A Quote by Vijay Sethupathi

When 'Pizza' released, I was a nobody. Initially, we managed to get only 100 screens. But, after its success, the producers of 'Naduvula Konjam Pakkatha Kaanom' got 150 screens and also released the film in the U.S. Now, distributors are keen to invest in my films because they feel I have face value.
In 2001 when 'Tum Bin' released we got 90 to 100 screens. India had around 1000 screens at that time.
You can make films, and often, they get released on four screens in the U.K. Although it's been interesting and good for you, if no one's seen it, what's the point?
There's never been a film with Dr. Martin Luther King, Jr. at the center released in theaters. Ever! One does not exist. You've only seen tele-films and stage plays about him. Yet, we have big screens biopics about all kinds of people. So, I think it's only right that there be a full-length feature about Dr. King. I don't think there could be enough of them, but there should be at least one. So, here it is!
What I try very hard to do is have an hour or so in the morning when I leave the house and don't have my phone with me. I'll go sit in a cafe and read and handwrite in my notebook and not be facing a screen. My head will be clear. I will be able to hear myself think. Because honestly for the rest of the day it's just screens, screens, screens.
Looking at virtual reality through computer screens, video game screens, and above all television screens is a denial of personality development. It's a denial of socialization, of expansion of vocabulary, of interaction with real human beings.
It's important for me to have different tiers of value for the art. Some of the silk-screens are really affordable, but I do have some high-end silk-screens that are several color layers and a little more expensive, and then I have the paintings that can get way up there.
Android phones are sold by dozens of hardware makers, the biggest being Samsung, Motorola, and HTC. There are lots of different form factors. Slider phones. Phones with keyboards. Big screens, small screens, midsize screens.
Initially, I had started doing theater, where the actor has a direct relationship to the audience. So, moving into film and television disconnected me. When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.
I think that we just take our time with everything. We don't feel that there's a rush to become something that we're not yet. We like to really feel things out and know what we're doing. We hadn't ever really played a lot of shows live after we released our EP, and that's when we started doing it - we started playing out live consistently right after we released our EP and we got a new drummer because Shannyn [Sossamon] had quit.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
I had actually sent an audition tape for Simon Pegg's movie 'Hot Fuzz,' which came to nothing. Four years after the film released, out of nowhere, I got a call saying the producers of 'Game of Thrones' wanted me to play Hodor after they had seen that particular tape.
My first film would have been 'Rough,' and it got delayed. 'Venkatadri Express' released first and became a big success. I signed 'Venkatadri' after 15 days of shooting for 'Rough'. I had lot of faith in the script, and I feel luck plays a major part.
The film producers have to understand that melody is the base of Indian music - they have to come back to that. Else, we'll have short lived chart toppers which dim on public memory that moment the film if off screens.
I remember till 997th film, but after that I got so busy with multiple projects; I'm not sure which one released as my 1,000th film.
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.
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