A Quote by Vikramaditya Motwane
I knew exactly what I wanted out of my actors - the film stars Ranveer Singh and Sonakshi Sinha in lead roles - and how each shot should look. A large part of 'Lootera' has been shot under tough conditions.
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Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
I knew that they were going to be reading actors for Manute, and I wanted to give it a shot. I wanted a shot to do it, and they embraced that and said, "All right, come on in. Let's see what you've got." So, I went in, and the rest is history. It felt good when I went into the office, and it just worked.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
There are so many examples of such talented people who have not come from the film background like Ranveer Singh and Anushka Sharma and then there are actors like Ranbir Kapoor and Alia Bhatt who have come from film families and done so well. So, it all comes down to the audience.
Some shots, for me, are a good shot even if it's forced. The way it might look to a person watching, they might look at it like, 'That's a tough shot.' But for me, it's not a tough decision. I'm committed to those shots, and I spend time working on them.
You look at today, it's a different situation. You have a game that has been transformed into a game where almost every shot is either an outside shot - a three-point shot - or a dunk.
I spend a lot of time in the gym working on moves, working on difficult shots, figuring out ways to create space, becoming a tough-shot taker and a tough shot maker, especially down the stretch.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
From Amitabh Bachchan to Ranveer Singh, I have sung for different generations of actors.
My inspiration are actors like Rajkummar Rao, Ayushmann Khurana, Ranveer Singh.
So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.
No matter how beautiful actors are, it is not easy to look drop-dead gorgeous in every shot in a commercial film. To carry yourself as if you are the diva, it is not an easy job.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
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