A Quote by Nora Fatehi
'Kamariya' is a wonderfully composed song. The concept for the video is so fresh, and it's unlike anything I have done before.
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Yeah, I co-directed '23.' Yeah, the whole concept of the video... Even with that video, I feel like it's not a video that you can get sick of. You can always go back and watch that and it's fresh.
Modernism was born in part out of the need to find fresh ways of expression, to describe a new world that was unlike anything that had gone before.
I have been known to do a lot of glamorous, glossy songs in A-lister set-ups. This was unlike that. 'Blackmail' is a gritty film, so the song is also very different from what I have done before.
I think it's kind of odd that 'This Old Road' was the first video I ever did. Because of all of the work I had done in films and everything, you'd think I would have done a video before that.
Every movie you score you hope is unlike anything you have done before. You are always trying to not sound like yourself.
I love making videos for my music, you can literally do anything. It's like you can write a song about anything; you can also write a video that is the weirdest thing you can relate to the song, and I find that quite cool.
I didn't have song rights for the first video because I didn't know that it was going to do what it did. So for the second video, I decided better safe than sorry. It is a really gray area as to whether or not you even need song rights to make a video like that.
Most of the time, I can't listen to the song after the video's done. Sometimes I'll hear a song that I've worked on at a restaurant or on the radio, and I'll have this visceral physical reaction.
I was in a karaoke video in 1991, for a song called 'Sukiyaki,' which is a very famous Japanese song, and I've actually heard from people that they've been in bars in Asia where they've seen me come up in the 'Sukiyaki' video that they play behind you. I'm in that. I'm in a karaoke video.
I've never done a video where I feel like the images have anything to do with my song, except in the most vague way possible, because I feel like the song is its own complete thing. But ideally, a song is a complete sphere like the Earth, where if you were an alien with a huge, huge finger, you could stick your finger into the middle of the ocean and make an impression on it. It’s not an impregnable sphere, but it is a sphere.
When I was told that the girl I play in the song 'Kamariya' will be from Bhopal and very rural but with spunk, I was up for the challenge and felt really ecstatic that I was donning an entirely new look.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
'Bloodshot,' for me, was unlike anything I'd ever done before, which was really the draw of it. In addition to trying to reconnect with my earlier work, I also wanted to try to do something that was completely new and different.
For me, what makes a dope concept is it's a fresh idea, something that I've never heard before.
Unlike in the past, when acting in parallel cinema entailed hitting film festival circuits even not fully comprehending the story thread at times, directors are more intent to tailor present day films for the audiences, while introducing fresh concept and craft.
When I'm writing songs, I write visually. When I'm writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that's a great song.
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