Naga Chaitanya Quotes

Making comic adaptations means making a lot of choices - you need to adjust the pacing, the dialogue, and in this case, a lot of the cultural references.

I had a strong vision for 'The Best Man Holiday,' so I was able to translate that to the actors and ultimately to the screen. Things can't get too heavy or too outrageously funny; it has to strike a balance. Tone is everything. If you've set the right tone, you can get away with a lot of stuff. You can get away with making people cry.

I believe what makes great television is wanting to watch particular characters.

Cinema is about people, and we are a very emotional people. That is why you see those ups and those downs and those colours. That is what Indian cinema is about.

Where film is infinitely superior to any other medium is emotion and story and character.

People have really long attention spans, and they love complicated plots. TV series are giving the audience what they want.

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 do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.

Listen, I think movies serve many different purposes, from those movies that are frivolous and just an entertainment, to movies that just go to exploring the complexities of the human soul. Everything is valid if it's done with honesty and dignity, and I actually do both of those types of movies in my career.

I was shooting for a Telugu film at the Taj Mahal in Agra, and there were all these women and children pointing and screaming, 'Rowdy Rathore.' But I am not really 'Rowdy Rathore.' I am the guy who did the original version of 'Rowdy Rathore' six years ago.

I just want to make great films and be good in them. And I think that my perception of what's great in a film is constantly evolving.

The woeful tales of 'Super Mario Bros.' and 'Street Fighter' have taught studios that merely slapping a name to a movie is not enough to bring in the fans of the franchise. Also, the way games now unfold their stories more parallels that of a movie, with characters and plot points actually meaning as much as a high score.

You can have great sequences with music, but if you don't have the acting you're bored after 15 minutes. Or not bored, but you're like, 'So what?'

I honestly feel like we never had a bad episode by TV standards. Every week I felt there were so many strong components of the show, especially the writing.

I don't know - music in film, for me, is not another part of a soundtrack; it is something that also helps to approach a character, to foresee the type of image - you see what I mean - it's like a part of the process.

To me, the AMC brand is great storytelling - they call it slow-burn storytelling.

I believe that the story is the most important element of any medium whether it's theater, film, TV.

I think 'NH10' could have been done equally well by anybody else, and it's not a 'female-centric' or 'male-centric' film. It's the story that will appeal to the audience.

My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.

If it's a drama or comedy, it doesn't matter to me. I just want to like the writing.

I've seen movies that are slavishly devoted to books but don't work because they haven't turned it into a movie: they've turned it into a dramatisation of the different scenes.

It's not enough to be diverse in your casting. You have to service those characters; you have to make them fully well rounded because people are watching.

My feeling is that I don't really care about the genre or the size of the movie. I care about the quality of the writing and the quality of the characters.

I would remake 'Club Paradise.' I thought the story was cool, the setting was great. Everything lined up, except I wrote it for Bill Murray and John Cleese.

It's wonderful to return to 'Peaky Blinders.' We're all here for the right reasons - to work and do justice to what's written on the page.