A Quote by Anoop Menon

In all my screenplays, I have been exploring various aspects of femininity. — © Anoop Menon
In all my screenplays, I have been exploring various aspects of femininity.
My own experience of gender has been about a lot of fluidity. In drag, I like to combine aspects of masculinity and femininity and rewrite the rules for those.
I recognised that femininity and strength are not mutually exclusive, and I think that femininity has often been equated with weakness, but we know it's not.
I was very lucky that my family really supported me in exploring my femininity when I was young, and so it was a joyous thing.
I've been having a lot of fun exploring different aspects of filmmaking, like writing and producing. There isn't a specific plan and I usually don't know what's going to be the next thing I do.
Many of us reject all of the inferior meanings and connotations that others project onto femininity - that it is weak, artificial, frivolous, demure, and passive - because for us, there has been no act more bold and daring than embracing our own femininity. In a world that is awash in antifeminine sentiment, we understand that embracing and empowering femininity can potentially be one of the most transformative and revolutionary acts imaginable.
I've been exploring gender performativity in the Gulf since I was a teenager. I'm not a gender anthropologist, but I feel like there's an extreme binary between femininity and masculinity in the Gulf. From a young age, I knew I didn't want to be part of it. Gender is a huge gray area, and the problem with defined roles is that they cover up undefined ones.
We talked about various aspects of what we wanted to talk about, Hillary [Clinton] and [Donald] Trump and down-ballot stuff, various issues. One of the things that it showed was you've got to use fear.
It's been an obsession of various genres, disciplines, and aspects and elements of movie-making. It's always been something that I've really aspired to, so doing something new and different, reinventing myself and working with new people is just the passport to the amazing world that is the movies.
It's all about exploring the more unpredictable aspects in the character, not just fighting people.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
I think you can assume because our pool of Asian-Americans actresses or actors - men and women - is pretty small, that whatever project is out there I probably have been asked to audition or I probably chose to not go in it for various aspects.
My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.
I'm very sensitive about the fact that there's not a lot of good work for women in cinema that also deals with strong characters. But 'strong character' doesn't mean 'masculine character' - but something that finds the strength in femininity and the beauty in femininity. And something that says you can find femininity in men in some way.
I have completed and uncompleted screenplays, but they both fall into the category of “unsold.” I've seen quite a few movies where the screenplays seemed to be in the “uncompleted” category yet still got sold and made into movies, so I generally refer too all screenplays as “sold” or “unsold.” But that's just my own filing system.
The more I have written, the less it has been about exploring myself, and the more it has been about exploring the world around me.
Like Toy Story, the joke is all about exploring the secret world of these various everyday objects.
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