A Quote by Y. G. Mahendran

When it comes to Vijay Antony, he's very calculative and is ready to go to any extent for the success of the movie. — © Y. G. Mahendran
When it comes to Vijay Antony, he's very calculative and is ready to go to any extent for the success of the movie.
I play important roles in Vijay Antony's 'Saithaan,' 'Kadamban' and 'Vijay 60.'
I'm not a Kamal Haasan or a Sivaji Ganesan, I know I'm Vijay Antony.
Yes, I am passionate about films but along with passion I am very calculative. When you put your hard earned money, you have to be calculative.
We live in a calculative world and have a calculative mind, and in such a world, ego dominates.
Vijay Anand's death marks the passing away of a true, original mind. Vijay had charisma and cinematic dazzle. He was the first who gave Indian film directors the status of a star.
Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.
Success treads on the heels of every right effort; and though it is possible to overestimate success to the extent of almost deifying it, as is sometimes done, still in any worthy pursuit it is meritorious.
I don't think that the movie industry is any more ready than any other part of the information industries to adapt itself to the information age. But it's going to go there one way or the other.
These two rational faculties may be designated the Scientific Faculty and the Calculative Faculty respectively; since calculation is the same as deliberation, and deliberation is never exercised about things that are invariable, so that the Calculative Faculty is a separate part of the rational half of the soul.
Be ready to revise any system, scrap any method, abandon any theory, if the success of the job requires it.
In a T-shirt and basketball shorts - that's just my go-to: I'm ready for a workout. I'm ready to go play basketball. I'm ready to go dance. I'm ready to go into the studio. It's my getup for anything. I can get it dirty, which is fine. I can sweat in it; it's fine. It's nostalgic because it's what I wore every day as a kid.
In Raja Chanda's 'Ley Halua Ley,' I essay Locket's miser husband, who is suspicious of his beautiful wife. He is ready to go to any extent to protect his wife. The script of this film is hilarious.
Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, oh!, and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.
Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, "oh!", and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.
In the old days it was important, but not as important as it is today, to keep making success after success after success. It's terrifying today. You can maybe have one so-so movie but you've got to come back with another that's huge, if possible, and that must be very, very difficult for young talent.
I am a very calculative producer. I make films like business.
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