A Quote by Nani

I have realised that I am not cut out for the regular, commercial potboilers. I know I don't have it in me to do such films. — © Nani
I have realised that I am not cut out for the regular, commercial potboilers. I know I don't have it in me to do such films.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
I would straighten and dye my hair. I'd wear blue contacts to school. I got to a point when I was 16 and I realised this isn't me and this isn't who I am and I just cut that all out. I really owned myself and who I was.
What has helped me is my success in commercial cinema. It has given me a platform for others to cast me in their films. If I did not have the commercial success, then I wouldn't be able to do the smaller films.
You must know that Iran has a great number of productions. Many films are released. Most of them, like in the rest of the world, are commercial and shallow films. These are the most popular ones. And there are a few ones that actually develop more profound and thoughtful aspects of life. Only some of these films travel out of Iran.
When I am in situations where I break out of the pattern, it's hard on me. Once you get used to regular scripture study, you miss it if you don't have it. It's like food - you have to have it. I know that I need the scriptures like I need food. I don't miss a regular meal, and I don't miss regular scripture study.
I am very much a product of commercial cinema in Tollywood, and people ask me why I don't do masala films in Hindi. I am very eager to do them, but somehow I am perceived as a serious actress here.
I am glad that we can make bold films, different films within the commercial market and still do well.
I am not cut out to do too many films at a time.
I was making commercial films like 'Chocolate' and 'Hate Story.' Then came a time when I realised that such stories only entertain for a week, and then we forget about them.
There is a regular format for songs in commercial films, such as a hero introduction song, but in 'Premier Padmini,' the songs and the background score aid the script.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
My parents have let me do whatever I am interested in. Initially, they were apprehensive, but when they realised that filmmaking was my passion and that I was doing a good job with the short films and the recognition in 'Naalaya Iyakkunar' TV show, they supported and encouraged me.
I am 100-films old. In my heyday, I have done a lot of commercial films, including dancing around the trees with the heroine. But after working with Rituparno Ghosh, my understanding of cinema changed. Whatever good I am doing, it is because of him. If I am being called a good actor, it is only because of him.
I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
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