A Quote by Vetrimaaran

Every film that I make is an accident. — © Vetrimaaran
Every film that I make is an accident.
We take safety very, very seriously on every film I make, and that's why I've never had a serious accident or anybody killed when I make a picture.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
I put so much pressure on myself to raise the bar with each and every project. I treat it like every film is my last, and I make sure I pour everything I have into every film I make because if I'm not trying to improve, someone else will.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
I suppose I try to look for those things where the world turns on you. It's every automobile accident, every accident at a party, you're having a good time until suddenly you're not.
Some people are never content with their lot, let what will happen. Clouds and darkness are over their heads, alike whether it rain or shine. To them every incident is an accident, and every accident a calamity.
For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.
Every frame of every film is from a particular time. So, if you make a film in 2017, the times can't not have a bearing.
I have an accident about every two years, and one day it won't be an accident!
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.
Enlightenment is an accident, but some activities make you accident-prone.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
Actually the hardest films to make are comedies. In normal life, funny things happen by accident; to re-create those by design in a film takes real technique.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
Good films are not made by accident, nor is good photography. You can have good things happen, on occasion, by accident that can be applied at that moment in a film, but your craft isn't structured around such things, except in beer commercials.
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