1) How come you are becoming very infrequent in your blogging? Ans: Just very very tied up in RC work. The Telugu version part I is slated for release in September end and the Hindi version October end. So just running around to get ready. 2) How do you say good bye to someone with whom you have been living with. Ans: By remembering the moments of that living. 3) Why do old people get more inclined to believe in God? Ans: Since they are nearing death they won’t want to take a chance. 4) Before marriage you have peace of mind and after marriage you have pieces of mind. Ans: Ha Ha Superb.

1. Why do your films have deliberately unusual camera angles? Ans: That’s because I am a deliberately unusual person. 2. In ‘Sarkar Raj’ what was your vision behind showing the shepherd boy climbing the rock to look at the convoy? Ans: My vision was to make you think that I had a vision in that vision.

I am posting the first look of 'Rakht Charitra' on some visuals cut on a theme song in here along with my take as a Director. Director’s Note This story is inspired from the life of Paritala Ravi from South India who was assassinated in January, 2005. Even though the actual incidents of the story happened and the related characters existed in South India, I decided to make it in Hindi because I strongly felt that the sheer uniqueness of the story deserves to be told to a much wider audience.

On the eve of the 35th anniversary of SHOLAY I ask myself this question. Why is it that Sholay doesn’t age? It just seems to stand still at the “pause” button of a Cinematic era for the last 35 years without aging one bit and I won’t be surprised if it stays that way for still another 35 years if not another 70 years. People might talk about ‘Mother India’ with respect but in their heart of hearts every cinegoer of the country knows that it’s ‘Sholay’ which is the actual Mother of Indian Cinema in every which way.

I took the last shot of ‘Rakht Charitra’ yesterday. From the inception of the idea of wanting to make ‘Rakht Charitra’ till the point of me taking the last shot was an incredible journey for both my mind the way it started perceiving and understanding the research material and then also how it studied the minds of the various involved parties. So a constant analysis and thereby a due course of me being psyched up by what kind of conclusive truths I have reached in various mental states of mine resulted in a situation that by the time I reached the last shot it made me truly believe that what I shot in Cinema is real and what happened in real was Cinema.

1. You are in no way inferior to Western minds. You should just get rid of this mental block of yours. Ans: Thanks for your superior opinion Sir but my inferior feeling comes from a superior understanding of  how inferior we are to them thereby making me superior to inferior people like you who think [...]

1) What did you think of “Inception” Ans: It is the kind of a film which will make any Director in the world feel like an idiot compared to Nolan. The greatest thing about it is that Nolan takes it for granted that the audience are intelligent where as most of us idiotic Directors assume [...]

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1.  Why do you twist questions and then answer? Ans: I just straighten the twisted thought behind your straight question so that my straightened answer will twist your thought. 2. You are not only mad, but there is also a manipulative madness in you. Ans: I madly manipulate to manipulate madness. 3. Is there a [...]

When people keep asking me about how much truth there will be in ‘RAKTA CHARITRA’ I keep answering them that it will be an absolutely truthful depiction of the original story but it will be only an absolute truth as in of what I believe to be the absolute truth of the story but what [...]

1. Everybody wants money and power, but how come only a few achieve this? Ans: Dumbo if everybody achieved money and power then money and power won’t have any value. 2. Which is the strongest emotion of all in a human being? Ans: Jealousy. 3. Is out of box promotion and an innovative marketing campaign [...]

1. Sometimes women seem to be far better in fantasy than in reality Ans: That’s because in Fantasy you can control them and in reality they control you. 2. You can avoid reality, but you cannot avoid consequences of reality. Ans: But by taking decisions on subsequential consequences you can still avoid reality. 3. The [...]

No one has ever been afraid to take a shower before 1960 until Alfred Hitchcock’s Psycho turned a daily bathing ritual into a perfect setting for a murder. Even though the horror film turns 50 this year and inspite of us watching numerous films of the same genre it continues to remain in every film [...]

1.  There are those who analyze everything to the thousandth detail and then there are those who die without ever analyzing anything. Ans: And then there are those who analyze  everything and yet know nothing and also those who know that only by not analyzing anything can one know everything. 2. Including you, thousands would [...]

