A Quote by Aishwarya R. Dhanush
Whenever one sees a director at work, anyone would hesitate to disturb him or her on the sets.
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I believe the director is the one that sets the mood and if you have this hysterical director it's a domino effect. I would work for him forever, for nothing. Don't tell my agent that.
Sometimes a woman's love of being loved gets the better of her conscience, and though she is agonized at the thought of treating a man cruelly, she encourages him to love her while she doesn't love him at all. Then, when she sees him suffering, her remorse sets in, and she does what she can to repair the wrong.
Whenever you take a step forward, you are bound to disturb something. You disturb the air as you go forward, you disturb the dust, the ground. You trample upon things. When a whole society moves forward, this trampling is on a much bigger scale; and each thing that you disturb, each vested interest which you want to remove, stands as an obstacle.
I think there's an element in Milady where she sees her own innocence in D'Artagnan. In the very beginning, she's using him in a pretty cynical way. When she gets to know him, she sees qualities in him that she recognizes and it's almost like trying to remake the past, but of course, it doesn't work.
Be yourself. Forget about whether you are male or female and just work hard to become a director who truly knows her craft and the direction she wants the film to go. People respect a director for her work regardless of her gender.
The few days that I shot with Jayalalithaaji, I got to observe her very closely. I was very impressed by her grace, beauty, and dignity. She came to the sets with her mother. So did I. She remained aloof on the sets and didn't speak much to anyone.
There's no director or actor that I want to work with more than anyone else, other then maybe Johnny Depp, who I really would love to work with. I don't view any directors or actors above regular people, so I'm just happy to work with anyone, as long as they have talent.
He'd kill for her, destroy for her, savage anyone who dared attempt to take her from him. And he would never let her go...even if she begged for her freedom.
...the way a man might hesitate before he kissed a woman, to gauge her reaction, to see how he would be received. Perhaps he would hesitate to prolong the moment, that ideal moment of anticipation, sometimes better than kiss itself.
Each home has been reduced to the bare essentials -- to barer essentials than most primitive people would consider possible. Only one woman's hands to feed the baby, answer the telephone, turn off the gas under the pot that is boiling over, soothe the older child who has broken a toy, and open both doors at once. She is a nutritionist, a child psychologist, an engineer, a production manager, an expert buyer, all in one. Her husband sees her as free to plan her own time, and envies her; she sees him as having regular hours and envies him.
The first law of social communication is whenever you meet anyone, exalt him or her.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
Legend' is a stylised film. The character I play is a complete egoist. He cannot tolerate anyone touching him or slapping him. Whenever anyone antagonises him, he becomes cruel. That's how the 'war' between the hero and him starts. It's a solid meaty break for me!
I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.
When I write, I disturb. When I show a film, I disturb. When I exhibit my painting, I disturb, and I disturb if I don't. I have a knack for disturbing.
The good enough mother, owing to her deep empathy with her infant, reflects in her face his feelings; this is why he sees himselfin her face as if in a mirror and finds himself as he sees himself in her. The not good enough mother fails to reflect the infant's feelings in her face because she is too preoccupied with her own concerns, such as her worries over whether she is doing right by her child, her anxiety that she might fail him.
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