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quote author=rk_theprince link=topic=msg#msg Vodka with Varma Ramgopal Varma Pdf Book, Telugu E Books, E Books PDF Downloads, Telugu Magazines, Telugu Magazines PDF Downloads, Ramgopal. Read Vodka With Varma book reviews & author details and more at lesforgesdessalles.info things which is already pre programmed in the society in his view is RGV.

Aftab asked. Much later, when I had a problem with R. I have been thinking about it and I think you are right. I know in my heart which individuals specifically lifted a particular moment in the film or the film in its entirety even. Since I am part of the film industry. My father had never smiled so brightly before.

The author went on to reach great heights in the music scene, up to a point where he shared a drink with the acclaimed director himself.

Vodka With Varma provides a behind-the-scene look at Varma. The director has been called many names in the past, such as cine terrorist, extremist and even psycho. According to Sirasri, the director has three shades within him: While writing this book, Sri attempts to decipher what Varma is like by what the director does not reveal in his interviews. For instance, much of the book looks at what thoughts others have of Varma. The author also examines questions such as why Varma preferred to be addressed as Ramu and not Sir and how Varma is able to control the media like a ringmaster at the circus.

Answers to these questions and more are described by the author in his book Vodka With Varma. Readers will also find rare photographs of the director.

This book was published by Emesco Books in and is available in paperback format. Sirasri born C Ram Srikanth is an acclaimed Indian lyricist, poet and author.

He has also authored Satha Kiranalu, an anthology of Telugu poems. He began his career as a lyricist in with the Telegu film Sneha Geetam. Sri first worked with Varma on the film Bejawada. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App.

Naa Istam - Ram Gopal Varma (Telugu)

Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Key Features: Read more Read less.

Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Guns and Thighs: The Story of My Life. Asamarthuni Jeeva Yaatra. Atadu Adavini Jayinchadu. Ayn Rand Box Set. Ayn Rand. Customers who viewed this item also viewed. The Fountainhead. Mass Market Paperback. Also how the film is eventually perceived by others.

After the attack. By the end of the year. But now. Saddam and his sons went into hiding. Whether his reasoning was correct or not. In the case of my video library business. It is another matter that the attendant might not even have known how to hold a bat.

Coming back to Chitti. So we both failed in what we intended but I succeeded by accident. If the bar had become a hit. The point I am trying to make is that apart from films.

Mahesh Bhatt said that Sunil Gavaskar once told him that if he failed in a match. But why I thought the library would be successful was not why it worked. I remember seeing Chitchor seven times somewhere in the late s or early s. So I explained to him that Basuji was a highly successful director who had made cult films like Chitchor. The secretary told me Manoj was out of town. I walked to the reception to see a gentle-looking elderly man and welcomed him into my room.

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Cut to twenty years later I was at my office in Mumbai. He was desperately trying to get in touch with Manoj Bajpayee. He smiled and told me that he was aware of it. I said I would and after hanging up called Aftab and said. So he had come to seek my help in accessing Manoj. Then a few days later Basuji called me and said. I offered him coffee and started telling him how I used to stand in line outside Ramakrishna theatre in Hyderabad to watch his films.

Aftab asked. I am figuring out how to get rid of him. Chhoti Si Baat and Chitchor. In the era of commercial formula films like Deewaar and Zanjeer. Basu Chatterjee wants to meet you.

I asked the receptionist. I came back and told Basuji. After a chat. His phone was switched off. I got a call from Basuji thanking me. Two days later. He said. It was sometime in Anyway thanks for whatever you tried to do for me. With a sigh of relief. So after a long pause I asked. I asked him if Aftab had come to meet him.

But a year later. How did that happen? It was simply because when it was released. I say this because a film in a true sense is a one-on-one experience between the filmmaker and each individual viewer. But was it because the audience genuinely liked it better than Satya. In the year Satya was released. Satya was taken off from the theatres on the second or third day in parts of UP and Rajasthan for lack of audience.

