S. S. Rajamouli Quotes

I always try to develop a good relationship with the director on any film and make sure that we want the same things and we're talking about the same ideas, and that gives me great protection.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.

Rick Rubin was able to do things that Dave Fortman could never do. I'm not trying to take anything away from Dave Fortman as a producer. He's extremely talented. He wasn't able to get nine people together on the same page and, to me, that's the most important thing in making a Slipknot record.

I like working with writer-directors because you can solve problems right there.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.

Being a director, just to begin with, is just, I think, one of the hardest jobs just because you have to work in every way. You have to work with actors, you have to be involved with the producers and the writing and the action. Every department comes to you; you have to deal with everything.

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.

I think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

I rely upon the directors to fill me in before a shot.

I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.

The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.

I need to be on the same page as the director.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

Certainly as a director you want to be working with people who are on the same page as you and that you can trust and get along with.

When you're the showrunner, you're the person that's in control of most of the details, and to be able to take all that and then to step right behind the camera and to have a direct line of communication with the crew and with the actors - to not be delivering that through another person - is pretty freeing and extremely stimulating.

Usually, you come into it, and there's half a dozen different views or angles on what different people are wanting to see, from the producer to the director to the writers to the actors. I think 'Pacific Rim' has been an example of something that illustrates what you get if everyone is driving towards a common purpose.

I was constantly reading books about how to direct, and asking directors, 'How do you do it?' And when I finally actually started doing the work, it seemed like you have to be decisive and have an opinion. But also you have to be a good collaborator and hire the right people to shore up whatever your skill set is.