A Quote by Nani

I respect Srikanth garu, I worked as an assistant director for his film 'Radha Gopalam.' — © Nani
I respect Srikanth garu, I worked as an assistant director for his film 'Radha Gopalam.'
I did get to work as a technician with Bapu in 'Radha Gopalam.'
If this film has come out so well, the credit goes to Trivikram garu. This one is a 100 percent director's film. He is the real hero of 'A Aa.'
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.
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.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
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.
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.'
I worked from a very young age as an assistant director.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.
I first started working in film when I was 17. I was a director's assistant, an editor.
I believe 'Sonchiriya' is a film that will be recalled with much pride and respect for many years from now. We all worked very hard to make it a special work, and the director Abhishek Sir is a genius.
Having anything to do with a hit film is great. Even if you're a third assistant to the director or second to the editor, if the film does well, every technician, every actor benefits from it.
I surrender to my directors. I do that because I respect them immensely. In fact, a director's talent scares me. I admit that they're more intelligent than me, and I submit to that, as an assistant director does. Even when I have suggestions to make, I don't state them strongly.
1968 in Paris renewed my options. There was suddenly a desire of inventing new things, and I while I was working as an editor, the assistant editor thought I had a gift, and when he shot his own film, he hired me as his assistant camera, and I trained myself to do the light for him.
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