A Quote by Rekha

My last two scenes in 'Yatra' were memorable in the sense that I had ample scope for emoting. — © Rekha
My last two scenes in 'Yatra' were memorable in the sense that I had ample scope for emoting.
Hitchcock used to believe that if there were three or four memorable scenes in a film that would be enough to drive it, but I don't know if that's true or not.
The way our big cities change sucks. The beauty of cities was that they were edgy, sometimes even a little dangerous. Artists, poets, and activists could come and unify and create different kinds of scenes. Not just fashion scenes, scenes that were politically active. Big cities are getting so high-end oriented, business corporate fashion, fashion not in an artistic sense but in a corporate sense. For me that edgy beauty of cities is lost, wherever you go.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
My energy is undoubtedly my two sons Yatra and Linga, and they are my all-time inspirations.
This was our last stop. This was it. We had those two embryos that we had banked prior to learning about the breast cancer, and with the medicine she was on, this was our last effort. The prayers were answered.
Both 'The Wire' and 'Queer as Folk' had a big scope. They were panoramas, telling ambitious stories about two cities, Baltimore and Manchester, for the first time.
Never doubt my weaseling abilities, Shadowhunter, for they are epic and memorable in their scope.
Usually, I don't revisit a scene once shot. However, in 'Gentleman,' every morning on the sets, I had to revisit the last four scenes and then shoot for the next set of scenes.
I'd say without a doubt I've had the most sex scenes in any television show, ever. Last season I did eight sex scenes in one day - I haven't topped that yet.
I had reconstructive pectoral surgery, I had a cervical neck fusion and a scope, and the scope was the toughest.
Unless I am convinced that it is a strong, prominent role with ample scope to perform, I don't accept it. I want the audience to recognize me for my acting talent.
You never knew the last time you were seeing someone. You didn't know when the last argument happened, or the last time you had sex, or the last time you looked into their eyes and thanked God they were in your life. After they were gone? That was all you thought about. Day and night.
I called Nic Pizzolatto and he said, "No, no. You're in it the whole way through." That was fun to shoot [in The Lobster]. I had a few scenes in that show that were some of my favorite all-time scenes to be in.
For a second, two seconds, they had exchanged an equivocal glance, and that was the end of the story. But even that was a memorable event, in the locked loneliness in which one had to live.
Mrs. Jennings was a widow, with an ample jointure. She had only two daughters, both of whom she had lived to see respectably married, and she had now therefore nothing to do but to marry all the rest of the world.
There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.
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