Gautham Menon Quotes

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There's nothing quite like a quiet corner in a coffee shop to gather your thoughts and begin writing.

I write linearly without knowing the full story. I discover it as I write it.

I firmly believe in copyrights and am put off by plagiarism.

All the women close to me - my mother, sister, wife and friends - are strong and independent.

Generally, I feel I'm cast aside because of the kind of movies that I make.

It's just that I can write something nice is what motivates me.

The music I listen, the book I read, and the people I meet; these are some things that keeps me going.

And I'm not homophobic.

Yennai Arindhaal' is perhaps the quickest film in my career.

If my tale has to revolve around a protagonist and there is action around him, I can only imagine him to be someone from the police or the Army.

I understand that bureaucracy, hierarchy and managing politics is not easy.

Most of the romance in my films has been inspired by my father.

I write my scripts on a whim, without worrying about plot points and graphs.

When people think I've lost it, I'll make 'Chennaiyil' and show them I've still got it.

What you feel about a film is what you feel when you're in love with a woman. You fight for her love and it's always a struggle... there are misunderstandings and you're always trying to prove that there's more to you.

I go straight into shooting with a script that's 80 per cent complete and I wait for my characters to grow on me before I finalise the climax.

I've portrayed cops as heroes for far too long, I think.

The only aspect I'd probably change in some of my films is the death of the heroine. I wish I'd kept some of them alive.

If I could talk in only one language for the rest of my life, it'd be Tamil.

I'm not a big fan of fantasy; I'd rather watch 'Desperate Housewives' than 'Game of Thrones.'

In everybody's life, there is love, there is sorrow, there is melancholy. And there might be danger as well.

If I am going to be afraid of the criticisms that my films get, I am never going to make films.

How the audience as a collectivity feels about a movie is important.

I don't read the reviews because it somewhere affects my work. If some critic doesn't like a movie, I can't keep his criticisms in mind the next time I am making a film. Even if someone writes a great review about my film, I don't want to be affected by it.

It is in college that one gathers confidence as the mind is open to ideologies.

I think I have made too many cop films.

Yes, I am nervous before a film's release and withdraw into a shell.

One reason why I've taken 11 years to make my second Hindi film is because I am comfortable working with the stars in the South, as they are with me.

In Mumbai, I feel like a stranger.

Ranbir was my first choice for 'Ek Deewana Tha.' I tried to get in touch in with. Forget about meeting Ranbir. I couldn't even meet his secretary. Yes, even the secretary refused to meet me.

Vipul Shah wanted me to do the Hindi adaptation of my film 'Kaakha Kaakha.' I declined the offer.

Though I'm happy with the response to the film, I've been hearing the feedback that 'Yennai Arindhaal' has traces of my earlier films. It was meant to be like that. Since it's part of a trilogy, hence the reference to the other two films in the franchise.

The lead character in 'Yennai Arindhaal' is like an extension of the protagonists of 'Kaakha Kaakha' and 'Vettaiyaadu Vilaiyaadu.'

Today, most big stars want scripts to be written in a particular way, show them in a certain light. They want people to like them for various reasons. It's all about how much people will like me in this film than about whether it's a good film or not.

Ekk Deewana Tha' will have a surprise ending to watch out for.

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

I would like to make a film in the four South Indian languages.

Even though I love Hindi films, I don't remember any backdrop visuals that are really striking.

The initial response to 'Yennai Arindhaal' was that it didn't have all the quintessential commercial elements, though I consider it as my most commercial venture.

The industry doesn't usually say nice things about my work. My films take a while till they are accepted as good and I think 'Yennai Arindhaal' too will go through that phase.

You need stars to create the buzz and bring audiences to the cinemas.

I would seriously love to do a Malayalam movie.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

I drove past one of the houses in Tiruvanmiyur and asked them if we could shoot there for 'Vinnaithaandi Varuvaaya' because it seemed straight out of the pages of the script.

Unless it's a song and something fancy, I would rather shoot on location.

I put my heart into 'Vaaranam Ayiram.' I lost my father when I began the film, and the tragedy turned my entire script around.

I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.

Even when 'Kaakha Kaakha' was released, there were people who gave it an average rating and said they couldn't figure out what was happening. Three days after its release, the producer called me and asked me to remove all of Jothika's scenes from the film. I told him; in that case, you can also remove my name from the director's slot.

If I know somebody's right about something I take it from them.

I do a film because at that particular moment, I want to make a film. It is my attempt at moving away from the ordinary.

I'm okay with suggestions but I want to do what I believe in, because I'm inspired by an idea.

I try to be a friend to my boys just the way my dad was with me. Subconsciously that reflects in my writing.

There are people who've told me cinema is a visual medium and you don't need to say so much. When I write the script, all these lines of what the characters are thinking are written. Once the film is shot and the lines are dubbed, I tone it down in postproduction if I feel it gets heavy.

I sneaked out of school to watch 'Nayakan.' I must have watched it at least 15 times at Anand theatre.

Nayakan,' 'Sathya' and 'Thevar Magan' are my biggest influences.

No matter how liberal or modern a family is, there will always be resistance when someone discloses that they are dating someone.

When I was approached to remake 'Vinnaithandi Varuvaaya,' I felt that it was a good way to reach out to a wider audience, every director wants that.

Even bigger directors like Mani Ratnam and Ram Gopal Varma have faced flak, that doesn't mean they've shied away from filmmaking.

I know how irritating it is when a producer puts his hand in everything.

Though I have an idea about the climax, it always changes when we start shooting.

I am not a singer.

It is difficult, but I definitely do want to make a film in Malayalam at some point of my life.

Whatever the script demands, I do.

Back in the day, I was keen on working on a film with the superstars - Mammootty and Mohanlal. But they wanted me to make a film with them in Tamil.

I am a romantic at heart.

I like to show love in a way that will bring a smile or a tear to viewers.

Minnale' was so earthy.

For a film like Vettaiyaadu Vilayaadu, I was particular that nothing should be revealed prior to release.

YVM' is a feel-good romance.

With Nani, what struck me was his confidence. It has been a revelation. Nani, the most confident actor and it is a pleasure to work with him. Will do a film with him anytime given a chance.

The Tamil audience is more receptive to unusual endings.

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.

I understand the angst of a filmmaker.

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