Sidharth Malhotra Quotes

I look for good scripts, not anything. It should inspire me, and the audience should like it.

I often meet directors who want to cast me as the protagonist, but if the rest of the characters are not strong enough, the film is bound to fall flat on a creative level.

For me, personally, the value of a film is not determined by a review, but the health of the film is.

I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.

A successful film is a good film, and a non-successful film is a bad film. It's as simple as that.

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

I will work with a director who has good material because at the end of the day, that's what counts.

My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.

There is no sense in making a film that no-one will go and see, just to create a perfect, but useless, work of art.

For me, it's always about what's on the page. I have tremendous respect for writing. When you recognize good writing, and you're lucky enough to get it, like with 'Lost,' that's what I follow.

I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.

I'd rather have one good scene in a movie by a great director than a small role in a mediocre movie.

You have a movie and it proves itself and then certain things happen.

To me, it's about good work, a good story, and tastefully done. There's so many stigmas - oh, you're on the small screen or you do films or you do reality. It's about the project and not the medium on which it's delivered. It's the story you tell, period.

I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.

I believe that there's good content or bad content. You see interviews when somebody interviews a director of a movie that didn't perform well in the box office, and he says, 'The audience didn't understand my movie.' If people didn't go to buy the ticket, then you did the wrong movie.

Sometimes it's very difficult to do a movie that's good and then have that movie make it to the light of day.

I think world creation and monster creation and all of that stuff is exciting as a secondary element of storytelling. When it becomes more important than storytelling, I get very nervous, and you sort of lose me a little bit.

I have been offered films as well, but it's better to do good television shows rather than a small role in a film.

I don't like this concept of second role, small role. It is a story, at the end of the day. If I am suitable for a character, I am glad to reflect that through my choice of films.

Irrespective of the language and industry, what I seek from a project is good story and role.

The super success of '3 Idiots' has taught us that cost of making a film is not important at all; it's all about things going well at the script level.

If you make a good film, then there's no harm if it achieves commercial success.