A Quote by Vivek

I have decided to dub on my own for my role in Vazhipokkan. It is an interesting storyline and hence I accepted the offer. — © Vivek
I have decided to dub on my own for my role in Vazhipokkan. It is an interesting storyline and hence I accepted the offer.
When I got a call from Hansal Mehta, the CEO of White Feathers, asking me to come for one of their films, I was very happy. I thought they'd have an interesting role for me. But when I got to know they just wanted me to stand in for Sanjay Dutt for some scenes, I decided to give this offer the pass.
Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.
Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
I have decided never ever to put on weight again. Not even if Francis Ford Coppola were to offer me a role in exchange for putting on 25 kilos!
Rub-a-dub-dub. Cerebrum in a tub.
A lot of people dub our work as New Age. But for some reason, they don't dub Stan Lee's work that way.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
I decided to dub the room with the good chairs my lutery. Or perhaps my performatory. I would need a while to come up with something suitably pretentious.
I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
I'm going down the apples and pears, into the jam jar, down the frog and toad into the rub-da-dub-dub, and I'm going to have pig's ear.
The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.
If I am convinced with the storyline and get an opportunity to play a powerful role, I would.
I decided early on, very early, that the best role I could play is to speak in my own voice, assume my own voice and my own ideas. Even if you support a candidate who ultimately wins, what you say and do is seen through the filter of that candidate.
In my journey, I got amazing characters to play which were as interesting as a lead role. In 'Commando,' my role was so good. I feel no actor have rejected that kind of a role.
I didn't really have a major role in how it was described. I wanted it to be a collection of essays where each storyline could be contained.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
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