Quotes of All Topics . Occasions . Authors
'Aiyyaa' was a bizarre film.
I can read and write in Hindi.
I am in no rush to get anywhere.
I don't really care about the stardom.
'Aiyyaa' flopped, but it got me noticed.
I don't take my shirt off in every film I do.
Directing a film in Hindi is definitely on the cards.
I have no plans to quit south films and come to Bollywood.
I got 'Aurangzeb' because I gave an audition and passed it.
Every movie I do, regardless of how they fare at the box office, excites me.
Failure doesn't scare me. And neither success. I am equally detached to both.
Since I'm serious about a career in Hindi films, I'd have relocate to Mumbai.
I'm sorely disappointed that girls don't recognise me in a normal tee and jeans.
As long as interesting work will find me, I will love to do more Bollywood films.
I have an inherent interest in filmmaking and equipment. Some of my best friends are technicians.
I never went and searched for a Bollywood film. It just happened naturally... it was a natural course.
I have always said that the biggest difference between stage and cinema is that one has got close-ups.
All the films that I have signed or I intend to sign are purely on the basis of merit of what the films are about.
'Aiyyaa' was not the first film that I was offered in Hindi... it was the first film that I wanted to do in Hindi.
I am a humongous Mohanlal fan. I adore the actor. I am also a huge Mammootty fan, and that's not being diplomatic at all.
Hindi has never been a trouble. In fact, Hindi is the only language I can speak and write apart from Malayalam and English.
Something like a 'Maheshinte Prathikaram' will work anywhere in the world because it speaks of something that is beyond language.
We were shooting for 'Aiyyaa' in Yash Raj studios, and I got an offer for 'Aurangzeb.' That's the only time I went for an audition.
Every time actors from down south do a Bollywood film, it is always looked at like, 'Oh it must be a one time thing,' or a stereotypical role.
I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.
When the script of 'Nine' came along, I saw that there's a possibility of making something that is genuinely new and entertaining at the same time.
I act, produce, and direct. They are three different jobs all within the same realm of creativity. I enjoy all of them equally, but ultimately, I'm an actor.
If people say Rani Mukerji recommended me, than I have no issue. If someone says that, then I enjoy that kind of news. I don't mind people writing such stories.
Acting in two films would mean four months of the year, which would leave eight months for me, and if Bollywood needs that time from me, I am ready to give it a shot.
Directing Mr. Mohanlal was a delight. He's completely there and wanting to know what you want him to do. He's very keen on making sure the director's vision is realised.
I've done more than 100 films, which is a sizeable chunk of life in cinema, so if something can startle me, then I think we can say we're looking at something fairly new.
For most people watching 'Aiyyaa,' what I am down South or what I have achieved does not matter. They are going to look at me as an actor who they will see for the first time.
We have always wanted to give back to cinema, and we couldn't possibly think of a better way to do that than facilitate films which we believe will make Malayalam cinema proud.
Failure is easy to handle because once you fail, the options are very simple... like, 'Try something different,' or, 'Maybe if you do the same thing, do it in a different way.'
Every film, regardless of being a success or a failure or anything in between, teaches you something. You might not sometimes realise what it taught you, but down the line, there would be a lesson in it.
Success comes with a baggage. When you are successful, there is a lot of temptation to not foray outside of your boundaries and just stick to what is successful. It is very tempting because it is very easy to do.
Even as an actor, much before I turned director or producer, I was somebody who was very involved with every film I was doing. I would pretty much be a part of a project from the time they toss the ball to the marketing. It's very simple.
The biggest challenge Malayalam cinema faces is territorial. We operate within a small territory in Kerala, and the Malayalam diaspora across the world in comparative terms is quite small. But we have world-class talent in terms of technicians, actors, and writers.
Though Suparna is a Malayali, she has spent a large part of her life in Mumbai. She's a Mumbai girl. In fact, I saw the real Mumbai through Suparna's eyes. Of course, I knew Mumbai before I got to know Suparna. But it was Suparna who showed me sides to Mumbai I had never seen.