And then there are the thousands of people cinema gives a livelihood to—actors. So they must have finally seen it on video or cable.

This is how it happens. Coming to the creative part. By the time they heard about it. We keep hearing that 90 per cent of films are flops. The fact that a film has good collections does not necessarily mean people liked it more than films that collected less. Darr is a superhit for Shah Rukh and a super flop for Sunny Deol as far as their star branding is concerned. In the above case. This is the financial part of it.

Murli Mohan Rao. Now this would be a case of the film making money for everyone involved. There is the hardware of the film business. It only means that more people saw it. A film is made because the filmmaker has a story. So it registered a super flop in those areas. The buyer further retails it to various others for. Suppose you go to a crockery store to buy a dinner set. I will try to explain it with the help of an example. But if the distributor opens it in twenty theatres and it registers 50 per cent opening.

Going by his worldview. Anyone with a mind of his own will do the same with a movie. But eventually. On the first screening. I would define a film as a hit or a flop going by what the film cost the producer to make.

If a wholesaler or retailer tries to sell an Ayn Rand book to a Mills and Boon-reading public. You will check out the various designs available and pick the one you like best. A friend of mine called Naidu was taking me on his bike to an RTO office.

He looked at me as if I were stark raving mad. Even after finishing my civil engineering. I argued that a director does not need experience. My wife Ratna was really worried about her future with a guy as impractical as me. En route he stopped at a video library called Priyadarshini Videos owned by his friend. I wrote an article for his now-defunct newspaper Newstime. One fine day. He did not buy it. I started trying other means. One of the documents necessary for the purpose was an international driving licence.

He managed to get me a job paying 4. A few years before I decided to try my hand at film direction. I was completely disillusioned with the experience. My father was a sound engineer in Annapurna Studios in Hyderabad.

I went to him and declared that I wanted to be a film director. I was a bad student and had the reputation of being a useless bum. My salary as a site engineer was just per month and it was damn difficult to make ends meet.

The 1-kilometre walk I gave up the idea of being a director. He rejected my pitch outright on the grounds of my lack of practical experience. In order to somehow obtain access to him.

The editor was startled by the title. I managed an appointment with Ramoji Rao and pitched my idea of directing a film for him. Those were the days when video. I went to him and asked him for the shop for my video library. My father was planning to start a juice parlour there as a retirement plan. With my extensive knowledge about films. I told myself that just because my father was feeling disturbed was not reason enough for me to give up on a plan I believed would work.

But as I walked. I was checking out the cassettes and suddenly had the brainwave of starting a video library myself. I was confident of making a go of it. I decided that I would make a film myself with the profits I earned from the library. Logic prevailed by the time I finished the 1-kilometre walk. So I went about asking for loans varying from 1. So the choice was between making him momentarily unhappy with prospects of long-term happiness.

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The point I want to make is that the primary reason for my becoming a director was the unscheduled stop Naidu made at the video library.

One of my uncles had a shop in Ameerpet area. My father had apparently told him that what he had kept for his old age was also being demanded from him. I was so upset with this that I decided to drop the video library idea. Everyone including my father. The following night. He just kept quiet and I thought he wanted some time to think about it and left him. I started walking with tears in my eyes. My father had never smiled so brightly before. The video library was a huge success and started earning more than That was just enough for buying cassettes.

As Naidu was chatting with his friend. My father was nearing retirement and he was pretty worried about how to run the house. So I sat behind the counter of the shop for about eight months doing fantastic business. I believe. Once it started. I barely had a workable tapes. When I decided to start a video library with a capital of I went about trying to buy quality video films. The same people advised me not to do Aag and my various other failures.

Whenever life decides something for me. I immediately decide to use the turn of events in a certain way so that I always manage to come out on top. Now the same people said that these days everybody owned a VCR. My real success. So by the time I started my shop. I placed my trust in about twenty people I knew who had VCRs. I get a lot of unsolicited advice. Random things keep happening. The business grew to cassettes per day but those twenty never came and if some did.