1. Is commercialization the goal of civilization? Ans: Civilization comes from Commercialization 2. Why do you think an affair is better than a marriage? Ans: An affair is where the couple work towards each other and in a marriage they work against each other. 3. The pursuit of any worthwhile goal will always be the [...]

In Vijaywada when I was doing my engineering there were so many times when I used to stand in the line waiting to buy a ticket for the new Sridevi movie and I used to keep staring in awe at her on the hoardings in the theater compound.

Her beauty and her sex appeal were so strong that it took many many films and many many years for both us audience and the film industry to realise and recognise the actress in her which was first showcased according to me in the most effective way in ‘Mr. India’ by Shekhar Kapur. Even though many films even in the beginning of her career showed her acting talent right from her debut film, her super stardom kind of brought out only her sex symbol image which was so strong that it blinded everybody to the tremendous talent in her.

Mr. India made the audience discover a new Sridevi primarily because of the way how Shekar Kapur’s aesthetics captured both her extraordinary beauty and her incredible performance.

My journey to Sridevi started when I was preparing for my debut film ‘Shiva’. I used to walk from Nagarjuna’s office in Chennai to a neighbouring street where Sridevi used to live and I used to just stand and watch Sridevi’s house from outside her gate. I just couldn’t believe that the goddess of beauty lives in that stupid looking house. I say stupid because I believed that no man made house deserved to house that beauty called SRIDEVI. I used to so desperately hope to catch a glimpse of her as she went in or out of her house. But sadly to my utter disappointment no such thing ever happened.

And then after ‘Shiva’ released and became a big hit producer Gopal Reddy came to me and asked if I was interested in doing a film with Sridevi. I said “Are you mad or what? I will die to just see her, let alone make a film with her!” Gopal Reddy arranged a meeting with her and took me to meet her at that very same house where I used to stand outside the gate and stare. At around 7.30 in the night we went and as luck would have it there was a power cut in her house. so I was sitting in her living room in candle light along with Gopal Reddy waiting for the angel to appear and my heart was thumping like mad. Her mother told us she was busy packing as she was about to catch a flight to go to Mumbai.

As we were waiting, every once in a while Sridevi was rapidly crossing the living room as she was moving from one room to another room in a rush to finish her packing even as she apologetically smiled at me for the delay. Everytime she was appearing and disappearing in a flash the director in me started slow motioning her and running her backward and forward for my visual pleasure.

Finally she came and sat in the living room, just said a mandatory few lines that she would very much like to work with me, which I am sure she would have said to a host of other directors and then she left for Mumbai. I continued talking to her mother with enormous respect and awe because she actually gave birth to Sridevi.

I went back to my place feeling like I was in the seventh heaven. The way Sridevi sat in front of me in the candle light got imprinted in my mind like an exquisite painting and with her image completely filling both my mind and my heart I started writing Kshana Kshanam.

I wrote Kshana Kshanam with the one and only purpose so as to impress Sridevi. Kshana Kshanam was intended by me as a love letter to her.

Throughout the making of Kshana Kshanam I just couldn’t take my eyes off her charm, her beauty her personality and her demeanor was a new discovery for me. She had an invisible wall around her and she does not let anyone cross that. Behind that wall she maintains her dignity and her self-respect and she never lets anyone inside. Also during the course of working with her and observing her technique of acting I began to understand more and more as a director about the nuances of performances and characterizations and for me she formed the epitome of cinematic acting which I believe is many times more complex and many times more effective than theatre acting.

When I was shooting “Andanantha Ettha Tara Theeram” song in Kshana Kshanam. After a certain shot in which Venkatesh and Sridevi were dancing I said “fantastic” and the dance master asked for one more take. After the shot was done, once again I said “fantastic” and the dance master again asked for one more…

I asked my assistant why he is asking for one more and he said “Sir, you are looking at Sridevi and he is looking at Venkatesh”.

Well, if she was in the frame no matter who else was there and what else was happening I and millions of others used to only look at her.

Her popularity and stardom had to be seen to be believed. We were shooting for the climax in Nandyal for Kshana Kshanam and the whole town came to a standstill when they came to know that Sridevi was in town. Banks, Govt offices, Schools, Colleges everything in town stopped functioning as everyone wanted to see Sridevi.

She stayed in a traveller’s bungalow in Nandyal and at a little distance me and Venkatesh were staying in another bungalow. There used to be a crowd of atleast 10,000 around her bungalow throughout the night just staring at it. There were about 50 tough local guys along with a 100 strong police force who used to continuously guard her.

