A Quote by Rahul Dev

Padam Kumar is a technically sound director, very contemporary. — © Rahul Dev
Padam Kumar is a technically sound director, very contemporary.
Padam Kumar gives the impression that he is very strict and firm man. But the fact is, that he is focused in his work.
See, Padam Kumar thinks and talks in Tamil and English. So for him, the words in 'Supari' were less important than how they were spoken.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
Bundu is a very good fighter. He's experienced and technically sound, but he can be awkward.
As a director, I have to do everything. As an actor, I'm just worried about one role, that's it. As a director, everything is important. Everything is something you have to be very detailed and specific about in telling a story. So for me, the job is far greater than just being the actor, there's a lot more responsibility creatively, technically.
I don't really class myself as a musician, I can make music but I'm not the greatest technically. There were other people who were technically better than me in school but I knew how I wanted to sound and all I needed was to work out how to do it.
When I try to sound like the contemporary sound, it never turns out that way.
When I try to sound like the contemporary sound, it never turns out that way. That's just me.
I always enjoyed singing and working with the late Kishore Kumar. He was a legendary playback singer, an actor, and a producer/director.
It's just about asking why. We as cooks historically have been very, very technically proficient but not technically informed as to why we do what we do. Modernist cuisine is about that knowledge.
I'm a huge Boards Of Canada fan. They're my favorite contemporary band. The interesting thing about Boards Of Canada is, they use analog and digital recording techniques, and nobody really knows how they get their sound. But I think that very warm, enveloping analog sound.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
I have only seen movies of my generation - 'Mother India,' 'Shree 420,' 'Awaara.' Those days, we had actors such as Dilip Kumar, Ashok Kumar.
Technically, you can learn everything on the set as an assistant director, and rather quickly.
I love to publish new writers, and we do so consistently. But a lot of contemporary American poets sound alike to me. They want to bring spoken, prosy language into poetry and I understand that desire. But they don't edit. It's not very curated work. It seems very lackluster, very uncareful. It may be the un-carefulness is also something they intend but there's a kind of "So what?" quality to a lot of it.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
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