A Quote by Ranjeet

During the mid-1980s, I felt my work was getting monotonous. I was shooting continuously, sometimes for 25, 30 films at a time. — © Ranjeet
During the mid-1980s, I felt my work was getting monotonous. I was shooting continuously, sometimes for 25, 30 films at a time.
At the beginning, I felt sort of reluctant about my music from my past. But in the last couple of years, I felt good about what I did in the past. The way I see my work, time passes from the time I performed or recorded a work. When I look at it now, 25 years or 30 years ago, if I see that it has value today, I will agree to release it.
I met Kaz in the mid 1980s when we invited him and other artists to the Ojai Foundation with Thich Nhat Hanh. I felt an instant connection with him, and since that time we have collaborated on many projects and have become good friends and allies in the work of nonviolence.
I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.
Sometimes, if you're shooting a complicated scene, you have to stay in a position and wait for the technician to do his job, and then you have to be where you're supposed to be, right on the spot. You don't rehearse all that much on films. If I think of the amount of time I spend on set compared with the time spent shooting, it's ridiculously short.
I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.
Public Enemy started out as a benchmark in rap music in the mid-1980s. We felt there was a need to actually progress the music and say something because we were slightly older than the demographic of rap artists at the time. It was a time of heightened rightwing politics, so the climate dictated the direction of the group.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
Unemployment determination in a modern economy was the main subject area of my research from the mid-1960s to the end of the 1970s and again from the mid-1980s to the early 1990s.
Crack in the early 1980s or mid 1980s I'm sorry is that one of the worst myth is that one hit and you're addicted for life. We saw that in 1980s and we're seeing it again with methamphetamine today, one hit and you're addicted and it simply not true, addiction requires work not the people should go out and experiment or do these themselves but the fact is that's a myth and the concern is that, it's dangerous because when people perpetuates that myths and then when young people are people actually try methamphetamine or crack cocaine and find that, that doesn't happen to them.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.
The first time I fought Undertaker. I remember watching him walk down and having this chill. You know that feeling when you're almost getting into a car accident? It felt like that continuously for 10 minutes. That was a moment.
I don't know if that's new, but it has become very official over the past 25 or 30 years - and today it's probably at its most extreme point, where sometimes collections look more like a stylist's work than a designer's signature.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
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