When I travel overseas on many occasions, I get pulled out because I may be buying a one-way ticket, I may be traveling with my sister and we have different last names. That's smart profiling. Just pulling people out one at a time when we have millions of passengers in random screenings I'm not sure is the best way to do it.
I'm not from a political family and didn't grow up dreaming of being George Washington. I started working in 8th grade and have held every odd job possible - working in a gravel pit, weighing big wheelers, ticket sales, data base management - but I knew if I worked hard and got experience, I could apply that experience to my next endeavor.
You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
Hollywood is a roulette wheel. Each project dictates what's going to happen for you next, and it doesn't really matter that your project is critically acclaimed or won awards or has fans worldwide. It's a matter of how many movie tickets and DVDs and on-demand movies that you sell.
People buy a ticket to see your show, so from the moment I get onstage, I can have no insecurities, because they're already there. You have to get people to listen. If they listen, everything's cool.
When a fan buys a ticket for a cricket match or a movie, he is not worried about the colour, creed, or religion of the person sitting next to him. If you look at any actor's fan base in India, you will find that they are from different regions.
There should be a flexibility on ticket prices in multiplexes.