A Quote by Sooraj Pancholi

I worked from a very young age as an assistant director. — © Sooraj Pancholi
I worked from a very young age as an assistant director.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
Before MS moved in on me, I'd worked for seven years as a city lawyer, as the editor of a literary magazine, and before the age of 20, I'd also worked as a cadet journalist and as an assistant director in both film and TV. And then, after the lesions of MS, both on my spine and in my brain, I was the opposite of bionic.
When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'
In personal conversations between director and actor, the male directors that I've worked with are just as emotional. Maybe it's because I had to start having very intimate conversations with adult men at a very young age in order to get the work, but I'm really comfortable with dudes. I mean, we push boundaries in this business in terms of getting to know people.
I respect Srikanth garu, I worked as an assistant director for his film 'Radha Gopalam.'
I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.
I was a complete vagabond till the age of 20, when I got my first job as an assistant director with Pankaj Parashar.
I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.
I come from a very humble background. My father had to work really hard to become an assistant director. For a large part of his youth, he worked in a mill and took up odd jobs to make ends meet. We lived in a small room and could only afford a meal a day.
As much as I love to travel and be on stage and perform, I knew at a very young age that I wanted to be a choreographer and a director.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
I believe in, 'I do it my way, and you do it your way, and then see what works' pattern. I think that comes with me having worked as an assistant director earlier, which I really enjoyed.
I went to Sundance Labs, and I definitely watched my male peers from there have very different meetings than I was having, very different outcomes. You could tell there was a feeling that a young male director had this exciting potential and a young female director was risky.
I worked for Oprah Winfrey for two years right out of college in 2004. I was a director's assistant on the film 'Their Eyes Were Watching God,' which Oprah produced.
I learned construction and carpentry from my father at a young age, so I felt very comfortable and I felt very satisfied when I worked in that field.
I was the oldest child, and both my parents worked, so I had a great deal of responsibility from a very young age.
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