A Quote by Rajiv Menon

When '36 Chowringhee Lane' was released in 1981, I was a student of the Film and Television Institute of Tamil Nadu. Everyone who had seen the film was very impressed with its flawless direction and acting. But we, cinematography students, were stunned by the visual style, which was truly international.
I was among the first batch of the students to graduate from the Film and Television Institute of India (FTII) in Pune in 1966, but it wasn't my passport to Bollywood. At that time, no one understood that it is possible to learn acting in an institute.
My grandmother, Betty Bertha Bright, lived in the Armenian block in Kolkata. After '36 Chowringhee Lane,' we haven't seen that part of the city in films.
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.
Naseer Sir taught me while I was a student at the Film and Television Institute of India. Anything I know about acting is thanks to him.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
I love Aparna Sen. I've watched '36 Chowringhee Lane' too many times to count.
When I entered the industry in the early 1970s, I was a gold medalist from the film institute, Pune. That was when graduates from the film institute were very quickly absorbed by the mainstream commercial industry.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.
'Mercury' is about a big company exploiting a small town. There is a place in Tamil Nadu called Kodaikanal. It had a thermometer factory, which would dump the mercury into the river. This affected a lot of people. This incident is the inspiration for this film.
I directed 'Death in the Gunj' which released in 2017. It got very good reviews and a few awards but did not do well at the box-office. But I'm not bothered. I made the film that I wanted to make. It was not a film for everyone.
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.
It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.
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.
After finishing my study in Film and Television Institute of India (FTII), I was mentally prepared for the struggle in the film industry.
In 'Chernobyl,' which was created and written by Craig Mazin and directed by Johan Renck, the material culture of the Soviet Union is reproduced with an accuracy that has never before been seen in Western television or film - or, for that matter, in Russian television or film.
I love acting in Tamil cinema. I have decided quite consciously to do at least one good film every year in Tamil.
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