A Quote by Nani
I and Dil Raju guru have always wanted to work with each other. He had sent to me stories, 4-5 over the years, but somehow, something was not perfect with them. But when I listened to 'Nenu Local,' I felt the time had arrived.
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Dil Raju's first film 'Dil' was with me and we were supposed to work together after that, but it didn't happen. Now, after 15 years we are working together and Dil Raju's passion for cinema is still intact.
After I had written a paper or letter for Bohr, I always had the impression that I had learned something which I could use for my own work. And somehow, I never felt that I had too little time for my own work. I always found time.
The story wrote quickly. I called it 'Where You're From,' and I sent it out, as I had numerous other stories over the years. Except this time I got a letter back saying that it would be published. Someone out there had liked the story. I was thirty-one years old.
I had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn’t understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go. Suicide? Jesus Christ, just more work. I felt like sleeping for five years but they wouldn’t let me.
I could send myself right back to the day that I wrote "Angel Of The Morning," how it felt. I had a buzz through me that morning that was so powerful. I knew I had done something that meant something, because of that feeling. It wasn't a question of whether other people liked it ... I loved it. To me, it had to be one of the most important love stories of all time.
Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.
I always respect Dil Raju garu.
I loved watching documentaries and had wanted to try making one for years - I'd just put it off as other opportunities arose. But I felt like time was running out for me if I wanted to do it.
While people loved me in Tashan-E-Ishq,' there were some who felt that since I am a Punjabi, I managed to get it right. The actor in me was really offended. So I took up Dil Se Dil Tak,' as I had to play a Gujarati girl in it.
He [Stuart Immonen] and I have known each other over email for 18, 19 years or something, so to finally work with him is like kissing the girl that you always wanted to kiss.
And I felt more like me than I ever had, as if the years I'd lived so far had formed layers of skin and muscle over myself that others saw as me when the real one had been underneath all along, and I knew writing- even writing badly- had peeled away those layers, and I knew then that if I wanted to stay awake and alive, if I wanted to stay me, I would have to keep writing.
I always wanted to make a song like 'Why' even before my second album. It was just something I always had in my mind. But when I got the beat from Havoc, it was like the perfect beat, I felt... I wanted to get some questions I thought everybody... felt like 'why?' to.
In rare cases, I've had music before I shot the movie. I think that for 'Good Will Hunting' I had an Elliot Smith record or a couple of them and I just somehow felt like the sound had something to it that reminded me of the story. So in that case there was music beforehand.
I'd say that if you had a strained relationship with your mom, for whatever reason, the best thing to do is be open with each other, talk it over, try and work it out somehow as opposed to just putting a wall up and pushing them away.
When computers came along, I felt for the first time that I had the proper tools for the kind of theoretical work I wanted to do. So I moved over to that, and that got me into psychology.
They were still in the happier stage of love. They were full of brave illusions about each other, tremendous illusions, so that the communion of self with self seemed to be on a plane where no other human relations mattered. They both seemed to have arrived there with an extraordinary innocence as though a series of pure accidents had driven them together, so many accidents that at last they were forced to conclude that they were for each other. They had arrived with clean hands, or so it seemed, after no traffic with the merely curious and clandestine.
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