A Quote by Naga Chaitanya

There is no safe zone now: whether it's commercial or experimental films, the audience wants content. Otherwise, they reject the film. — © Naga Chaitanya
There is no safe zone now: whether it's commercial or experimental films, the audience wants content. Otherwise, they reject the film.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
Content films necessary don't go by the content, they go by the emotions. Content films are about content whether you want to portray the content or sell it through humour, through seriousness, is a choice of the filmmaker.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
Now Kolkata audience loves to see films from Shinoprosad Mukherjee, Srijit Mukherji, Kaushik Ganguly. But I believe the industry still depends a lot on commercial films.
In Tamil and Telugu, I have to do mainstream commercial films. Irrespective of what I want to do, the audience wants to see me in that 'mass' space.
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
We see films all the time, whether they have access to all kinds of intellectual property or artifacts, and the one thing that they don't get is story. So I think whether you're talking about a biopic or an action film or a science-fiction film that has all the CGI in the world, if you're not trying to connect with an audience, it doesn't really matter.
I would say that all my films have more content than a 'content-driven film.' It is not easy to make such films.
Whether they're paying for it or not is not really relevant. They're investing a significant amount of time in our content. At some point, commercial opportunities will materialise for greater percentages of that audience.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films. I didn't make that money necessarily from the film business, but I eventually made a lot of money and that's what I do. Of course, I consider myself unbelievably fortunate, and I'm pretty content with my life.
I can think of films that I'm producing right now that are extremely hard-hitting, graphic films, that nobody necessarily wants to see, graphic in terms of violence, of adult content and racial and historical subject matter.
I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.
Even the multiplex audience wants this flavour. No big-budget film can be a commercial hit until it does well both at multiplexes and single screens. 'Ghajini' and 'Dabangg' are examples.
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