A Quote by Mahesh Babu
I always believe that one can't interfere in another's work. Once I start work on any film, I surrender myself completely and blindly follow the director.
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Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.
My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.
All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
There's a lot of great stuff on television and that's very appealing to actors who want to work, who do good quality and high quality work. But you're always concerned that the time demands on television will interrupt or interfere with your film work.
I have the feeling that I didn't make it by myself, but that I was conducted by feelings that were completely different from those in my previous work. When I start making a film I don't know what I'm doing.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
To make a film with Rajinikanth will be a dream come true for any director, and I'm not an exception. But I always believe that it's the story that should drive you. If I come up with something like that, and if the story inspires me, I would be happy to work with him.
You have a right to your opinion about the work that you're doing. An artist is as equally important as the director. If you believe that, you can work in any circumstances.
When I did my first film, I didn't have formal training; I didn't work under any director. I really didn't know how to make a film.
Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work.
Direction is closest to my heart. I may run out of work as an actor as I get older, but I can work as a director even if I live up to be 90. I promised myself that I will direct a film every three years.
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