A Quote by Soundarya

Not at all, I wanted to go into medicine. I took science in college. But my dad was a Producer - Director in Kannada films, and someone saw me, and one thing led to another.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
My dad was always my manager as far as I was concerned, even when I had another manager. At times he let me go with someone else who he thought could take me to another level when he couldn't, and he was right. But they were in it for another reason. He was in it because he wanted to see me succeed no matter what, and he made decisions based on being a dad as opposed to a manager.
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 dad is a successful television producer, director and writer, and my mom's a director and writer. Even when I was young, I wanted to be an actress.
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.
I'm not someone who could do 'Superweib,' even if you tell me that this director is another Lubitsch. I saw the preview, and I have to say that you'd need a squad of police officers to force me to see the whole thing.
When I was in college, I studied business because I thought I wanted to be a director and producer.
A lot of the stuff that's happening now, I can trace back to 'Death of a Salesman.' Francine Maisler, the casting director, saw 'Death of a Salesman' and called me in for 'Unbroken.' The casting director of 'Normal Heart' had seen 'Salesman' too. I look back on it now, and it's like one thing led to another; it was a chain reaction.
My connection with South films began with a Kannada film and with producer Ramu, in particular.
My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.
I learned a lot about filmmaking from my dad. Starting when I was a child, I would listen to my dad as an actor, writer, director and producer talking about films - you know what the treatment would be in the opening, in the middle, and in the ending.
When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.
I have got lot of appreciation for my performances in many Kannada films. In fact, I got the best roles of my career in Kannada films.
When I wanted to go away to college in Toronto, my dad said, 'You can't go.' When I got to Toronto, I bought a couch, and my dad cried for the whole weekend because, as my mum told me, 'Now you have furniture; he knows you are never coming back.'
I went off and did 'Space,' which turned out very well, and when the series was picked up, my options were to stay with 'Space' as a producer/director or go to 'The X-Files' as a producer/director.
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