When we were at location we used to know that Sridevi started from her bungalow to come to location because we used to see a column of dust that was travelling towards us from the distance. The dust was due to the thousands of people running behind her car.

Well anyway to cut short, a very long heart touching story of my feelings towards Sridevi I finished Kshana Kshanam and then went on to make Govinda, Govinda with her and in due course I have seen her going through a lot of personal tragedies like her father’s death and her mother’s mental illness.

The woman who the men of the entire nation desired was suddenly left all alone in the world till Boney Kapoor stepped in to fill the vaccum.

So straight from her super stardom and magazine covers and her dazzling beauty on the silver screen, I saw her in Boney’s house serving tea like an ordinary housewife. I hated Boney Kapoor for bringing that angel from heaven down to being just an ordinary housewife.

I don’t go to Boney’s house these days because I can’t bear to see Sridevi in a realistic house, in a realistic atmosphere and with realistic people around. For me she is like a highly precious diamond which should be seen only in beautiful settings or in exotic locations and only in the surroundings of cinematic brilliance.

Sridevi is the most beautiful and the most sexiest woman God ever created and I think he creates such exquisite pieces of art like her only once in a million years.

So what if Boney has the real Sri in his house…? …. I have her captured as a cinematic goddess in the temple of my mind camera and as a divine angel in the heart of my celluloid dreams.

I thank god for creating Sridevi and I thank Louis Lumiere for creating the movie camera to capture her beauty forever.

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1. Is pleasure the same as happiness?
Ans: Pleasure is more connected to the physical senses whereas happiness is a mental state. Pleasure would be during sex and happiness could be after sex.

2. What is failure according to you?
Ans: When you stop trying to be successful.

3. It’s not just cinema, any commodity in the market exaggerates its value.
Ans: The value of any true value is nothing but what you truly feel about its value.

4. Film-makers mostly think about impressing the audience.
Ans: The filmmaker should impress the audience but to be able to do that he himself has to be impressed with what he is intending to impress the audience with

5. Do you spontaneously come up with the different styles like in ‘Sarkar’, ‘Company’ etc.
Ans: Style always comes from within how, the Director wants to present the subject matter and the characters he is dealing with. For instance in ‘Satya’ there is a certain unpredictability in the characters so the camera work is designed to give an objective space to them and is never allowed to interfere with the actors performances. Whereas in ‘Sarkar’ pretty much the performances are designed for the camera framing as the film itself has a very specifically designed personality. If you pause any frame in ‘Sarkar’ or ‘Sarkar Raj’ at any given random moment a guy who just walks in can tell you which film it is if he has seen it.

6. The actors in your films convey their emotion instead of overacting and that’s the reason why your characters are remembered.
Ans: Overacting is when an actor emotes more than what the viewer in the theater feels was needed. But this could be subjective depending on the various parameters of the viewer.

A realistic character portrayal in Cinema more than in terms of his/her contribution to the overall story comes from their specific body language, speech pattern and facial expressions

That’s the reason you can enjoy watching an impactful character even in one scene even if you don’t watch the rest of the film.

7. Were films your only obsession in your childhood?
Ans: My first obsession was with reading stories, then I moved on to studying violence and it’s effects and then I was obsessed with super natural elements and then I discovered girls and then wisdom dawned upon me one day sitting in an Irani café in Panjagutta that all my obsessions can be combined into that one sexy thing called Cinema, and ever since I didn’t stop fucking.

8. Have you ever tried to portray a character like you in your films.
Ans: All my Male characters have shades of me. Be it in the brooding intensity of Malik in ‘Company’ or the lecherous Rajpal Yadav in Khallas song in ‘Company’. They are all drawn out of a certain emotion which I felt sometime or the other in my life.

Likewise all the men characters created by me look at women the way I looked at them at various times and in various phases of my life.

9. If everyone starts to think like you, Mankind will end in less than 10 years.
Ans: I don’t care about the existence of mankind starting from one second after I die.

The world as I know will die after my death.

10. I don’t agree that without a Cinematic style of shooting them, films cannot be called Cinema.
Ans: Well most of the examples you mentioned are great stories that have been filmed but they cannot be called films. Atleast  that’s not my definition of films. But if that’s what films mean to you I am not going to argue.

