I have learnt the hard way that ignoring a small fry can be many times harmful.

Everyone knows about Amitabh Bachchan being a legendary actor, and I had this sense of arrogance that I can make him do what I want. But what he did on locations completely blew me away. I realised that I understand the quality of performances even more after seeing him perform.

Following the West is not surrendering. Following the West, the best of the West, is following originality.

In Telugu, I have 'Bejawada Rowdilu,' a movie on the gang war culture in Vijayawada.

Any film I make, my intention is always to make people like it.

My favourite virtue is not having any.

Language is just a communication tool; it is the content that decides the fate of a film.

It is stupid to think the audience is a bunch of fools who can be manipulated by long titles and NRI romances.

When I have a new idea, I'm charged up and want to start the film immediately, but I simply don't have the patience to wait for stars.

I wrote 'Kshana Kshanam' with the one and only purpose of impressing Sridevi. 'Kshana Kshanam' was my love letter to her.

I don't want to answer questions about my favourite food or holiday spot.

I hate the word 'break.' It's just a business deal at the end of the day so there's no such thing as giving a break.

I like people who have clarity about their work.

To see Sridevi making tea in Boney Kapoor's kitchen was a huge letdown. I won't forgive him because he brought the angel down from heaven to the kitchen of his apartment.

Even the biggest flops have been liked by a few select people.

With 'Daud,' basically, I wanted to make a very 'Mad Max' kind of a film: that was my original intention.

'Not A Love Story' is inspired by true events, but it is not based on those events completely. When I first read about the Maria Susairaj case, I was fascinated with the psychological aspects, that two seemingly very ordinary people can go completely berserk.

I despise all those who fight for peace. It's only the bad guys and the troublemakers who create entertaining and history-changing events.

The thing about audiences is that we can't generalise them. It's very unfair.

I always had a fair share of hits and flops.

It is none of anyone's business how I make my films or my creative partnerships.

I never think of a film after I finish it.

The point is that a filmmaker is like a journalist in projecting reality in the true sense of the word. Only thing is he dramatically packages it to make more effect.

The whole idea of making 'James' was to make an action film in the style of the 1970s and '80s.

Maybe 'Bhoot' wasn't scary for me because I made it.

The problem is I don't have respect for the films I make after I've made them. I detach myself and get embarrassed when I watch them later.

Any film, whether it worked at the box office or not, I'll have my favourite moments from it.

Let me put it this way: if 'The Godfather' hadn't been made, 'Sarkaar' wouldn't have been made. That is the truth.

In the business of entertainment, either I am able to create an effect that impresses people or not.

Ultimately, cinema is an actor's medium.

If 'Bhoot' was called 'Man Ke Rishte,' no one would be interested. The title is a very essential part of a film. It subconsciously prepares the audience as to what they can expect.

I have become a full-fledged producer. I spend a lot of time on pre-production work.

'Bhoot' is a hold-on-to-your-seats horror film, while 'Darna Manaa Hai' is a hold-on-to-your-popcorn horror film.

I honestly feel it is important for a director to get obsessed with the characters.

My greatest dream is to make a film on 'The Fountainhead,' which I have been restraining from doing because it is so much in the mind, and I am yet to be able to decode that.

I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?

With my films, I'm targeting the urban multiplexes, the sophisticated media-savvy young crowd.

'The Godfather' has been a film which has influenced me a lot.

First of all, 'Sarkar' is not an underworld film. It's about a man at the head of a feudal set-up in the middle of a cosmopolitan city, where he almost runs a parallel government largely due to his personal charisma. And the film is about his friends and enemies and his family.

I would say that if a man like Balasaheb Thackeray can exist, 'Sarkar' can exist.

Prior to the 2014 General Election, the country was passing through a phase of uncertainty. After the elections, my government assumed charge and vowed to build a New India. A New India with no place for imperfect, corrupt and inertia ridden systems.

My Government has not only enhanced the credibility and prestige of the passports held by the Indian diaspora but has also stood by them in their hour of need.

A Republic is its people.

Citizens do not just make up and preserve a Republic; they are its ultimate stakeholders and in fact pillars.

Our Constitution framers were men and women with great foresight. They understood the majesty of the rule of law, and of rule by laws.

A tradition I remember from my childhood was that when there was a wedding in any one family, the entire village shared the responsibility and contributed. Regardless of the caste or community, the bride became the daughter of not just a single family but of the entire village.

There are so many people and organisations that work quietly and diligently for the poor and the disadvantaged. We should also work with unity and purpose to ensure that the benefits of government policies reach all sections of society.

In pursuing the cherished goal of gender justice, to mention one example, the Supreme Court of India has always been proactive and progressive.

It is the duty of every parent, citizens, yours and mine to strengthen among boys the sense of respect towards women.

The pace of change and development in our country is rapid and appreciable.