S. S. Rajamouli Quotes

If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?

I'm a firm believer in utilizing celebrities because they tap into people on an emotional basis.

I don't view the fans in the way that most performers do. As a mass of people who have paid money, I know what they want. It's a very, very, very, very, very low common denominator.

I want to make a film that is commercially successful because that means that the larger cinema-going audience around the world like the movie, which is my goal. That's my job, to make films that people respond to.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

Every actor's deepest desire is to reach a huge audience. So, I don't look down upon commercial cinema... there's a beauty in it that you understand sooner or later.

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.

With so much money invested in their most promising projects, Hollywood executives will understandably do everything in their power to make their products a success in the marketplace. Therefore, the most expensive films often also get the highest marketing budgets, and are slotted into the most favorable opening weekends.

The more money you spend, the more you need to make back, and the more pressure there is to appeal to everyone - which to the studio means that the specificity and uniqueness must be watered down. But I think mass audiences like things that are more specific and tend to have a voice, like 'Napoleon Dynamite' or 'Superbad.'

With 'Judwaa 2,' I captured the kind of market that I could have never penetrated into on another occasion.

The initial response to 'Yennai Arindhaal' was that it didn't have all the quintessential commercial elements, though I consider it as my most commercial venture.

When I made 'Pizza,' all I had in my mind was to make the film reach as many people as possible.

The multiplexes audience has one way of thinking. When they are all sitting together temperamentally, there is room for a filmmaker to reach out to a far larger audience in a comfortable way.

You always want your movies to reach the widest audience possible.

I never planned my movies. I never selected subjects to win the National Award. I did films that made the masses happy.

I was always flattered, but I just want my movies to make money. I want to be commercial. I'm never the person who says, "I don't care if people don't see my movies." I always want people to see my movies.

I feel like movies when they work they'll find an audience.

You have to remember that Hollywood is in the business of making movies that they can sell tickets to, they're not in the business of finding great roles for actors.

I'm looking for films that can resonate and hopefully have some level of critical importance but also have commercial viability and can put butts in seats. At the end of the day, that is the name of the game. And if you can find that perfect balance, then that's the sweet spot.

You need stars to create the buzz and bring audiences to the cinemas.

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

Laughter and tears may not persuade, but they cannot be refuted.

A lot of people... are afraid of pictures which have visible emotions in them. They feel calmer in front of pictures which are placid.

We seem to know when to 'tap the heart.' Others have hit the intellect. We can hit them in all emotional way. Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the motion picture business, only we are drawing them instead of photographing them.

If our eloquence be directed above the heads of our hearers, we shall do no execution. By pointing our arguments low, we stand a chance of hitting their hearts as well as their heads. In addressing angels, we could hardly raise our eloquence too high; but we must remember that men are not angels.