11. Psychology is more interesting and truer than Philosophy.
Ans: Psychology is to con others and philosophy is to con ourselves.

12. Your blogs are both unsettling and re-assuring.
Ans: They will be unsettling because I am shaking the foundations of your belief system and they will be  reassuring because now you know that you should not have a foundation.

13. I think you live your life to the fullest.
Ans: I never met anyone who lives and loves life more fuller than me.

14. I wish I had known someone like you
Ans: Reading my blog is like having an affair with me whereas knowing me in person will be like a marriage. An affair anyday will be far more fruitful and enjoyable than marriage and you can ask any married/divorced man about that.

15. I exist because you imagine I do
Ans: No you don’t exist because I don’t imagine you as you are not worth my imagination and hence my existential imagination cannot existentially imagine you thereby resulting in your complete non existential existence.

16. Is Porn Filmmaking an art?
Ans: Any filmmaking is an art if the maker wishes it to be and presents it in his style. It’s not the content that constitutes art but it’s the way one wishes to see the content.

God or nature or whatever the hell it is that created woman and sex is a true fucking artiste man. Ahhhhhhhhh!

17. Who is Ramu?
Ans: Who you want him to be.

18. In every movie of yours there’s always a guy who has no dialogue and looks on like in  ‘Sarkar Raj’ it was a tall guy with a scar. In ‘Rann’ it was the minister’s assistant. In ‘Satya’ the long haired guy. Any funda on this one?
Ans:  It’s just that I love mysterious characters. I think it’s something I subconsciously picked up from a scene in ‘God Father – II’ where a guy is just sitting in a scene without any dialogue but he somehow  made the scene for me.

19. Is the movie fully only on Suri’s character as you seem to be to putting only Surya’s pics.
Ans: NO, Vivek’s portions I shot 5 months ago in RC-I and because of that I only put pics of Vivek. RC-II I just finished and because of that you are seeing only Surya’s pics

20. Film should be a dramatized fiction rather than a dramatized reality for reality is often dreary with no drama unlike in a film.
Ans: A film should be a dramatized version of fictional reality rather than a realistic drama as reality is often non dramatic and it cannot be filmed dramatically enough and so one has to fictionalize it to make dramatic sense out of it so that it won’t appear as nonsensical fiction thereby proving that I am talking fictional nonsense.

21. If you are to introduce yourself to someone who does not know you or your background which of these films would you mention that you are the Director between ‘Shiva’, ‘Rangeela’, ‘Satya’, ‘Company’, ‘Sarkar’.
Ans: ‘RAKTACHARITRA’. That’s because I genuinely feel that the only film I made in my life so far is Raktacharitra.

22. You are my God, Ramu.
Ans: Only when you truly understand that I am the devil can you realize that I am God.

23. I think you are a megalomaniac
Ans: I am much more.

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Ayn Rand said “if you see a beautiful woman with a pimple on her face you would think nothing of it but if an aritiste draws a painting of that same woman without removing the pimple it will seem offensive.  Of course there could be some people who would like the pimple being there and they will be ones who will have the same character as that of the particular artiste and that in effect would reflect their own personal view of life.”

But unlike in life, in cinema when a director uses style, dialogue, background score, characterizations etc to capture reality he will be just wanting to enhance and beautify what could be very ordinary in real life. He in effect is trying to show what is, in a manner of what it could be and what it should be and that would be his view of life.

And from that very specific point of view of his towards life is where his personal art will arise from. Whether his art is good or bad  is subjective depending on who’s perceiving it from which background.

It’s nothing but a filmmakers interpretation and presentation of an emotion which creates a feeling in a viewer sitting in the theatre. The way the director presents his own view is where we as an audience will just get sucked into. So once we finish watching, his view will become a part of our view.

What a filmmaker is really saying through his film is “this is how I want to see things ” Read it as  “ this is what life means to me ”. and also very rarely a filmmaker’s purpose would be wanting to communicate his view of life to the audience. His intentions will be more to capture his personal view in a physical quantity on the screen. But since cinema involves commerce and various peoples time and efforts he has no choice but to bring it down to communicable terms unlike a painter who while painting would never think of what will make people buy his painting.

