Quotes About Interpretation

When people walk in a room, the way they sit or they talk, that itself tells me a story.

You don't eat a painting of an apple; you don't find it morally good. Instead, it tells you something strange about apples in themselves.

While I can't speak Telugu, I do understand the language.

Speaking in broken Telugu is one thing, and dubbing is another.

Coming from the Malayalam sets, when I went to Telugu, people told me that I wasn't acting and that it felt dead. It was very subtle in Malayalam, while it is slightly dramatic in Telugu. It is quite fascinating to understand what each industry expects of you and work according to that.

Our idea to remake the Malayalam 'Premam' was not to make a better film than the original film or correct the mistakes they made or perform better than that hero. The soul of the Malayalam movie was taken and changed a bit to match with the Telugu sensibilities so that our audience can enjoy the movie.

When I am in Mumbai, I am called a director. In Chennai, I am called a hero. In the Telugu States, I am called a dance master.

I may not write poetry in Telugu but I need to get the nuances right.

We must interpret a bad temper as a sign of inferiority.

There are the tears of rage when books get praised when they're so obviously garbage. But then there are so many more that continue to move me: the end of 'Paradise Lost,' 'The Ruined Cottage' by Wordsworth, Prospero's 'Our revels now are ended' speech near the end of 'The Tempest.'

When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.

The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.

I never liked the way the professor used the books — zeroing in on "the text," raking and raking, sifting and sifting it through narrower and narrower filters.

News in not what happened but a story about what happened.

John Cleese, in a clever, funny talk he gave on creativity years ago, said you also need a sense of humour if you want to be creative. You can't manufacture a sense of humour, but if you don't have one, then you might indeed be better off reporting facts. Art is not about reporting.

Nowadays people's visual imagination is so much more sophisticated, so much more developed, particularly in young people, that now you can make an image which just slightly suggests something, they can make of it what they will.

And that was when I came to realize that what is important is not what is true, but what people believe is true and what they're willing to do for that belief.

consensus was that Wright didn't see as much as the camera lens;

there," Dan said.

I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.

We may feel good about our words our intentions and our motivation may be pure but our message probably will be lost or misunderstood if we overlook how others are going to perceive what we say.

The gods of yesterday become the devils of tomorrow.

The time is not come for impartial history. If the truth were told just now, it would not be credited.

The paradox of hell, as the most contradiction-filled one of all, will in all likelihood be patient of no exposition but the most contradictory.