A Quote by Shruti Haasan
In Mahesh Manjrekar's films, women find their way into a realistic story in the most convincing way.
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I have always been a fan of Mahesh Manjrekar's work. I like the way he tells his stories. He manages to focus on aspects of human beings and of society, which we don't often see in cinema.
I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.
The art of any propagandist and agitator consists in his ability to find the best means of influencing any given audience, by presenting a definite truth, in such a way as to make it most convincing, most easy to digest, most graphic, and most strongly impressive.
I can't dance like Hrithik Roshan. I don't have the necessary glamour like some of the other actors do. They are able to sell themselves on that aspect. I do roles and films which are very realistic. So, in those films, if you don't get into the skin of it, they won't look convincing.
It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.
I can never bring myself to watch Mahesh's films. It's way too stressful for me. All his family members are eager to attend and enjoy the previews of his films like normal people. But I sit at home chewing my nails, praying, wondering if this one will be as big as the previous one, and so on.
I set myself up for a lot of trouble by wanting to tell a story that is fairly earnest and emotional and expressive, but to do it in the most subtle, realistic way.
I love what I call "re-imagining," where I throw everything up in the air and let it fall in a different way. It's not the most efficient way to write a book, but it's how I find the story.
To make films, it always begins with two words: what and how. First of all, you have to find a story, or what are you going to tell? And you have to find a way to tell it visually.
It's often women who are writing leading roles for women. Most of the stuff that comes my way is not actually about women. I'm just asked to be a supporting player in a story about a man, and I, frankly, was not interested in doing that.
My goal was just to tell the unlikely story in a way that would feel as convincing as possible.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
Find a way to get back in to the game, find a way to build a partnership, find a way to catch a ball, find a way to stop it.
Story is the oldest, commonest, most beloved, and most effective form of communication because our life is essentially a story. That's why the Bible is the most realistic of religious books. We can easily ignore or argue away abstractions, but we bump up against concretely real people, things, and events in story, as in life.
If you find a story that everybody likes and everybody relates to in some way, then you know you have a good story. But if you're telling a story and all the women are going, 'I'm checked out of this, I just don't really care,' then you're going to have some problems.
Comic books are just a way to show a story. Then there are the movies, and television and exhibits like this that take the stories and make them seem so realistic. In the comic book, you're just reading a story - hopefully a good, exciting story that whets your appetite for all of this stuff to come.
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