A Quote by Mohanlal

Every actor, director, and producer want all their films to do well. So you choose the role carefully, listen to the script, and work hard. But there is no way of predicting whether it will be a hit or a flop.
I realized that I need to protect my films because the director will move on, the producer will move on too, but as an actor I will be considered a flop if things will not work.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
The poor show of a film can be crucial in an actor's career. Maybe that is why some actors choose to act in a lot of films, so as not to be affected by a single hit or a flop.
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.
I choose my work very carefully, always for the script and the director, and I don't think that's going to change. My work is like a house. It's built on very strong poles.
It's only when a project or film doesn't work, that you think about what you could have done differently - whether you chose unwisely, or was there something in your application in that role, as an actor, as a director or as a producer, that you could have done better.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
My passion is becoming involved in good work, whether that means as an actor or writer or director or producer or all - that is not as important to me.
I need a producer who will look for a good script. I need a director whose purpose to make a film is not for his survival but because he loves making films.
You can never predict a hit or a flop, but it's about what you are happy doing as an actor. Every actor comes with his or her own mindset.
I will always choose to work in a movie based on whether I would want to watch it - if I would be willing to spend money in a theatre on it. The script and the people you will work with come after that.
I just want my films to work. The hit or flop verdict really affects me. I seriously analyse what went wrong if a film turns out to be a dud!
To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it's a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.
I feel that, irrespective of a hit or flop, there's always pressure on an actor. When you give a flop, there's a pressure to ensure that the next film works, and when you give a hit, you want to keep it going. So, the pressure of success and failure is always there, and that's what keeps me going.
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