Ram Gopal Varma Quotes

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My journey to Sridevi started when I was preparing for my debut film 'Shiva.' I used to walk from Nagarjuna's office in Chennai to a neighbouring street where Sridevi used to live, and I used to just stand and watch Sridevi's house from outside her gate.

Sridevi is the most beautiful and the most sensuous woman God ever created, and I think He creates such exquisite pieces of art like her only once in a thousand years.

My favourite virtue is not having any.

I hate it that there are so many beautiful women in the world, and I can't have all of them for myself.

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

Modern warfare has become too techno-ish for my sensibilities.

'Satya' and 'Company' are two very dark and brooding relationship films; there was no hero.

'D' is about a guy who starts off somewhere, and he's a very thinking kind of a guy. He's not an emotional person; he doesn't react to situations. Instead, he's virtually choreographing the situations. So it's a development of a character.

I think every star was a new actor at one point of time.

A film, I feel, is a state of mind. A film eventually comes from an idea: based on an idea, you make a decision, and once you make the decision, you keep comparing everything to that, but don't question the decision itself.

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

You are likely to make more mistakes with a light-hearted film than a serious one.

I don't think I take risks. People think I do, but I don't. In fact, I think conventional-formula filmmakers take more risks than me.

Everything in 'Satya' was by chance. It was a film which just started evolving by itself. I just went mostly by instinct and kept on improvising on location, and the film just got made itself.

I have always put the same effort in all my films irrespective of their outcome.

Great films happen, and no one can make them on intention.

Since everyone has a mouth, everyone will have an opinion.

The people who work with me know how focused I am, and so I would advise people who are not concerned with me to rather focus on themselves instead of focusing on my focus.

I make movies on the subjects that excite me.

I make movies on gritty topics like crime, the underworld, and horror. I don't make movies with good-looking people in good-looking locales.

'Rakta Charitra' was more about human conflict than politics.

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

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

I don't work with anyone out of a sense of charity. I use people as long as they are useful to me.

I don't believe in gratitude.

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

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.

I always had a fair share of hits and flops.

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

I don't have the time to think about what someone else thinks of me because I'm busy making films.

I'm an atheist, and I don't believe in ghosts.

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.

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.

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 like people who have clarity about their work.

Everyone can have a crush on anyone, be it on a real person or a celebrity.

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.

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.

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?

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

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.

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.

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.

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

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

All my movies are copies of Hollywood, some of them pretty trashy copies. All filmmakers copy from Hollywood.

'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.

The shelf life of a specific film has decreased while the number of films required to fill multiplex cinemas has increased.

Today, filmmaking isn't just about shooting and releasing. You've to structure the marketing of a film.

Fundamentally speaking, bodies age; feelings don't.

Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.

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

I feel there are only well acted or badly acted roles and no such thing as a good actor or actress.

'Naach' doesn't have any of the traditional, conventional ingredients of a love story.

It's understandably obvious, when I was making 'Company,' of the underworld genre, people would compare it to 'Satya.'

When I believe in an actor, I believe there is something in that actor.

The industry has a standard way of judging actors: they do ten films, they get X price, and they get this number of awards, seen at page three parties and all that - that is how they measure success. I don't do it like that.

People favouring their relatives more than an outsider is what the biggest fight in democracy is, let it be in film industry or politics.

Our society has a mentality that elderly people pass on their wealth to their son or immediate relatives, and I think we all do it. It's a part of nature and is an exaggerated topic.

I feel that Sarkar is a realistic superman in his life.

I like to see women getting drenched in the rain. So to that extent, I like 'Barsaat.'

I don't think cinema is big or small. It's just good or bad.

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

I understand emotions more than anyone else. I study emotions like a biologist studies various species.

Many people don't understand that in filmmaking, if you make a fundamental mistake, everything goes wrong - but you don't realise it till the film is made.

When I was making 'Satya', many people said that nobody would like to watch such dirty people. But, when the film worked, the same people said it was so real that they could actually smell it!

In Tamil, three-hour films are normal.

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

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.

I have made only two films on the underworld. I am not educating the people on the underworld.

I hate Sridevi. I hate her for making me realise that she, too, is finally only just a human being. I hate that her heart, too, has to beat to live.

I have a habit of constantly dreaming and waking up every once in a while in the night to check out my cell phone, and I suddenly saw a message that Sridevi is no more... I thought that either it's a nightmare or a hoax, and I went back to sleep.

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