A Quote by Shobana

As a storyteller, I realize that because of the inherent abstraction in rhythm, the possible interpretations are plenty. But that only makes the work more challenging.
Yet housekeeping actually offers more opportunities for savoring achievement than almost any other work I can think of. Each of its regular routines brings satisfaction when it is completed. These routines echo the rhythm of life, and the housekeeping rhythm is the rhythm of the body. You get satisfaction not only from the sense of order, cleanliness, freshness, peace and plenty restored, but from the knowledge that you yourself and those you care about are going to enjoy these benefits.
Now, the relationship the storyteller has with the audience is a much higher quality relationship. You treat them with a lot more intelligence because the truth is that it's not my fault if you don't know what's going on. There are plenty of ways for you to find out. You can talk to all kinds of people, and you've got access to all this information. The onus is no longer on us, as a storyteller, to tell you. You can go out and find out yourself.
I have tried, with little success, to get some of my friends to understand my amazement that the abstraction of integers for counting is both possible and useful. Is it not remarkable that 6 sheep plus 7 sheep makes 13 sheep; that 6 stones plus 7 stones make 13 stones? Is it not a miracle that the universe is so constructed that such a simple abstraction as a number is possible? To me this is one of the strongest examples of the unreasonable effectiveness of mathematics. Indeed, I find it both strange and unexplainable.
I think 'MythBusters' is a step up from special effects because we not only have to make things look like they work, they actually do have to work. It's more challenging and even transcendental.
I think "MythBusters" is a step up from special effects because we not only have to make things look like they work, they actually do have to work. It's more challenging and even transcendental.
We do not choose political freedom because it promises us this or that. We choose it because it makes possible the only dignified form of human coexistence, the only form in which we can be fully responsible for ourselves. Whether we realize its possibilities depends on all kinds of things — and above all on ourselves.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Everyone accepts the abstraction of Bach. My work aspires to the same kind of abstraction, which is so engaging that you're distracted from asking about what it means. So many paintings have hidden meanings or need wall texts, but my work is not in that category. Once it's in the viewer's eyes my job will be judged on whether or not it is engaging and pulls you in to a kind of intelligence or poetic something going on there that makes it sustainable to look at.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
As I represent the next generation of the Akkineni clan, I'm expected to do much more. It's the only fear that makes me realize how hard I have to work to survive.
To criticize mathematics for its abstraction is to miss the point entirely. Abstraction is what makes mathematics work. If you concentrate too closely on too limited an application of a mathematical idea, you rob the mathematician of his most important tools: analogy, generality, and simplicity. Mathematics is the ultimate in technology transfer.
A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.
Through loyalty to the past, our mind refuses to realize that tomorrow's joy is possible only if today's makes way for it; that each wave owes the beauty of its line only to the withdrawal of the preceding one.
We doubt that any facts actually exist. We only have observations and interpretations. Most of the interpretations remain questionable.
I take it extremely seriously to do absolutely the best work possible and the truest work possible, because I feel like that is what's going to resonate not only for myself but hopefully for an audience.
When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.
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