A Quote by Ashish Vidyarthi

I always look for innovative casting and that's why I seek directors, whether in Bollywood or regional films, who are keen to make something different. — © Ashish Vidyarthi
I always look for innovative casting and that's why I seek directors, whether in Bollywood or regional films, who are keen to make something different.
Honestly, I was always very keen on acting in the South Indian films. I think people here have a notion that Bollywood actresses aren't keen on doing films here but let me tell you, we are.
While Bollywood still remains my priority, I always wanted to do regional cinema. There are so many people who don't know Hindi, so I decided to do regional films wherein even those who don't know me can see my work.
I got my big break in Bollywood with Anurag Kashyap's 'Raman Raghav 2.0' when I got a call from one of the casting directors to appear for an audition. At that point, I didn't think that I would make the cut since I was auditioning for a Bollywood film for the very first time. Within an hour of the audition, I was told that I had been selected.
I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?
I really respect Telugu cinema and the fact that people out here have a totally different style of working and are at par with Bollywood. Sometimes, they beat Bollywood with the kind of films they make.
After 'Homeland,' I was offered a lot of very authoritarian, square, angry boss types, but I wanted to do something different. Casting directors are surprised when they look at my CV and see all the work I've done, from Shakespeare to playing Nelson Mandela.
There's no set formula of success in Bollywood and one needs to be constantly in touch with the casting directors to get hold of the right opportunities.
I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.
Why should Bollywood accept me? I should accept Bollywood. I don't care if Bollywood has accepted me. I don't seek acceptance. I don't need to live up to anybody's expectations.
Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
Whether it is 'Pyar Ke Side Effects,' 'Mithya,' 'Khosla Ka Ghosla,' 'No smoking,' all my films have been different from regular Bollywood movies.
The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
I tapped into my potential in Bengali films, which I don't think directors in Bollywood were able to understand.
I've chosen films that are different compared to the conventional Bollywood films we all know and love.
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