A Quote by Sameera Reddy

I have done a film like 'Kaalpurush' by Buddhadeb Dasgupta and then I also have movies like 'Musafir,' where I am an out-and-out glam doll. So I do all kinds of cinema.
We lack good film scriptwriters. People like Anjan Chowdhury who could develop scripts of pure entertainers are quite difficult to find now. There are obviously some exceptions like Padmanabha Dasgupta. But how many scripts can one single Padmanabha Dasgupta churn out!
I was a glamorous actress in Mumbai. I had done Sanjay Gupta's 'Musafir.' I wanted to know how Buddhada thought of me in the role of Supriya, Rahul Bose's unhappy wife in 'Kaalpurush.' It needs a visionary film-maker to see an actor in a role that seems very removed from her real personality or on-screen image.
When you finish some film and you let it out there, it is completely out of your control. You've done what you've done, you haven't done what you haven't done, and now you are up for judgment. People can be all kinds of ruthless and they can be all kinds of wonderful. The joy in what I do is in the doing of it. And then there is the part where people are either going to see what I've offered and liked it or they are going to see what I've offered and wish they hadn't.
Sausage Party is my first animated film, and there's a doll of me. There's a doll of all the characters. There's a doll of me, and I found it on Amazon. It just came out. I ordered it, and I just got it the other day. I was like, "I'm going to order 25 more of these." My daughter really loves it.
I like wearing beautiful clothes, but that does not translate into my work. People don't like to see me as a glam doll in my movies. My audience and the media love me with two different perceptions. It's a strange, crazy situation.
I'm just a giant film fan, so I love action movies out of all kinds of movies. As a film geek, it's amazing to be able to shoot this stuff.
The movies I like watching the most are these sort of cinema verite, handheld films where you really get gritty with people. But I also have this strange affinity for old Rock Hudson/Doris Day movies and things that sort of pop out where you see the frames, where you have these 2D animation moments and split-screens and things like that.
I can't do the same movies all my life. I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.
If you start looking at movies on a moral level - "I don't like that, that hurts, that's mean, that's bad" - then I don't even want to talk to you. Or like, someone that says "I don't like science-fiction movies," or "I don't want to sit through a Western," or "I don't like violence in movies," then I completely tune out.
It has never been my ambition to become the glam doll in a film.
Thanks to a film like 'Baahubali' in my career, directors have the faith in me that I can play all kinds of characters, and I also have faith in me now that I can also do all kinds of roles, and I am doing that.
And being as I'm somebody who loves movies like The Machinist, I also love going along to big mass entertainment movies. I get in the mood for all kinds of movies, and so I like to try each of them.
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 like to go out there looking like a strong woman, because I am strong. But I am also a woman who goes through all kinds of problems and highs and lows.
I lived right on the borderline of a black neighborhood. So I could go into the black area and then there'd be these ghetto theaters that you could actually see the new kung fu movie or the new blaxploitation movie or the new horror film or whatever. And then there was also, if you went just a little further away, there was actually a little art house cinema. So I could actually see, you know, French movies or Italian movies, when they came out.
I like Telugu movies, then comes Bollywood and then English movies. In Tollywood, I like Mahesh Babu and Prabhas. But no, I don't watch all their movies. I first find out if the movie is nice. If it's a flop, I don't watch it.
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