got to play big houses of 2, 3 thousand seaters with your name above the bill, do popular fare and reach out to the audience such as it is.

Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.

I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.

My degree was in theater administration. So I can sell the hell out of a ticket at the box office.

Box office success is pertinent but the story has to have a life beyond the two hours.

I am now confident about attempting a Hindi film. I believe if you have a good story to tell, audiences will watch it.

I don't want to exclusively direct white films, or black films. I want to have a choice.

At the end of the day, whatever you're doing in the ring, you want it to look real, and genuine, and authentic.

I've always wanted to be an actor who connects with families because once they come to watch your film in the theatres, it becomes a big deal. That's how you sell four tickets at one go.

It doesn't matter how big the film is - if the story is not good, it will not be accepted. Stardom can maybe pull audiences to theatres but beyond that it is all about content.

Anything, really - I'm as comfortable playing an Indian as playing a black woman or a South American.

Filmmaking is not a job but a social responsibility for me.

'ABCD - AnyBody Can Dance' and 'ABCD 2' has succeeded not merely because of dance, but mainly because of its good script. Viewers have loved the story, and that's why my movies have done well at the box office.

Overall, I feel that southern cinema, in itself, has taken over the film industry with its content, stories and screenplay.

Our films tremendously influence people. But at the same time, no one goes to the cinema to listen to lectures, so if you have an interesting story, and if you can showcase it as a film, and its messages are good, then it's like an icing on the cake: it shall be a superhit. And if I get those kind of films, I'll definitely want to work on it.

I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'

At the end of the day, you are doing the film for the audience.

Theater, at the end of the day, is about ideas. It's about very large ideas. And if the play is beautifully written or smartly written and has incredible characters you follow on the journey, you take home these larger ideas. Whether it's 'Angels in America' or 'Lucky Guy' or 'Normal Heart,' you follow this moment-to-moment journey as an audience.

Come on, we would be foolish to say that there's never been African-American leads in some capacity, people of color in some capacity, leading shows or what have you. But it hasn't happened enough and in a manner that is an accurate reflection of the world that we live in.

Just because good films don't work does not mean we should stop making them.

I have a certain kind of a taste for what will make a good movie or a good play or theater.

Theater should address the stories of its communities, or I don't know why it's here.

SXSW can feel very male, very straight, and very white, and though it's a great festival, when you have a film that's different, it's hard to find your place.