My shop. So eventually. That was my first close encounter with the police and I made friends with. In starting my video shop. I used to narrate the stories of the films to my customers depending on their tastes. In due course of time. For my films. In the process. By the time Gopal was ready to shoot the film. Nagarjuna was pretty impressed with my narration skills and cinematic sense.

Movie House. I left my video shop to my staff and they cheated me royally and the business went for a toss. I thought this would be a great opportunity to be involved in a film. I slowly started developing a rapport with Nagarjuna who had started shooting by then. I happened to see his film Kaliyuga Pandavulu.

Within a few days. Since I had come in towards the end in Collectorgari Abbayi. So in the film industry. I thought maybe he knew what he was talking about since he was so successful and asked him if I could work on it. Gopal who was very busy with another film which he was finishing. As I was hanging out on the sets of Collectorgari Abbayi.

I had proved to be the worst assistant director ever. So Surendra asked me to lay off and just hang around the set without taking on any responsibilities. Mr Rao that said it sounded like an experimental film and had no drama in it.

As I was trying to rework it. Surendra started sending a car to pick me up. I asked him if there was any director I could assist. In the course of their script discussions with Surendra.

I immediately gave up the idea of being a story writer and went and told Venkat. I had gone horribly wrong. I used to come up with ideas and suggestions which visibly impressed all three of them. So I formally joined as fifth Assistant to B. My attitude and my speaking in English also understandably put them off.

He asked me if I could write a story for a hero to be told to Raghavendra Rao. Raghavendra Rao of Himmatwala fame signed up. By virtue of being free on the set. Venkat liked the story very much and took me to narrate it to Raghavendra Rao. So I went back and in about an hour. Mr Gopal and his assistants used to feel visibly uncomfortable with my proximity to the producers considering that I was merely a fifth assistant.

Once there. He signed Ganesh Patro as dialogue writer. By that time I had understood enough of how the industry operated. By that time he was keen to take a chance with me as a director. As this was going on. I offered to stay out. He took off on the stupidity of the scene when I stopped him and explained to him the whole point of the scene and how it should be shot.

ANR called for me and Surendra. Kodandi Rami Reddy in those days did seven—eight films a year. Tarani was initially very grateful to me as he knew that I was mainly responsible for Surendra taking him on as director. I slowly started influencing Surendra who wanted an established director for Raogari Illu to take on a new director with lots of experience instead. I digested this information and resolved to use it to further my end. But the problem was that it was I who had narrated the story to the actors and Tarani was shooting it differently without being able to tell them the reasons for the changes.

Mr Patro was only too happy to be saved the trouble. He told Nagarjuna. Little did I know how horribly wrong this would go. My heart sank as I was in no mood to wait that long. By that time. I could be a backseat director. He asked me to be present for the shooting of the scene. As an escape route. I could be part of all the decisions right from the beginning or. I narrated the story to Mr Reddy and Mr Patro. Venkat said they were shooting a film called Vijay with B.

Nagarjuna was positive anyway. But by the force of my personality.

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ANR was the star of the film and he kept a distance from everybody including Tarani. Collectorgari Abbayi was released and became a big hit and Nagarjuna was hot property.

They could think of giving me a film only after those films were over. So I manipulated Surendra to decide on Tarani. My agenda was that if he was directing. All the other actors like Jayasudha and Revathy interacted more with me than Tarani. Raghavendra Rao. Later that night I talked to Mr Patro and offered to go in his place. I suggested Tarani. I was ecstatic because this gave me a chance to get a ringside view of how an idea grows and shapes into a film. He was also very jealous of my proximity to the actors and the producer.

With that. The question was when. This created a lot of discomfort on the set. Tarani told him that the scene was conceived by me and approved by Surendra and that he was just forced to shoot it. They were taken by surprise, and waited for me to come back to tell them what the problem was.

