A Quote by Prabhas

Back home, I find small towns very peaceful. When my father and uncle were still in the film business, we had a tradition of travelling to the temple town of Srisailam to screen every film before its release. I still go there often.
It is still harder all around for women to get funding in business and film. There are only a very small group of female unicorns who have the power to tell stories on film. We need to have the courage to push back... all the effort is the work of bravery.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.
There were days when you would get the TV listings from The Globe and The Herald. Video was out, but nobody could afford it...expect for my uncle George, who was a second father to me, and had every film in the world, and every book.
A film will have many events such as audio release, promotional activities. I did not have that fancy-looking clothes to look good before the camera. So I used to ask my producers for the clothes I wore in the film. I still have my 'Yevadu Subramanyam' clothes in my wardrobe.
I also loved that there [in Into the Forest] was a beautiful balance to it, where they were strong and survivors and doing things in the film that we normally only see men do, but they were still human and vulnerable, and they still broke and had moments of weakness. That's something that we don't often get to see in these films, either.
I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.
We used to go to the pictures every Saturday night but we had to leave a little bit early and get home and watch Match of the Day - and my wife still complains she missed the last five minutes of every film we saw.
Banaras really pulls you. I had been to the city several years ago for a film shoot. Though I have very fleeting memories of that stay, I still remember that I had gone to Kashi Vishwanath temple and shopped for some Banarasi saris.
I had seen 'Onaatah' when I was a part of the National Film Awards jury in 2016. I was very impressed with the film because it was a small but a very inspiring film. Since it touched my heart, I thought of remaking it.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.
When I go home, I still have to clean my room; I still have to do the dishes. We have somebody come every now and then to do that stuff, but my mom still makes me clean before she comes.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
Though I technically come from a film family, my father had stopped making films even before my brother and I were born. So I did not really grow up in a filmi environment. And when I was growing up, becoming an actress was still quite a taboo. And you may not believe this, but even my father did not want me to join films.
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