A Quote by Lara Dutta

I have always loved South Africa, where I shot 'Andaz' and 'No Entry.' Some of the biggest films of my career have been shot in Cape Town. — © Lara Dutta
I have always loved South Africa, where I shot 'Andaz' and 'No Entry.' Some of the biggest films of my career have been shot in Cape Town.
I cannot imagine being happy anywhere else in the world but in Cape Town - South Africa in general, but Cape Town in particular.
I have been parts of some films in the South where I didn't expect certain shots to be shot in a certain way. I wasn't experienced enough; I was very naive. I didn't have the standing of an actor to say that I don't want to do this shot.
I did do an American pilot, but it wasnt shot in America, it was shot in South Africa. It was called The Philanthropist, and it was for NBC.
I've shot films in Africa. I've shot in America - English is not my language.
Cape Town, South Africa, was pretty incredible. That's probably the coolest place I have ever been, and the kiteboarding is insane there. It's so windy, so you can get massive air.
Jan van Riebeeck's arrival in Cape Town was the beginning of all South Africa's problems.
There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.
When you go to the jungle in South Africa, it's tropical versus the dry heat of Cape Town - it's hard to believe it's the same country.
I'd go fishing and always pretend I would catch the biggest fish. I'd stay out there for hours after everybody else left until I caught something. When I shot baskets, I was always the coach and star player and always made the winning shot.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
I have shot extensively in Kerala for various films and always loved the experience.
My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.
I went to South Africa - Durban, Cape Town, Johannesburg - and those were definitely the "I've arrived" shows. Outside of the money, the success, the accolades ... This is a place that we, in urban communities, never dream of. We never dream of Africa. Like, "Damn, this is the motherland." You feel it as soon as you touch down. That moment changed my whole perspective on how to convey my art.
I've played in some spectacularly scenic grounds in Cape Town and Johannesburg, but Papua New Guinea in the Seventies was the most remote place I'd been for my cricketing career.
You look at today, it's a different situation. You have a game that has been transformed into a game where almost every shot is either an outside shot - a three-point shot - or a dunk.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
This site uses cookies to ensure you get the best experience. More info...
Got it!