I relied on the fact that Mr Reddy did not have a script sense and he also had a weak memory, and Mr Patro at any given point of time was busy with ten films and was primarily a dialogue writer. Leaving all three in a state of confusion, I went to Nagarjuna, who then used to live above the office, and told him that there was no script for the Kodandi Rami Reddy film and no way a script could come up in the given time.

Since my script was ready and he had decided to take a chance on me someday, why not take it now? He asked me about what Surendra might say.

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I went to Surendra and told him that since he would lose a project with Nagarjuna and not get dates with him again for quite some time, I would try and convince Nagarjuna to fit my film into those dates instead. When he agreed, I met Nagarjuna and told him Surendra was keen to do the film with me and I called Surendra and told him Nagarjuna was fine with doing my film. He was non-committal. In the morning, before Venkat woke up, I told Nagarjuna and Surendra that Venkat was very happy with the decision.

And after Venkat woke up, I took care that no two of them met each other without my being present. There were also some undercurrents among them, which I took advantage of by making each feel that if he opposed the decision, the other two would support me. Then I leaked out the news to the staff at the office. I told him that he should hurry up and break the news to Mr Reddy himself before Mr Reddy got to know of it from someone else, which was bound to create bad feeling.

So Surendra met Mr Reddy and told him. The news of Annapurna Studios dropping Kodandi Rami Reddy for Ram Gopal Varma spread like wildfire, since it was the first time a big production house had opted for a rank newcomer in place of the reigning director. I conned and lied to everybody concerned, but the one and only truth was that I genuinely believed that Shiva would be a far superior film to whatever Mr Reddy might make.

After the success of Raogari Illu, Tarani made a few flops and is now back to working as an assistant director. My friends Sridhar and Naresh, and I were the three most useless bums in our college. Every day, without exception, we used to watch movies and often the same movie repeatedly. So like vagabonds we used to hang out in the compound of Vijayalaxmi theatre, having tea and biscuits in the canteen and running up an account with the canteen guy who used to, both out of pity and irritation, give us sizeable credit, sometimes going up to The manager of Vijayalaxmi, who used to walk around the theatre, knew us by face as we were constantly there even during college hours.

His disgust at our complete lack of purpose was often clearly reflected on his face. One day, he told me point-blank that I should be ashamed of myself for behaving so irresponsibly, and advised me to think of my parents who were working hard and had expectations of me regarding a career, while I was neglecting my studies and wasting my time on movies instead.

For approximately two days, I was suitably chastened and then I was back at my vigil at the theatre. The manager was so irritated that he would look away whenever he saw me in the theatre compound after that and in time, he began to look through me as if I was not worth his time. For around four years, Vijayalaxmi theatre was a like a second home to me. Sometimes I used to be inside watching a movie, sometimes inside the compound looking at the posters, and sometimes at night when I had no money to buy a ticket, I used to stand at the back of the theatre to catch the soundtrack.

Years after I left Kamayyathopu and made my directorial debut with Shiva, I was invited by the distributor of Vijayawada to come and see for myself the crowd reactions, after it became a blockbuster. When I arrived there and asked him which theatres the film was playing in, one of the theatres he mentioned was Vijayalaxmi. I told him that I wanted to see Shiva there. Throughout the journey in an air-conditioned car from the hotel in Vijayawada town to Vijayalaxmi theatre, which was 7 km away, my mind was flooded with memories of how I used to travel in jam-packed buses on that road, and many a time walk because I had no money even to buy a bus ticket.

Meanwhile, the distributor called up Vijayalaxmi theatre to say that Ram Gopal Varma was on his way, and word got around causing a big crowd at the theatre. The owner of the theatre was there to greet me personally, holding a garland in his hands, and as I got down he put it around my neck and people started clapping. He had only known me by face and never in his wildest dreams would he have imagined that this hugely successful film had been directed by the same useless bum who used to hang around aimlessly in his theatre.

I smiled guiltily at him and as I was being taken inside, the owner asked the manager to get snacks for me from the canteen.

