1. Shouldn’t we make films which can make an impact on the world?
Ans: Hello, you are talking to the maker of AAG and also I believe in making films such as what I want to see.
2. I don’t think you’ve made any bad films, some of them just didn’t work.
Ans: Films should only be made with an intention of making them work. Good and bad are very subjective.
3. Are the subtle sense of humour scenes in your films your ideas?
Ans: All ideas in my films whether they are good, bad or ugly, are mine.
4. How do you see RGV doing 10 years from now?
Ans: I don’t think beyond today.
5. Howard Roark did not dislike anyone. He was just indifferent.
Ans: Indifference is worse than dislike.
6. Shiva was an incomplete film. The 2nd half is with me.
Ans: Make it yourself.
7. AAG is my favourite film.
Ans: Can you please send your picture so that I can frame it and keep it at home.
P.S: Don’t tell anybody but AAG is my favorite film too.
8. Your penchant to contradict yourself is becoming predictable.
Ans: The only exciting thing about life is contradictions and I also have outgrown the anger of Nigga disi adugu.
9. It was always me… I trusted you… I took time and watched your movie, how can I blame you.
Ans: Ahhhh! Wisdom at last.
10. I had fallen in love with Sridevi after watching Kshnam Kshnam.
Ans: I made that movie because I was in love with her.
11. I am in no comments after reading your blog… just background music.
Ans: I love you for this.
12. In one shot in Bhoot after the car leaves the basement the shot changes with the sound of a dolby click.
Ans: That was not a dolby click. It is the igniter sound which Urmila uses on the gas stove. Anyway as long as you felt the impact it does not matter. The psychology of that shot is that the audience would be used to the fact that the shot will be cut after the car left the frame. But the fact that it lingers on automatically puts them into a heightened tension thereby making them anticipate something terrible will happen and that’s why even an ordinary click sound will scare them. Similarly one more example of this is when Urmila comes down into the hall to go into the kitchen for a glass of water. In a wide-angle shot I show the audience that there is no one in the living room. If the camera follows behind her they will be half expecting something to jump on her from of the frame. But the fact they can see the whole room their eyes will be darting all over to see if anyone is hiding somewhere. Meanwhile Urmila takes her time to drink water and comes back. As she goes up the stairs I cut to top angle where the audience can see behind her.
Now as the audience can’t see anything in the back and from Urmila’s expression they can see that there is nothing in the front, they slowly relax as she comes close to the camera into out focus distance thereby expecting the shot to be cut. But as she crosses the camera we reveal Manjeet under the stairs making them jump out of the seat.
13. I don’t know if ‘Govinda Govinda’ theme suited the film Sarkar. Originally it was from your Telugu film.
Ans: Yes. Since I loved that track in the Telugu film and that film flopped I was adamant on tying to ram it down people’s throats once again and I gave a logic to myself that Sarkar is like Lord Krishna which justified the Govinda word. Nobody else got that but as of now it’s the most identifiable sound byte from the Sarkar films. My case rests.
14. How does Sarkar make a living?
Ans: He didn’t tell me.
15. What do you feel when you look at your movies that are 6-7 years old?
Ans: That they are 6-7 years old.
– Ram Gopal Varma