A Quote by Varun Dhawan

People think the effort is less in popular commercial cinema, but that's not true. — © Varun Dhawan
People think the effort is less in popular commercial cinema, but that's not true.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
Generally, we tend to believe that royalty is only for mainstream Hindi commercial cinema music and maybe some popular ghazal singer or pop singer but we never think that classical music is played at so many places.
The third line of cinema today is neither art nor commercial but categorized as good and bad cinema. I think two films - 'Main, Meri patni aur Who' and 'Main Madhuri Dixit Banna Chahti Hoon' were the base films for this new line of cinema.
American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.
People think of politicians having true power, but that's less and less true. After all, they are often constrained or being edged into a corner by a whole series of contingencies.
Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.
What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
I think the 'New York Times' reviews overall tend to overlook popular fiction, whether you're a man, woman, white, black, purple or pink. I think there are a lot of readers who would like to see reviews that belong in the range of commercial fiction rather than making the blanket assumption that all commercial fiction is unworthy.
Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.
When I get saturated by commercial films, I'll probably do another film like 'Siskiyaan.' But yes, as a viewer, I really enjoy commercial cinema; so obviously, as an actor, I would love to be a part of one.
I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
The best results are achieved by using the right amount of effort in the right place at the right time. And this right amount is usually less than we think we need. In other words, the less unnecessary effort you put into learning, the more successful you'll be... the key to faster learning is to use appropriate effort. Greater effort can exacerbate faulty patterns of action. Doing the wrong thing with more intensity rarely improves the situation. Learning something new often requires us to unlearn something old.
I am hard put to think of a single positive thing that commercial Hindi cinema has achieved.
People in Kolkata know me well for both commercial and art cinema.
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