A Quote by Rana Daggubati

'Baahubali' was really the film that broke most barriers of what regional cinema can do nationally. — © Rana Daggubati
'Baahubali' was really the film that broke most barriers of what regional cinema can do nationally.
'Baahubali' has definitely increased hopes for a lot of regional filmmakers. After all, what I have learnt is that it only takes one 'Baahubali' to enter into the audience's hearts and cross the boundaries.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.
I was just lucky to be a part of this phenomenon of Indian cinema. Perhaps no other film can ever match the magic and awe of 'Baahubali.'
See in old days, there were only two parties nationally, Congress and BJP... Now there are regional leaders. Time has come to pick up regional leaders in these national parties and build political campaign around them who can challenge regional parties.
I did Tamil film, 'Mehandi Circus.' I want to do Bangla cinema and other regional and foreign languages.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
No regional cinema can compete with national cinema.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
When we started work on 'Baahubali,' my sheer aim was to be able to live up to the imagination that Rajamouli sir had in mind. As an actor, my intention was to bring up 'Baahubali' live on screen for the audiences. I never even expected in my wildest of dreams that the film would grow on to become a phenomenon of sorts.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
While Bollywood still remains my priority, I always wanted to do regional cinema. There are so many people who don't know Hindi, so I decided to do regional films wherein even those who don't know me can see my work.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
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