Aishwarya Rajesh Quotes

The so-called commercialism includes elements like story, plots, rhythms and large big scenes.

Great writing makes great television.

Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.

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

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

As a director, what I'm trying to do is to create interesting stories.

Language is just a communication tool; it is the content that decides the fate of a film.

It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a wonderful story.

Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.

I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.

Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.

A script is not a piece of literature it's a process.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

When you have really good writing, you're compelled by the actors who are in it, and you may think it's the actors or the design or the filmmaking of it, but then you're like, 'Well, the base is a really rich story that these guys have created.'

I have always believed that directing a film is like telling a story. You have to tell it well so that it is appreciated.

Ruthless concern with story is what I learned in television.

Film-makers must decide what story to tell and how to tell it.

The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.

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.

If I start paying attention to the mechanics of a film while watching it, then it's generally a bad film.

I always want to be telling stories in whatever fashion I can, and directing is really just understanding and learning a different element of that storytelling process.

The way the films look will never entertain an audience alone. It has to be in the service of a good story with great characters.

Having spent a lot of time on sets, I was really interested in the overall storytelling aspect of shows and projects.

You set out to tell a good story. You don't do it because there is a deep message involved, because the movie is almost always bad when you do that. Your job No. 1 is for it to be entertaining, and if it's inspiring, that is great, too.

Every stage of filmmaking's important while you're doing it, so I spend most of my time figuring out how to tell the story. I have all these stories and ideas, but it's how to tell the story.