A Quote by Karthi

A film like 'Dangal' is universal; though it narrates a story that happened in Punjab/Haryana, we like its inspirational story and its idea of celebrating the girl child. — © Karthi
A film like 'Dangal' is universal; though it narrates a story that happened in Punjab/Haryana, we like its inspirational story and its idea of celebrating the girl child.
After watching 'Dangal,' I called my writer and told him that I wanted to do a sports film for Punjab because no sports movies have been ever made in Punjab.
In 'Burrraah,' I play a teacher whose aim is to reform a bunch of rowdy boys. My character is very interesting and I chose this film for a Punjabi debut because of its story, script, screenplay and director, Sagar Sharma. I love the way he narrates a story.
I love story-writing because I can (more or less, on occasion) actually DO it. That's really the truth. I like the idea that a story is sort of a site for making cool language effects - a site for celebrating language, and, therefore, the world. And the brevity is part of the challenge. I like stories because I get them - I know how to make beauty, or something like beauty, in that mode.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
A story is like something you wind out of yourself. Like a spider, it is a web you weave, and you love your story like a child.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
I have an idea for a story, and if the idea is going to work, then one of the characters steps forward, and I hear her voice telling the story. This is what has happened with all the books I've written in the first person.
I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers. . . . Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time.
Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.
With live-action I think we'd have lost the universal appeal of the Persepolis story. With live-action, it would have turned into a story of 'the Other' - people living in a distant land who don't look like us. It might have been exotic, but also a "Third-World" story.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
As a child, my idea of the West was that it was a miasma of poverty and misery, like that of the homeless 'Little Match Girl'in the Hans Christian Andersen story. When I was in the boarding nursery and did not want to finish my food, the teacher would say:'Think of all the starving children in the capitalist world!
I always loved movies as a child, and I love story. I got my degree in English. Film and story seemed, to me, the vector of the movie business. I really didn't know what 'the film business' meant, but I decided I wanted to be in it.
I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.
It's a universal story, it's an immigrant story, and it's a love story. In the United States, if you believe in yourself and you're determined and persevere, you're going to succeed.
When I was writing the story of 'Omerta' I was not writing it to make a film or something. But when a filmmaker like Hansal Mehta picked up my story and turned it into a film, I thought that now I can consider myself as a legitimate writer.
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