Ayushmann Khurrana Quotes

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

There's something in the rhythm and roll of it that is connected to the way Hitchcock thinks and moves. Then there is everything he ingested - the cigar smoking and drinking that's imprinted on his voice.

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

Every different director has another language - for instance, Hitchcock does not like any bright color ever, unless the story says 'there goes the girl in a red dress.'

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself.

Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.

I feel Prawaal Raman is an amazing director with great films in his pocket like 'Gayab.'

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.

Whenever anybody asked me, 'Who is your number one director to work with?' I would always say Tim Burton.

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

People confuse 'pretty' with good cinematography.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

Director Aji John has a style of filmmaking that will surely appeal to all.

I'm the world's greatest apologist for Brian De Palma but his version of Ellroy's 'The Black Dahlia' is a disaster.

The most creative director I have worked with is Mani Ratnam.

As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.

I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.

It's an honour for the entire 'Baahubali' team to be associated with Karan Johar, since he is the biggest name in the country as a producer and director with his brand Dharma Productions.

The relationship between a director and an editor in documentaries is so important.

Film is always a fight because you're the person, as the director, with a clear picture in your head of what you think is really exciting, and you're just trying to convince a bunch of other people to buy into that.

Karan Johar is absolutely an amazing director. I dream to work with Karan.

I would love to do a period film and work with Shyam Benegal.