I am a bad boy. I don't come across clearly to a lot of people, so I am bad for them.
Fahadh Faasil
I love the forest. It is the place where you hear yourself better.
I enjoyed working on 'Maheshinte Prathikaram.'
I have always maintained that the audience should take a call on this. Its up to them to decide whether they want to see a pirated version or not. They should understand the effort and amount of hard work that go into a film.
The closest encounter I had with films in my childhood was sitting on the lap of my father at a shooting set, and he would say 'rain,' and it started raining, and then he would say 'song,' and people started dancing. I thought I was sitting on God's lap.
The only thing my famous last name got me was a foothold in the industry. That was the easy part. The biggest problem is survival. As Fazil's son, I am expected to know everything - acting, dancing, horse riding... I am not trained in all these, and I don't think I ever will be.
For me, 'Diamond Necklace' is a commercial attempt, as it has songs and glamour.
It feels good to hear good things about yourself.
I am an actor, and I would like to reinvent myself through every character that I portray.
I'm an actor who evolves once the shoot starts.
If I do a film, I go to the place where it is based on, interact with people, and then, I believe, you pick up things without you even noticing.
Let me make something clear: I can't do anything in particular to make others laugh. I do what is necessary for a character. The body language of the character may make others laugh.
Failure is part and parcel of the process of experimenting with roles and films.
I have been fortunate to collaborate with people who have been open to discussion. If I tell them something, they have always explained to me why they want it the other way.
All I believe in is, you need to be yourself.
It's the failure of my debut film which made me an actor, which made me want to succeed in the industry. But that doesn't mean I regret whatever choices I've made over the years. No, not even 'Kaiyethum Doorathu!'
When you are talking about human emotions, stardom doesn't matter.
I feel that entertainment happens when fact and fiction is balanced.
I like movies made by Spike Lee - doing those films out of the U.S., that is really daring.
Whenever I have really enjoyed being part of a film, it has worked well for me.
I think everything is temporary.
I want to entertain viewers as much as possible.
I would like to do movies of all genres.
I would like to look funny on screen, doing comedy.
When I choose the scripts, all I look forward to is an impressive narration.
The five directors in '5 Sundarikal' experimented, and it was a very personal exercise. Amal, Anwar, Aashiq, and Sameer have done things that they have never done before. Debutant Shyju has also made a beautiful film.
When I began acting, my biggest fear was whether the audience will appreciate the kind of films I do.
I want my films to make money first. Awards and all can come later.
I don't expect to win awards while working in films.
I will continue to do films that excite me.
In Malayalam, I can improvise, and acting is easy because I think in Malayalam, but for 'Velaikkaran,' I had to prepare for a role, which is a first for me.
I listened to the script of 'Carbon' at the end of 2014. I liked it the moment I heard it. I wanted to do it.
Most of the films that I do help me learn something.
I try to choose characters that don't remind the audience of my previous roles. I make a conscious effort for that.
If I had my way, I want to do 15 films in a year, but I have realised I cannot physically do that.
All I want to do is to make movies that are appealing to people.
I know it's a big gamble, but I want to do good films.
My father hasn't backed me in any way, and I don't think anybody has backed me.
Working with Thiagarajan Kumararaja in 'Super Deluxe' was absolutely mind-blowing.
I thoroughly enjoyed shooting for 'Velaikkaran,' and I made a great friend in Sivakarthikeyan during the process. Also, it was wonderful working with director Mohan Raja. I have not seen a director who takes so much effort to get things the best way possible.
I wasn't really sure about the kind of films I wanted to be a part of. That's when I saw 'Aaranya Kaandam.' I was stunned; it was such a stylish film.
I often see only my mistakes. I always feel I could have done better. Every artist goes through it.
I never wanted to be an actor but ended up being one.
You can probably ask any actor: every time you start a new film, it's literally like your first movie. Everyone, regardless of the filmmaker being a debutant or a veteran, takes their time to settle down when you begin the shoot together. It's like all of us have moved into a new house, and we are setting up the place.
Mohan Raja is an interesting filmmaker. He is constantly, if I may use the word, contradicting himself. He explains a scene, and then he will try to break that and rebuild it. That, to me, is filmmaking. Every scene is constructed after a lot of discussions.
I have never been 100% confident that I am right about anything.
Every character, when it comes to a cinematic representation, gets complicated and layered. You are given a lot of dimensions than a single dimension to an individual. That's the main difference between seeing something out of the window and seeing something on screen.
It is easier to produce a film on your own than convincing another person to come on board.
My thought process is in Malayalam. So, every time I have to work outside Malayalam, the process is a little stressful. I have to translate my Malayalam thoughts into English and back to Tamil.
There are two kinds of films: the ones that are devoid of logic but can still hijack the audience, and those that can win them over with logic. Both kinds can succeed, and I like to work in both.
