A Quote by Ram Charan

I don't run after successful directors. I give importance to the content of the film. — © Ram Charan
I don't run after successful directors. I give importance to the content of the film.
I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.
What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.
Directly after Rock Hudson's death came the fears that gay writers and actors and directors would be denied jobs; who knew if they would live long enough to finish a feature film or television series? And would the unions force directors to give blood tests and ban actors who tested positive?
Make content that makes you happy. Do whatever you want. Don't run after expensive things. Good content and subject will get you viewers.
All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They're obliged to overstate their own importance.
The purpose of making a successful film is to blend entertainment with social content.
When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with my characters], book after book.
If the incumbent or his party has been discredited sufficiently, the challenger can run a successful, content-free campaign.
Like Dilip Kumar, I've never run after money but only after good roles and that's why have always rebelled against those directors who wanted me to do buffoonery in the name of comedy.
Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of.
I am tired of kissing on screen. I have to do it because it is synonymous with me. Also, the producers and directors want to add that element. I don't give it too much importance.
After 1999, I thought that I needed a break. As a senior composer, I didn't like the trend of three music directors working on a single film. But after a few quiet years, I was back for good.
I am not doing comedy because the genre is successful. If that was the case, I would have done a run-of-the-mill comedy film. I set my own trends. I like to give something new and different to my audiences. I want to do the kind of comedy that has been missing till now.
There are two types of directors: the directors who take and directors who give.
The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.
The Mumbai film industry has definitely a bigger reach. But considering the rich content of work in many Bengali films, even by new directors, there has to be a better financially backed distribution model for films here.
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