I turned back to look at the canteen, and the man who ran the canteen waved frantically at me over the heads of the crowd with tears of happiness in his eyes. I guiltily remembered the 40 I owed him of old. I told one of my guys to return his money and also give anything extra if he asked.

My guy later told me that he had refused, and he just wanted a picture with me. So I posed behind the counter in the canteen with him. As I left the theatre after watching the film, I looked around and spotted the manager in the crowd and walked up to him. He looked at me as if he was seeing a ghost. As I stretched out my hand to shake his hand, he hugged me spontaneously. That hug in the compound of Vijayalaxmi theatre was just about the biggest thrill of my life.

I continued talking to her mother with enormous respect and awe because she had actually given birth to Sridevi. Mr India made the audience discover a new Sridevi. Even though her acting prowess was evident right from her debut film. I started writing Kshana Kshanam. The way Sridevi had sat in front of me in the candlelight got imprinted in my mind like an exquisite painting. I would so often. I wrote Kshana Kshanam with the one and only purpose of impressing Sridevi.

My journey to Sridevi started when I was preparing for my debut film Shiva. So I was sitting in her living room in candlelight along with Gopala Reddy. I will die just to see her.

Her beauty and sex appeal were so overpowering that it took many many films and many many years for both the audience and the industry to recognize the actress in her. I went back to my place feeling like I was in the seventh heaven.

We went at around 7. As we were waiting. Every time she appeared and disappeared in a flash. Her mother told us she was busy packing as she was about to catch a flight to Mumbai. I used to desperately hope to catch a glimpse of her as she went in or out of her house.

And then. Kshana Kshanam. We were shooting for the climax of Kshana Kshanam in Nandyal. There used to be a crowd of at least For me. After the shot was done. The dust was kicked up by the thousands of people running behind her car. Throughout the making of Kshana Kshanam. For me she was the epitome of cinematic acting.

I finished Kshana Kshanam and then went on to make Govindha Govindha with her. Her popularity and stardom had to be seen to be believed. There were about fifty local toughs along with a strong police force continuously deployed to guard her. I hated Boney Kapoor for bringing that angel down from heaven to such an ordinary. I and millions of others had eyes only for her. So what if Boney has the real Sri in his house…?

I began to understand more and more as a director the nuances of her performances and characterizations. She had an invisible wall around her. When we were on location. Sridevi is one of the sexiest and most beautiful women God ever created.

I thank god for creating Sridevi. Well anyway. Her charm. Behind that wall. One day at the recording studio. They agreed. After twenty days of shooting for Nayak. I had worked with Ilayaraja.

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Sanjay got arrested in the serial blasts case and the film was shelved. After telling him the story of Rangeela. Before AR. I said to him that when animals have sex they are not ashamed or shy. That I think is the reason one tends to like his music more and more as one listens to it again and again. I bargained with them that I would sign Anu Malik for Nayak.

Once he went through the situations. That was the first time I heard of A. After the brief. Kreem and Raaj Koti. But my investors preferred Anu Malik. I was blown away by the sheer originality of the orchestration and tunes.

There was none of the arrogance or pride which success invariably brings out in people. They felt that Anu Malik was at the top of his form after Baazigar. Much later I made the same script as Sarkar. The visual of Urmila and Jackie circling each other in the Kuldhara ruins of Rajasthan in broad daylight was the key image I gave him. I gave him references of some Hollywood musicals. Kreem at that time. The very fact that AR had not been signed up by any top Hindi filmmaker after Roja was proof enough.

That is because his interpretation of the emotion of a situation was so originally captured in his tunes that they would take time to sink in for a conventional ear. What struck me first when I met AR was the incredible dignity with which he carried himself.

Not knowing the technicalities of music. It was just so very simply said. He captured the erotic intensity and the purity of its feeling in the beginning alaap. I would think the phenomenon of AR owes not only to his obvious talent but also to his incredible patience.

What I mean by aesthetics is. AR is the only artiste I have met. When he sent the track to me. Not just I. AR keeps revisiting his songs and effecting changes in them read sculpting and polishing. I mean that he never defends his work if it is being criticized. But when he finished the entire track with the orchestration.

