A Quote by Rohini Hattangadi

A.K. Hangal's work is a big contribution to serious theatre. To stick to it despite the attractions of commercial cinema is proof of his dedication. — © Rohini Hattangadi
A.K. Hangal's work is a big contribution to serious theatre. To stick to it despite the attractions of commercial cinema is proof of his dedication.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
When I go the cinema, unfortunately nowadays, especially with the big commercial films, the audience is spoon-fed through the entire experience and they don't have to do any work.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.
I like mainstream cinema. I like films that are definitely commercial. I try and stick to that as much as possible.
I have always wanted to work with Lingusamy, as he is a master of commercial cinema. I have always admired his etching of female characters.
We can compare classical chess and rapid chess with theatre and cinema - some actors don't like the latter and prefer to work in the theatre.
Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
Roger Ebert was a very valiant soldier of cinema who passed away, and we miss him. It's over with serious discourse about cinema in the print media and on television. It has been replaced by celebrity news. So we are speaking in his spirit always.
Despite the fact that he no longer dressed like the big dork he did then, despite the fact that he’d swapped the nerd wear for some much cooler clothes, despite the fact that he’d let his hair go all shaggy and loose to the point where it curved down into his face in that cool guy, slightly windswept, effortless way, despite the fact that every time I looked into his brilliant blue eyes I was totally reminded of the Zac Efron poster that used to hang on my old bedroom wall, it still didn’t make it okay for him to laugh at me the way he did.
If you read the biography of any great man, you will always notice two things: His mother's contribution in his progress and his teacher's contribution in his growth and development.
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