A Quote by Rakshit Shetty

The story of 'Punyakoti' is real-intense. It has a lot of layers and is not as simple as the stuff I wrote when I was an amateur. — © Rakshit Shetty
The story of 'Punyakoti' is real-intense. It has a lot of layers and is not as simple as the stuff I wrote when I was an amateur.
My brain is a pretty intense, wacky place, and that's kind of where Miranda lives. But that's why I like the rest of my life and my stuff to be more clean, white, and simple without a lot of clutter.
There's so much more you can do with the dynamics of songs when they're simple... I think it was what I needed in my life - there was a lot going on, a lot of layers.
I do my independent stuff where it's real acting if you like. Intense, drama stuff. I love me actions.
Slash and I hadn't talked in 19 years, and when we did talk, I was like, 'You wrote a lot of stuff that didn't even happen. It's not real.'
Part of my learning curve as a novice screenwriter was peeling back the layers and getting to the core of the story. I was really blessed to have two amazing writing mentors who helped me along the way. They always encouraged me to be okay with a simple story.
I think country music is popular - has been popular and will always be popular because I think a lot of real people singing about a lot of real stuff about real people. And it's simple enough for people to understand it. And we kind of roll with the punches.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
I get satisfaction out of seeing stuff that makes real change in the real world. We need a lot more of that and a lot less abstract stuff.
That story about the two women in my life is - a lot of people get upset, a lot of people question it. Steven Soderbergh said to me, "The story of your life is incredible. The real story of your life that's interesting, more interesting than all the other stuff - the franchises, the movies, the songs, Elvis Presley, Frank Sinatra - the real thing that's interesting and unbelievable is the relationship with these two women. And if you're willing to put that out there, you know then, you're going to have a great movie. Because that's the movie."
I do tend to drape my real feelings with pretty words and different layers and stuff.
I love emotional, intense stuff; it's easier to grab onto than just being simple. Being simple and relaxed can be the hardest thing. It can be easier to get your hooks into something big.
I've been many kinds of writers in my career: novelist; tele-playwright; short story writer. As a high-school student, I wrote amateur pieces for fanzines, and I've written for Hollywood.
It's not a lot, but we have 8,000 people following us. I get the biggest kick out of it, to hear words that I wrote and chords that I wrote being sung by somebody else. It's a true honor, and it might sound intense, but it's one of the most rewarding parts of the songwriting experience.
Every match should have a story in it and I see a lot of that lacking. I see a lot of guys doing a lot of good stuff, and I call it stuff, filling in the blanks in their match, but the stuff doesn't tie in.
We just sang real simple songs in a simple way that got to people. We didn't try to tart them up with orchestral arrangements and all the stuff. We were all blues fanatics. We like R+B and blues and simple, gut-feeling music.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
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