A Quote by Kalyani Priyadarshan
I got a degree in architecture for the educational experience but in terms of career, everything is cinema.
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I am a failed architect, if I'm honest. I got a degree in art history and was about to get another degree, in architecture, but realized I would be terrible at building things because I've got really bad spatial awareness.
I come from a mixed family, where my mother is art house cinema and my father is B-movie genre cinema. They're estranged, and I've been trying to bring them together for all of my career to one degree or another.
Cinema is empathy machinery, and we multiply our life experience through cinema. When it is good cinema, it almost counts as a personal experience.
In terms of all kinds of things, in terms of educational reform, in terms of health care, transportation, Colorado has a chance to be a national model.
I am no police, I don't even have any educational degree, but I have a degree in life management.
Whilst acting is my career, architecture is my passion. Selecting this development as my first major construction project has been a simple decision. It will underpin not only my values for environmentally friendly architecture, but also embrace my career in entertainment
Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.
You don't really want to talk about 'Duke' in terms of, how many levels are there, how many guns does it have, how many monsters... It's got everything it needs in terms of that, but it's always been about the experience.
I was 35 when I first hit with Star Wars. I had some degree of maturity and some degree of experience, yet physically I still looked young. That had been an impediment early on in my career, but then it turned out to be an advantage.
I graduated from Wesleyan University with a b.a. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures. So I got an art degree as a default position.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
I was going to be an architect. I graduated with a degree in architecture and I had a scholarship to go back to Princeton and get my Masters in architecture. I'd done theatricals in college, but I'd done them because it was fun.
For me, the excitement in architecture revolves around the idea and the phenomenon of the experience of that idea. Residences offer almost immediate gratification. You can shape space, light, and materials to a degree that you sometimes can't in larger projects.
I came out of my professional athlete career with a 450 credit score, no money in the bank to show for it, but I had an Ivy League degree. So I put that Dartmouth degree to good use and got a job on Wall Street. I hated it but used the time to make connections and become financially literate.
Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? ..I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience-and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.
All important architecture of the last century was strongly influenced by political systems. Look at the Soviet system, with its constructivism and Stalinism, Weimer with its Modern style, Mussolini and, of course, the Nazis and Albert Speer's colossal structures. Today's architecture is subservient to the market and its terms. The market has supplanted ideology. Architecture has turned into a spectacle. It has to package itself and no longer has significance as anything but a landmark.
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