A Quote by Aditya Pancholi

Initially, I used to say yes to any film without giving it a second thought, which I shouldn't have done. — © Aditya Pancholi
Initially, I used to say yes to any film without giving it a second thought, which I shouldn't have done.
There used to be times when I used to be bothered about box office, director, producer, the actress... If those ticks were marked, I used to say 'yes' to a film. Later on, my focus absolutely changed. Now if a character stays with me for two to three nights, I say 'yes' to the film.
Post 'Pink,' I don't have any film which I can pick out from my filmography and say 'It would have been better if I hadn't done this film.'
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
My first film was a big dud at the box office, and my second film did decently. I used to wonder how it would feel to have a hit film. I thought I'd be larger than life, but I'm not feeling anything I imagined. It's a completely different experience.
Composition is a process of combination, in which thought puts together complementary truths, and talent fuses into harmony the most contrary qualities of style. So that there is no composition without effort, without pain even, as in all bringing forth. The reward is the giving birth to something living--something, that is to say, which, by a kind of magic, makes a living unity out of such opposed attributes as orderliness and spontaneity, thought and imagination, solidity and charm.
You must give what will cost you something. This, then, is not just giving what you can live without but what you can't live without or don't want to live without, something you really like. Then your gift becomes a sacrifice, which will have value before God. Any sacrifice is useful if it is done out of love. This giving until it hurts - this sacrifice - is what I call love in action.
I don't know that a movie like Doctor Strange couldn't have been the second or third film we made. I don't think we're doing anything in that requires past viewing, as opposed to Civil War which we wouldn't have done as the first or second movie because so much of that film is based on the pre-existing relationships between the characters.
I know nothing more enjoyable than that happy-go-lucky wandering life, in which you are perfectly free; without shackles of any kind, without care, without preoccupation, without thought even of to-morrow. You go in any direction you please, without any guide save your fancy.
America will tolerate the taking of a human life without giving it a second thought. But don't misuse a household pet.
I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.
Other people have faces; Susan and Jinny have faces; they are here. Their world is the real world. The things they lift are heavy. They say Yes, they say No; whereas I shift and change and am seen through in a second. If they meet a housemaid she looks at them without laughing. But she laughs at me. They know what to say if spoken to. They laugh really; they get angry really; while I have to look first and do what other people do when they have done it.
Yes, Kishore Kumar inspired me, but there was no pressure. I used to copy his style initially.
I've done interviews in the past where, apparently, I didn't give the journalist any eye contact. I'm a bit shy, yes. I've thought about refusing to do any press at all.
I used to set out and do a film and say, 'This is going to be the biggest film I've ever done.' But that's not the right approach. The approach should be the work.
Initially when I got called up, I thought it would change my life. And it didn't. Then when I won the Most Valuable Player, I thought I'd be a Beatle and I'd be overwhelmed and not be able to leave my hotel room. I don't say that with arrogance, I say it with unknown.
As no good is done, or spoken, or thought by any man without the assistance of God, working in and with those that believe in him, so there is no evil done, or spoken, or thought without the assistance of the devil, who worketh with strong though secret power in the children of unbelief. All the works of our evil nature are the work of the devil.
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