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.
With 'Daud,' basically, I wanted to make a very 'Mad Max' kind of a film: that was my original intention.
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.
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.
'Bhoot' is a hold-on-to-your-seats horror film, while 'Darna Manaa Hai' is a hold-on-to-your-popcorn horror film.
I understand emotions more than anyone else. I study emotions like a biologist studies various species.
I think a lot before tweeting. I show it like I don't, but I do. Sometimes I don't mean it, sometimes I mean it, and sometimes I like to provoke a reaction from people. I enjoy reactions from them.
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.
'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.
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.
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.