Quotes from Joy Mathew

I was really surprised to see how critical the Malayali audiences are. It is really overwhelming that people genuinely want good scripts and do not miss a chance to applaud good scripts.

Cinema is ultimately a work of art, it is all about sound and visuals.

I keep getting advice on the social media that I should be selective in accepting roles. But, as an actor, I get attracted to every role I'm offered.

It is very easy to make an art film. They are an exercise in self-deception.

As an actor, you are used to portraying other characters. You can pick up any mannerism or body language that suits the character. But to be yourself and not look pretentious is a difficult thing to do.

I don't classify film people into old and new gen and so get along with all.

An artist or a writer can boast about working for himself, but it would be highly irresponsible of a director to say such a thing as the sweat of many people is involved in realising his dream and he should respect that.

I did the good priest and the bad and felt that I am getting stereotyped in priest roles. I am not picking them anymore.

The public should want to see a movie and it should entertain them. If it fails to do so, it is not good cinema.

You know, for me, Facebook is now what Manachira ground in Kozhikode used to be. A meeting place of friends. It is where I speak up, listen to, quarrel and make up.

I always say that you get to see a 'Malayali' only in the Gulf. Even in Kerala, you will only see somebody from Kozhikode, Alappuzha, or Kollam, never a quintessential Malayali!

In college I received the Best Actor award for four consecutive years under Calicut University.

If your film is honest, people will accept it.

I never thought that 'Shutter' would have as many remakes when I conceived the film all those years ago. It is nice to see a film that I made talking so many different languages.

Our films appear to have become realistic once again. 'Thondimuthalum Driskakshiyum' is a fine example. I am glad that I could also contribute to this phase of Malayalam cinema with 'Shutter.'

Johns will give me a good critique of my work. Before starting my film 'Shutter' I gave the script to Johns for his opinion.

I took to cinema because I found cinema was the medium for what I wanted to say through 'Shutter;' it was something beyond the scope of a play.

It was Ranjith who inspired me to be a film maker. And ever since I began the shoot, he is keeping a track of the progress. In fact, he knows the script of 'Shutter' better than me.

We received our initial inspiration from our family, as from childhood we exhibited an inclination towards art. While Johns randomly drew pictures, I used to present dramas for my siblings. But when we grew up, we both got addicted to our interests and it was fueled by political activism.

Let's just say I get along well with the youngsters. Working with them energises me, and I find that I have a lot to learn from them.

It was during a drive together that I first conceived the story of a teenage girl and a friend of her father's. That was how we decided to make 'Uncle.'

Mammootty came on board unexpectedly. 'Uncle,' which I am co-producing with Sajai Sebastian, was meant to be a low-budget film and we had almost cast another actor in the titular role. But, during the shoot of 'Puthan Panam,' I narrated the film's plot to Mammootty, who liked it and wanted to do the movie.

I do my social networking while I travel.

I was never after celebrity status.