A Quote by Angad Bedi

In Shoojit's films, there is no hero and villain. Every character has its own space and there is a social message in all of his films whether it is 'Vicky Donor' or 'Madras Cafe.'
'Vicky Donor' or 'Madras Caf,' John's films have been path-breaking. I have full faith in the script of my movie, and my director, too, is a debutante. I like the conviction with which they work, and that gives me a lot of confidence.
I have done several films and it is only if the character appeals to me, whether as a hero or as a second hero, that I go for it. That's been my attitude toward films.
'Vicky Donor' proved that the audience was waiting for well-scripted funny films.
I had some great experiences, but there were times when films didn't do well right, especially after 'Vicky Donor.'
You can't watch 'Daredevil' or 'Jessica Jones' or the Marvel films and not be aware that the villain has to be awesome. I've always wanted to have more space. And the scope, morally, is more broad for the villain than the hero.
Even though 'Vicky Donor' was a huge success, I have had one or two films which have not done well, but that's all right.
In feature films, I used to be the hero's friend, a regular character. In short films, I played the hero; I got roles where I could work on my character and performance. They made me aware of myself as an actor.
I have seen many festival films and I will be blunt, I don't think 'Madras Cafe' was ready for festivals.
I want to make films that are political and social. Films with a message or an idea. Films that dare to ask.
It is very difficult to make films like 'Madras Cafe' in India, given the diverse nature of the country.
The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'
We spend all this energy keeping our lives normal and safe and predictable, and the result is that our approved cultural safety valve is the movies. So in films, anyway, the hero is obliged to represent the continuance of social values and institutions, and his permission to act is much more seriously limited than the villain's.
Every villain is a hero in his own mind.
Every hero is the villain of his own story.
Every villain is a hero in his or her own mind.
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
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