A Quote by Kriti Kharbanda
In the South, there is a celebrated Telugu film director name Raghavendra Rao, who is known for shooting women's mid-riff in a certain manner. They are done in a very aesthetic manner and doesn't look vulgar. Now, it is up to the audience how they are going to watch it. As long as the girl is comfortable acting in it, I see nothing wrong.
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I think objectifying women is not wrong if only her beauty is captured in an aesthetic manner.
I live my life in a very peculiar way where nothing gets my goat as such. I don't look at things in a manner where they offend me. I look at things in a manner where they amuse me.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
I think [Hollywood] has achieved everything they’ve always dreamed of. The audience now seems to be very dumb. They pay money to watch the same film. Now, you could argue, that's because it makes them feel comfortable. When they go to a movie now, it's almost like hearing a pop song. You know the rhythms, you know when the downbeat is going to come, you know when the explosion is going to come… And so as life becomes more complex, as the economy is in trouble, people cling to what makes them comfortable, so they go again and again to see the same movie.
It would be great to continue shooting on film. Amongst other things, the mystery of not knowing exactly how it's going to look until we see it later and having your DP and being able to trust in him that he's the holder of how this is going to look is a beautiful mystery of filmmaking I'm loathe to look up.
I've never been very comfortable as an actor looking out into the audience; I always like to keep my focus on the other person. When you start playing out to the audience, it takes me out of it, because people don't do that when you're in life behaving with another person - you don't often look out, around you, in a presentational manner.
When Raghavendra Rao garu approached me to do a film on Lord Venkateswara, my initial response was 'What more can we do than Annamayya?' But he asked me to go through the script, and I really liked it.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
I think we're going to be very embarrassed in a few years when we see a lot more women film-makers. People will look back and ask, 'How did it take so long for you to figure this out?'
A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
I've always felt that English women had to be approached in a sisterly manner, rather than an erotic manner.
The number of known human fossils only increases slowly. But the manner of regarding and assessing them is capable of progressing rapidly, as indeed it does. In the absence of any absolutely sensational discovery in prehistory, there is an up-to-date and scientific manner of understanding man, which is solidly based on palaeontology.
It was when I was shooting for a Telugu film in Hyderabad when director Meher Ramesh approached me for 'Veera Kannadiga.' I was game to explore a new language and said yes.
'Nuvvla Nenila' is an out and out love entertainer. The screenplay of the film is very good and director Nakkina Trinadha Rao has handled the film superbly.
My job has changed so much over recent years because of social media. You can now watch a programme and see how the audience respond to certain moments and it was overwhelming to see how people responded to 'Big Blue Live'.
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