A Quote by Arjun Janya

In Kannada cinema, the introduction song for the hero is normally, as we call it, a massy commercial number. — © Arjun Janya
In Kannada cinema, the introduction song for the hero is normally, as we call it, a massy commercial number.
When films are so hero centric, and directors are dancing to the tunes of the hero, where is the Kannada voice or song?
There is a regular format for songs in commercial films, such as a hero introduction song, but in 'Premier Padmini,' the songs and the background score aid the script.
If you look at Indian cinema, it has always been about the 'hero.' So it is not just a characteristic of the Kannada film industry in particular. But one of the reasons to explain the 'hero-centrism' in our industry could be the fact that the audience here really enjoys the action sequences and the 'punch' dialogues.
Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.
While there is a typical introduction song for the hero, there are songs that represent each phase of the characters' journey.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
The speed at which cinema is changing, the definition of hero is also changing. Even a big superstar like Aamir sir plays the role of a father. There's action genre, where you have to show body and do stunts, so you may call that a hero.
I'm a huge John Hughes fan, and I grew up in the '80s, when his films came out. So, my introduction to what you'd call 'cinema love,' that illusion of love, was 'Sixteen Candles' and Molly Ringwald.
I can write a song about my hero Che Guevara and call it 'Song for Che.'
Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
Bigg Boss Kannada' manages to surprise me every season with the innovations in the concept and introduction of numerous entertainment avenues, not only for the housemates and viewers of the show but also for myself.
3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.
I really love sharing with young Canadians the changes we're seeing in the space program right now with what we call "commercial space." We have commercial cargo delivery to the space station, and now we have what we call "commercial crew," where we're going to be delivering people to low orbit on new vehicles that are being designed by Boeing and SpaceX.
When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream I ever dreamed, has come true a hundred times... I learned very early in life that "Without a song, the day would never end; without a song, a man ain't got a friend; without a song, the road would never bend - without a song." So I keep singing a song. Goodnight. Thank you.
What I like about Kannada cinema is that the stories are realistic, but told in grand, larger-than-life fashion.
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