A Quote by Ayushmann Khurrana
To begin with, I always want to go for scripts that do not have a reference in Hindi cinema. If it is novel and unique, it definitely has a better shelf value.
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My dream is to become a director. I want to direct a Hindi film. I have two scripts ready. One of them is a fantasy-adventure, while the other is a thriller. I've assisted my brother Selvaraghavan, who's a well-known director in Tamil cinema. I've also made short films.
I do not want to be a part of Hindi cinema's rat race. But yes, if I get offers and characters which I feel would suit me as well as make some difference to me, I will do a Hindi film.
PK' is a very unique story. There are no benchmarks in Hindi cinema to give you an idea about 'PK.'
If you want to know who the oppressed minorities in America are, simply look at who gets their own shelf in the bookstore. A black shelf, a women's shelf, and a gay shelf.
Bachchan is the luckiest man on earth. No one knows the nuance of the Hindi language or can incorporate elements from stage on to the Hindi cinema the way he does.
I remember breaking the news to both my parents that I wanted to be a director, and they both looked very doubtful. They didn't know what a closet Hindi film buff I was. I used to dance to old Hindi films songs on the sly, so my decision to be a part of Hindi cinema was shocking even for my parents.
I believe in cinema! Unfortunately, 90 per cent of Hindi cinema is non-cinema. Only marketing works here. Even the item songs in these films are an extension of marketing.
I have always devoted time and energy to Tollywood because Bengal is very important to me. But I want to concentrate equally on Hindi cinema because that's where all the action is.
I was always smitten by the mainstream Hindi commercial cinema.
I did not want to do things the way they are usually done in Hindi cinema.
With repeated listenings, a piece eventually becomes its own being. I very often say to students that this is like meeting a person for the first time. When you first meet someone, you reference that person with others who are similar; but, as you get to know that person better, you begin to understand his unique qualities.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.
In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.
There are quality films being made in all languages, whether in Hindi cinema, Bengali or the south. Bollywood doesn't represent Indian cinema, per say.
I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I'm proud of, but I also want to make a living.
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