Quotes About Films

As long as I am acting, I will do only Telugu films. I want to take Telugu films to the world. Everyone should talk about our films.

I just can't stop doing Telugu films just when I have started speaking a little better Telugu.

Some of my scripts need the larger catchment area of Bollywood. But some suit Telugu films.

I've done a host of Tamil and Telugu films, a Bengali one, too.

It's been a long and wonderful journey for me but feels like it was just the other day when I started my career in films. I am very grateful to this wonderful Telugu cinema industry and the audience for all the love and unflinching support without which it would not have been possible.

I am getting good roles in the Telugu film industry. And people are also liking my work. I dub the films myself and this makes a huge difference.

I've acted in Hindi, English, Tamil and Telugu films.

'Jolly LLB' is one of my favorite movies. Courtroom films are rare to come by in Telugu.

Bollywood is a different ballgame. I am quite used to Tamil and Telugu films.

For some reason, I shied away from watching Telugu films but now I am hooked to them.

I can never take a break from Telugu films, because they have given me a lot of recognition. No matter how busy I am or the number of films that I do elsewhere, I always keep my schedule free for at least two to three films in Telugu.

I want to do more Telugu films.

Since my childhood, I have been watching Telugu films. It was always my dream to make it big here.

My family loves watching dubbed Telugu films and they are huge fans of Mahesh Babu, Prabhas and Vijay Deverakonda.

Soon after 'Paruthiveeran' I was flooded with scripts that were almost the same as the award-winning film. I had offers from Malyalam, Telugu and Kannada filmmakers. But I had to be firm and in fact I realized that now I had to be more careful with my choice of films because I have raised the audience expectations.

I wish all our Telugu artistes get more opportunities in our films. Though talent has no boundaries, we should see that our artistes don't fade away.

As we gather in all the scenes that satirize Hollywood aristocracy, we realize that commercial films that presume to instruct society on how to solve its shortcomings are certain to be false. For, with few exceptions, most filmmakers, like Sullivan, are not interested in the suffering poor as much as the picturesque poor.

All fine films, novels, and plays, through all shades of the comic and the tragic, entertain when they give the audience a fresh model of life empowered with an affective meaning.

Films are no longer concerned with the silence of God, but with the chattering of men.

Unlike modern films where superstars dominate every scene, the Hollywood films of the golden era have depth in writing and casting, so the story can resonate with more than one tone.

The world of French crime films is a particular place, informed by the French love for Hollywood film noir, a genre they identified and named. But the great French noirs of the 1950s are not copies of Hollywood; instead, they have a particularly French flavor.

Buñuel's films constitute one of the most distinctive bodies of work in the first century of films. He was cynical, but not depressed. We say one thing and do another, yes, but that doesn't make us evil—only human and, from his point of view, funny He has been called a cruel filmmaker, but the more I look at his films the more wisdom and acceptance I find. He sees that we are hypocrites, admits to being one himself, and believes we were probably made that way.

Sometimes a catalyst is situational, made up of a series of incidents that add up over a period of time. This sort of catalyst is rare, because hinting at action is usually not a strong way to start a story. Three films that have situational catalysts are Tootsie, Back to the Future, and Some Like It Hot. Tootsie, for instance, introduces the New York theater world, showing how difficult it is to get a job.

The midpoint scene occurs just where you'd expect it—about halfway through the script. Syd Field, in The Screenwriter's Workbook, says that it divides the story in half, introducing an event or line of dialogue that helps structure Act Two. In my work consulting on more than 2,000 scripts and teaching many of the best films, I don't find a midpoint scene in every film. But when I do find one, it functions as an excellent tool to help structure a difficult second act.