A Quote by Dulquer Salmaan

I have always believed if the intention is right, it'll be a good film. — © Dulquer Salmaan
I have always believed if the intention is right, it'll be a good film.
I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.
We call an intention good which is right in itself, but the action is good, not because it contains within it some good, but because it issues from a good intention.
In fact we say that an intention is good, that is, right in itself, but that an action does not bear any good in itself but proceeds from a good intention. Whence when the same thing is done by the same man at different times, by the diversity of his intention, however, his action is now said to be good, now bad.
No matter how big or new they are, I always look for the intention of the filmmaker first. Their intention has to be in the right place.
I just love good movies. And not every movie you're going to end up in is always going to turn out right, but at least walk into it with the right intention.
My intention has never to commit something wrong and I have always believed in abiding the law.
Whenever any person in the creative field does a film, they think it is going to be of good quality or this is something people will like. The intention is always positive.
The most important thing, to me is the intention of where things come from, like, why did you use it? What were the intentions of what you did? And if the intention is good, the intention is pure, then everything will turn out good.
I believed in a good home, in sane and sound living, in good food, good times, work, faith and hope. I have always believed in these things. It was with some amazement that I realized I was one of the few people in the world who really believed in these things without going around making a dull middle class philosophy out of it. I was suddenly left with nothing in my hands but a handful of crazy stars.
Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.
I have always believed that the choice of your second film is as important as you first film.
Another thing that's good about writing to describe a situation or a state of consciousness is that you can finally get it right. That was my intention, and that's always interesting.
I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.
It wasn't really my intention to make movies quickly - it's more to do with the reality of the Japanese film industry. That's been the only way for me to change my situation; to prove how little time you need to make a good film.
My dad's era believed that there was something noble in being a good guy - the kind of guy that lived straight and narrow, told the truth, and stood up for what he believed was right.
I was the enemy of the major studio. I believed in one man - one film. I believed one man should make the film. And I believed the director should be that one man. One man should do it - I didn't give a damn who. I just couldn't accept art as a committee. I could only accept art as an extension of an individual.
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