A Quote by Akkineni Nagarjuna

Audiences don't come to theatres going by reviews. Even if a film is rated low, the collections won't get affected. — © Akkineni Nagarjuna
Audiences don't come to theatres going by reviews. Even if a film is rated low, the collections won't get affected.
Balaji has always had great market presence, be it in film or television - everyone was talking about the titles, about what happened on the sets, even the most bizarre and outrageous things are out there to be judged by audiences who inevitably decide to come to the theatres to watch our film.
I don't read the reviews because it somewhere affects my work. If some critic doesn't like a movie, I can't keep his criticisms in mind the next time I am making a film. Even if someone writes a great review about my film, I don't want to be affected by it.
Your film really needs to call audiences to theatres.
Every year I tell myself that I’m not going to read any reviews and then I do. We’re all human and when I read something negative it hurts. I think when you write it’s part of the game, you’re going to get some good reviews and some bad reviews and that’s how it goes. I don’t write for the reviews.
Every year I tell myself that I'm not going to read any reviews and then I do. We're all human and when I read something negative it hurts. I think when you write it's part of the game, you're going to get some good reviews and some bad reviews and that's how it goes. I don't write for the reviews.
It doesn't matter how big the film is - if the story is not good, it will not be accepted. Stardom can maybe pull audiences to theatres but beyond that it is all about content.
It takes a while for audiences on film to see you as something different if they've seen you for so long as a specific character. It's up to the actor to be like, 'Look man, let's try something else,' even if it's an ultra-low-budget independent. People who rep you will keep going with whatever they can send you on.
A program can be considered a success even if it is low-rated.
With feature films, it's a one-time judgment once your film is premiered. Reviews, box office, and then you move on to the next project. With TV, you are being rated and judged weekly for an eight-month stretch.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
I don't pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.
Regional theatres don't patronise their audiences, and they're not afraid to do big, bold things.
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