A Quote by Shruti Haasan

The first and foremost criterion for me when selecting a film is the character I am playing, and then the director. — © Shruti Haasan
The first and foremost criterion for me when selecting a film is the character I am playing, and then the director.
'Andhadhun' is the most challenging film and character. For playing the role, first and foremost I had to learn how to play the piano and then how to emulate gestures of a blind pianist.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
First and foremost, I look for a great script. Then, the team that I am working with. Only then, we will be able to come up with a good film.
What happens to me is that I am first and foremost a film geek.
My first time playing a main character was in 'Seventeen Years.' It was directed by famous Sixth Generation director Zhang Yuan, but it wasn't a large commercial film.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.
We used to have just one criterion and that was profit, and then another criterion was added - social welfare. Now we have to add the third important criterion, and that is nature and the environment.
Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.
For me, every film is like the first picture. I am very choosy with the director and producer.
I am an independent film-maker first and foremost. I have always cut my own cloth.
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