Rohit Shetty Quotes

I view every film as a commitment to undertake a long journey.

No one sets out to make a bad movie or disappoint anybody.

The work of a director can be summed up in two very simple words. Why and How.

You become the movie you are making.

I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.

I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.

I try and create for the audience something that relates to real-life experience.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

I like when you watch a film and you feel like you're a part of somebody's life for an hour and a half.

We all do that thing which is the best in movies - we relate.

I think films have to reach people and really grab them. That's what I hope to do when I make a film - to get under your skin and really make you think about something, and have a transporting time that takes you somewhere.

For me, with me, making a film is always about humanity.

I know the movies that I've liked, and I know the experience that they've given me, so the goal is always to try to create a movie that I would like myself and that would knock me out, challenge me or intrigue me in some way. That's been my criteria for figuring out what I want to do, or also when I'm writing something or creating a scene.

Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.

There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

When you're actually making the film, you're constantly battling to maintain its integrity.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

I think when you're a director, it's hard to do something unless you're absolutely over-the-moon in love with it. The audience, they spend 90 minutes with it, but for you, it's anywhere between a year and a half to three years of your life, every day, working on it.

I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.

You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.

I try to work on a film that my audiences would appreciate and enjoy their time in a theatre.

Filmmaking is a language where you empathise with human situations. Unless you have empathy for characters, you shouldn't be a filmmaker.

I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.