A Quote by Dhanush

Once I finished writing the script, I couldn't find my Pandi. It was actually little difficult to cast for the role. One fine day, when I was shooting for 'Vada Chennai', Raj Kiran's name just popped into my head.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
When you're making an independent feature, there are so many difficult stages. One, just writing the script is difficult on its own. Then, when you get it to a place where you're happy with it, great - but then you need to find persons who are willing to produce it, who like the script.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
Vada Chennai 2' needs a big budget.
I actually didn't find too many differences between B-town and the south. The difference lies in the temperature. I was shooting when it was 45 degrees Celsius in Chennai; Mumbai is cooler.
It all started with my father's directorial debut, 'En Raasavin Manasile,' which starred Raj Kiran sir as the lead.
The budget of 'Vada Chennai' is nearly Rs 60 crores.
One of the challenges in writing the script Call Me by Your Name was that I had to find something concrete for the professor to do. In the book he is some kind of classics scholar. But I thought it would be interesting to make him into something of an art historian and archaeologist whose background was the classical world. It's always difficult when someone is supposed to be an intellectual. What do they do? You can't just film them sitting around and thinking all day. And that's what the business of the statues is all about.
Vada Chennai' is a proper mainstream film, told in a sensible way.
Everything I do with my day is related to Superwoman. I'm either doing conference calls or writing a script or reading a script, editing a video, shooting a video.
When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.
In daytime, you're shooting an episode a day, which is on average about 90 pages of script a day. That is very hectic. On '90210,' you get to work through it a little more. You're not just flying through it just to get it done.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
Four months after we finished shooting, I'd been in New Orleans shooting another movie and my agent and I were having a bite to eat - actually in London - and he's sitting there and goes, 'Wow, I just can't believe how ripped you are.'
The day that I got the phone call to tell me that I booked ‘Glee’ I was shooting ‘CSI Miami.’ I was playing this heroin addict…I’d been on a million auditions where I sang and looked exactly the same way and didn’t do anything different. And so for this to be the one that popped it was just like what happened? It was the perfect timing and the perfect role for me. It was like everything came together.
Whenever I am shooting in Chennai, I spend most of my time with my wife and kids. Sometimes, I take my kids to the shooting spot, and they just love it.
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