Jai Ho! One other difference I have noticed between AR and other music directors is that whereas others pretty much dictate to the musicians and singers what they want.

AR interacts with them in a way that makes each and every one of them feel as if it is their song and not his. I can never forget AR saying to me in his studio. As I was playing the theme in my car over and over again. I have known many. I called AR and told him that it was not working. Whereas most music directors record the final track first with all the orchestration. He smiled and said. Until the time the tracks have to leave for the audio company. Most music directors forget about a song the moment they finish recording it and move on to whatever else they are doing.

He was recording the Rangeela theme in Chennai while I was shooting in Mumbai. AR invariably gets the singer to dub on a base rhythm track first and does the orchestration later. He looks at them and in a voice choked with emotion says that he will break their legs if they try to stop him.

The film that was playing was Khud-Daar and the scene at that precise moment was when Amitji comes to know of the lie his own brother has told him and barges into a discotheque where his brother is grooving away with a girl. The difference between Amitabh Bachchan and modern-day stars is that he never needed anything other than his incredibly emotive face to connect with the audience. As I looked at the faces of the people sitting in the theatre I could see a tremendous sense of awe.

Each and every one wanted a brother. There was an audible gasp in the theatre from the viewers as he said this. I as a film viewer. Women used to swoon over his romantic performances then. Each and every one of his viewers connected with him deeply through the characters he portrayed in his various films. If you ask any random man on the street. So what did they connect to? It was just the mix of his raw emotions of anger. As a teenager I have seen street goondas in the back lanes of Hyderabad imitating his performances in Kaala Patthar.

Old people back then wanted a son like him.

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As he shouts at the DJ to stop the music and looks at his brother in the far corner with hurt filling his eyes. Even after the volumes spoken about him and big fat books written on him. I think it is still very easy to underestimate his incredible influence and his unimaginable impact not only on cinema but also on the consciousness of at least a couple of generations of Indians. The interesting point is that nobody in that theatre could speak Hindi as Vijayawada is a Telugu-speaking town.

The older generation as kids loved him in Amar Akbar Anthony. I judge an actor by seeing what he does with what is given to him.. In all my association with him. Whether that was the reason or not. When he stands on the steps looking at Aftab taking Jiah away in the climax of Nishabd. From the time of being awestruck with him in Zanjeer. Inspite of my trying to explain. Similarly in Aag. Behind the obvious power and intensity. Listening to his thoughts made me see his incredible versatility both as a human being and as an actor.

As a director. Black and Bhoothnath. I doubt that anyone will remember anything beyond their hit songs. But the question is. Whereas if asked about any of the modern-day superstars. On the other hand. By that time my proximity to him had blunted my sensibilities as a viewer of his star performances. I started seeing a very different side of him too. The end product can sometimes look a mess. The viewer sees the final effect of that in the context of the film and hence.

In the run-up to the making of Sarkar. Amitji is an artist. People seeing the film react to the effect. One was when I was shooting the confrontation scene with him and Kay Kay.

I can recall any unpleasantness on only two ocassions. I gathered from my association with him that being the ultra-professional that he is. The point I am trying to make is that he has never ever failed as an actor and he never will. But sadly the effect of that line in Sarkar will become cinematic history whereas the Nishabd close-up shot might go unnoticed.

In that frame of mind. The other famous or rather infamous incident was when I tweeted something very abusive about him on Twitter for not continuing to do certain kinds of roles.

I tweeted. Every birthday of his reminds me that he is getting older and older and I hate that. After seeing him playing old-man. The only man who immediately understood it to be a compliment was Amitji himself.

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I have been thinking about it and I think you are right. The good thing about it was that he developed implicit trust in me after that. I just wish that God would realize that Amitabh Bachchan is a rare art form that even he himself can create only once in a million years and so just put him on a pause button and make him live forever.