Since we always strive to reshape the world for our own specific purpose we have to first identity our own individual value systems so as to have a specific personal view of everything in life in order to reshape both the world and ourselves. To an extent we can possibly reshape ourselves both physically and mentally but it’s only from our desire to reshape the world where our art arises from.

For instance if I have depicted gangsters in “COMPANY” in a certain way that’s just my artistic interpretation of the underworld. It says about my desire to see a guy like malik in the underworld but not necessarily  it tells that there is a guy like malik in the under world.  Similarly in “SARKAR” what I am saying is “this is how I would like to see Bala Saheb Thackeray” thereby giving my personal view of him.

On the other hand for a guy who has no personal view of anything in life at all the concertized projection of his malevolent non view towards anything and everything in life will serve not as an energy to move forward but as a  delusional moral premise to stand still and just make mindless comments on people who move forward.  These are the inane majority who keep screaming that values are unattainable that struggle is futile, that fear, guilt, pain and failure are mankind’s predestined end.

Between these two there also lie a sea of  other minds with completely mixed premises whose issues in life will inevitably and permanently remain unresolved as most of the time they just precariously balance on the edge of their little or no logical  brain.

In cinematic art It’s my conviction that more than the story it is the style in which it is told which is most creative and the most beautiful in it’s sheer artistic representation. A story is given and a scene is given and a character is played by an actor which is a physical quantity, but how they are amalgamated by the director with the use of the cinematic medium in his style is what which creates a sum total emotional catharsis in a viewers mind.

Of course it goes without saying that style cannot stand in for lack of content but at the same time without the application of style there cannot be cinema.

This best was put in the words of a corporate executive who once said about a certain film  “ It’s quite a nice story but if the director did not apply any  cinematic style  to it why did he make a film out of it.” I completely agree with that executive because style is truly where a director comes in. He might have other talents such as writing etc… but primarily by definition the director is the link between the performing and the primary arts. He is a performer in relation to the primary work of others namely actors, music director, cameraman etc…  in the sense that they are a primary means to what he is designing with his style to be his specific end.

But to integrate the primary arts he will require a first hand understanding of all the arts applicable to cinema and then he will have to have a very individualistic view of them combined with an unusual power of abstract thought and above all aided by cinematic imagination.

Directors with this kind of tremendous sense will be of course rare. Most of us directors most of the time ride on the talents of others and merely put the actors and technicians through randomly thought motions which will accidentally result sometimes in a great movie and most times in a movie with clashing intentions of all concerned due to the lack of a central thought to guide the film towards it’s emotional finale.

A film is at the end of the day an emotional experience. It can make you cry, it can make you laugh or it can thrill you etc… and a good story  gives the director a means to heighten that emotion and a great director will enhance and beautify that emotion with his artistry. For example if the script says “ she is very beautiful” in a cinematic application the director can make people in the theatre feel “she is verrrryy beeeauttifull.”

In written language  this will come across as wrong grammar but in cinematic language the girl will come across verrrryy beeeauttifull and that ‘s why I love cinematic EXAGGERATION!

It would be any Directors dream to have an Actor with a combination of intensity in facial expressions and a mind-blowing body to go with it. Most of the time there will be actors with good bodies but they can’t act and then there will be very good intense actors who cannot dare to take their shirt off. Only in Surya I found this never before seen combination of an extraordinary body coupled with an extraordinary intensity in his facial expressions. These pictures of Surya are from an action sequence in ‘RAKTA CHARITRA’

1. Which film do you think is a cult classic between ‘Shankarabharanam’ and ‘Shiva’?

Ans: Ofcourse ‘Shankarabharanam’ because its completely original whereas ‘Shiva’ was a far lesser and copied version of many films made prior to it. People liked ‘Shiva’ only because they were unaware of its sources.

2. Do you command respect or demand respect?

Ans: Neither. I don’t care about respect

3. I think ‘Shankarabharanam’ is closest to Fountain Head.

Ans. In a way yes except that you don’t feel heroic about the protagonist of ‘Shankarabharanam’ which you do by the end of Fountain Head. You only feel sympathy for him whereas you look upto Howard Roark despite his failure.

