I am a bad boy. I don't come across clearly to a lot of people, so I am bad for them.

I enjoyed working on 'Maheshinte Prathikaram.'

For me, 'Diamond Necklace' is a commercial attempt, as it has songs and glamour.

I don't know how to be professional. But I always enjoy what I do.

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.

Whenever I have really enjoyed being part of a film, it has worked well for me.

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.

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.

I know it's a big gamble, but I want to do good films.

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.

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.

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.

I love the forest. It is the place where you hear yourself better.

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.

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 like movies made by Spike Lee - doing those films out of the U.S., that is really daring.

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.

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.

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.

It is easier to produce a film on your own than convincing another person to come on board.

All I believe in is, you need to be yourself.

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.

I've done only things I've liked, and I'm happy that others have liked them, too. I hope it keeps going that way. But l would never want to do films which please just one set of audience; they should connect with everyone.

Offscreen, I'm a private person. I'm shy and don't know how to face the public.

I'm not a person who goes out of my way to change my look. I like my characters to look as natural as possible.

It feels good to hear good things about yourself.

I've always wanted to do a role based on a real-life person.

I think it would be a dream for any actor to play someone like Changampuzha.

I am a person who doesn't like responsibility of any kind. But I do enjoy what I do.

I'm an actor who evolves once the shoot starts.