But after the shoot. All things said and done. They just went by the words used without seeing them in context. People and media gave me so much flak without even bothering to understand what that tweet meant. So if who is in the film can be a drawing force. I have found him much more effective. At best. From personal interactions that I have had with him. At an awards function post Satya. One prime example of this is Shah Rukh Khan. In fact. Actors die along with their characters and stars live on.

For example. The prime examples of this are Shah Rukh and Rajinikanth. I think it works like this on a psychological level. Because they cannot know how the film is. The director might have got a performance out of him and he might also have done very well. If you meet a person and you like him. So the very star who is supposed to draw in the crowds can become excess baggage for the film. But he himself should never change.

Two examples being Paheli and Swades. That is the power of a star. Shah Rukh by that time might have given twenty-five super hits. The primary difference between a star and an actor is that the star is a personality. Lots of people complain that Shah Rukh does the same kind of acting all the time. I cautioned him after the event not to get carried away. Whether he is in a commercial. I was equally excited by both. I am working on ten ideas which are still untitled and will take their own time to fructify.

I can still go on doing exactly what I want and exactly as I wish. The fact that about people worked on it non-stop for more than six months. The moment I get an idea.

I had the idea of making Sarkar in my head for five years before I got around to making it and I had the idea of Ek Hasina Thi for eight years. The secret of that is nothing but the power of the ideas I get at various points of time. Many people think I work on multiple films at the same time but that is not at all true. I put a writer on to it. That Rakhta Charitra was a moderate success is beside the point.

Satya emerged from an idea. They can each turn into anywhere between a 5-crore and crore film when their time comes. But what do they do in between? The story of Paritala Ravindra and Maddelacheruvu Suri had been playing out in the real world for more than a decade. But at the time they came to me. Ram Gopal Varma Ki Aag too emerged from an idea. Apart from that. Each of them can take its own sweet time to develop into a script and then into a film.

But the moment I talk about my idea for a certain film. But the beauty of those ideas is that each one of them is like a ball of bundled up potential energy just waiting to go kinetic. I said that I would make a full-length movie instead with the product name. When they asked me what I meant. I said. The story will be about a village girl who believes that bathing with a Lux soap will make her as beautiful as a film actress. So taken were they with the idea that they agreed to a fantastic financial deal for me.

Whether I will make Lux or not is a secondary point. Of course there could be some people who would like the pimple being there and they will be ones who will have the same character as that of the particular artist and that in effect would reflect their own personal view of life. And from that very specific point of view of life.

IN cinema when a director uses style. Since we always strive to reshape the world for our own specific purpose. He is. Whether his art is good or bad is subjective and depends on who perceives it and from what background. It speaks of my desire to see a guy like Mallik. To an extent we can reshape ourselves both physically and mentally. His intention is more to capture his personal view in a tangible way on the screen. Similarly in Sarkar what I am saying is.

This is what life means to me. What a filmmaker is really saying through his film is. Once the film is over. Most of us. In that sense. Directors with this kind of tremendous vision are of course rare. Unfortunately this status quoist. In cinematic art. But for that he requires first-hand understanding of all the various arts that go into making cinema.

As someone once said about a particular film. This sometimes accidentally results in a great movie. A film is at the end of the day an emotional experience. The story. I believe that it is form that matters more than substance. It can make you cry. A good story gives the director a means of heightening that emotion. Some say my frames are very unique. When the gun crosses in out-focus in the foreground. The film fraternity also offers very mixed opinions.

The best compliment I have ever received for my framing is when someone criticized my frames. Whether you allow prevailing. I have often observed that anything unconventional often provokes extreme reactions. They say things ranging from.

It is entirely determined by what is being framed and in what context. At what pace the camera is zooming out from his face has to be in sync with the mood and tone and the tempo of the background score which I would be hearing in my head at the time of shoot. To turn to why I frame in a particular way. If the long shot had come before the close-up. Any man who is self-made and has strong personal convictions will project his thoughts and feelings in a certain specific manner.

The cinematic image is a combination of the background.