A Quote by Nargis Fakhri
I knew that all South Indian language films were first made in Chennai and that Tamil Nadu is one of the biggest film-producing centres in the country. I wanted to be part of films here.
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I was offered my first film right after my 10th board exams. Back then, I didn't even know they made films in the South. Films, I thought, were either in Hindi or English.
My films have become bilingual. When everyone saw 'Chennai Express,' they said it was a bilingual. But I am proud that 'Chennai Express' is the highest-grossing Hindi film down South.
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
We say only the BJP can be the alternative force in Tamil Nadu. Our party is providing good governance in many States in the country and we are confident of repeating this success in Tamil Nadu also.
I will not leave my South films for a Hindi film. I want to be sincere to my South film makers and commitments. Only if my dates are not clashing with any of my South films will I do Hindi films.
We know of instances of stage plays being made into films. But I really think that all Tamil films can be staged; I'd like to take up K. Balachander's films and do that.
Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?
I owe 40 per cent of my success to films from the south like 'Himmatwala,' 'Toofan,' 'Mawaali,' 'Maqsad,' Tamil and Telegu films such as 'Big Boss,' 'Apurva Shar,' 'Gangleader,' etc. I salute the south for contributing immensely to my success.
Britain is producing some of the worst films in the world. Our film industry is desperate to be part of America, and we just churn out flaccid imitations of bad films over there.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
When I was working in south films, I never understood how films were made.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
I quit south Indian films because I was bored. The fans in south India were also quite demanding.
Once in a while a good opportunity would come along, like the first 'Playhouse 90 ever to air - working in television afforded me my best opportunities. The (film) industry was going through such turmoil at the time - studios didn't know where to go anymore, they were falling apart, television was there. They didn't know what kind of films people wanted. The European films were making a huge impact because those films wanted real people in real situations.
By the time I was 14, I had seen only three Tamil films - 'Anjali,' 'Bombay,' and 'Puthiya Mugam.' And I loved the music in the films. When I found out Rahman sir was the man behind the music, I made up my mind that I wanted to sing for him.
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