4. Your posts work and re-work are the most important articles I came across. But I again and again fail to follow them.

Ans: Keep re-re-working

5. Why do you take risks and where do you get this courage from?

Ans: I will quote Dayanayak the encounter cop when I asked him the same question “When you are playing cricket you should lift the bat and try to hit the ball with all your might. That will either result in you hitting a sixer or you will be out. Both of them are fine. But what you shouldn’t ever do in life is to just keep defending your wickets”

6. Why does success go to people’s heads?

Ans: Because success has no meaning unless it goes to ones head and also the successful person does not realise that it has gone to his head till it comes down to his feet.

 

7. ‘Shankarabharanam’ is not a flawless film

Ans: There is no such thing as a flawless film. Any film will have as many flaws or lack of flaws as that of the flaws and the lack of flaws of the viewer.

 

8. I think RC will redefine violence.

Ans: Actually it will refine violence.

9. I hope the background score in RC is not noisy.

Ans: Its very noisy

10. Why did you use your voice for the voice over in RC.

Ans: Well I tried a lot of voices but I felt that my voice was representing its emotion the best. Some criticized my diction and pronunciation but that voice over’s purpose was to convey a message and not to educate people on the fineries of the telugu language.

11. I just read 10 pages of Atlas Shrugged. Its boring.

Ans: For a guy who is as intellectually challenged as you to describe Atlas Shrugged as boring, I doubt you would have even understood one page.

12. Are you an emotional emotionless man

Ans: I am an emotionally emotionless emotional man.

 

13. I am so inspired by your blog that I might expire

Ans: Don’t worry as you will get reborn to inspire

 

14. Can you answer me the following questions regarding movies?

1. Why do people being chased by a car keep running in the middle of the road instead of ducking in somewhere where a car can’t go?

2. Why does a hero who shows absolutely no pain while taking the most ferocious beating wince when a woman just tires to clean his wounds?

3. Why after sleeping together a couple always places the covers correctly so as to fulfill the regulations of censor board

4. Why is it that in Ghost films women always investigates strange noise wearing the most revealing underwear?

5. Why always in police investigations it is necessary to visit a strip club?

Ans: Ha Ha Ha Ha Ha Ha Ha Ha Ha Lol ROFL…

 

15. Did you feel happy about the verdict on Kasab?

Ans: I felt happy for Kasab because any terrorist worth anything always comes prepared to die and by catching him alive we took away his happiness and after one year of torturing him by keeping him alive the learned Judge finally granted him what he always would have wished for. DEATH!!!

 

P.S: Am just posting here some details of a film I am highly excited about.

 

The Concept

By the year 2010, the underworld as we knew it has become non-existent primarily due to the Dawood Ibrahim gang going legitimate in Pakistan, Chota Shakeel becoming completely inactive, Chota Rajan co-operating with the various government agencies, Arun Gawli becoming a politician and Abu Salem being put in jail.

The success of the Mumbai Police in wiping out the underworld has been so total and so complete that the Police Department even disbanded their encounter squad teams as they were of no further use.

These developments were carefully being studied and observed by an entrepreneur from the South.

He was like so many other innumerable entrepreneurs from all over the country who land up in Mumbai with dreams of reinventing business practices which have become outdated. But this particular entrepreneur’s business was that of CRIME.

He minutely studied and educated himself on both the shortcomings and achievements of every gangster that ever ruled Mumbai, ranging from Haji Mastan to Vardha Bhai to Karim Lala to Dawood Ibrahim to Chota Rajan and then landed up in Mumbai to become its biggest gangster ever.

He believed that there is no such thing as right and wrong and there is no such thing as good and bad.

He also believed that everyone in this world go through their lives in one way or the other only by making deals. Whether it’s between husbands and wives or between parents and children or between Godmen and devotees or between politicians and voters, life is nothing but about making deals. So as long as everyone is into some kind of business or the other, he decided that even crime should be treated and dealt with like any other BUSINESS.

Welcome to the new-age gangster.

“The Business Man” - Guns don’t need agreements

The idea is to make “The Business Man” into a trilingual that is in three languages Hindi, Tamil and Telugu. Unlike in the done to death rustic style of conventional gangster flicks the shooting style of “THE BUSINESS MAN” will fall somewhere inbetween the slickness of “COMPANY” and the entertainment quotient of “WANTED”

The shooting will commence from October 2010 and the film will be released by April 2011.

It will be produced by me, starring Surya and will be directed by Puri Jagan, the original director of “WANTED” (Pokiri in Telugu)