Ram gopal verma guns and thighs torrent download

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It will certainly be the best partner to improve your business and also leisure activity. Even when it comes to his own films, he embraces his failures as much his successes and dissects them with rare honesty and humility. Refreshingly contrarian and politically incorrect, this book discloses a perspective as colourful and larger than life as Indian films.

It is not for RGV fans alone but for all those passionate about cinema and the people associated with it. About the Author Ram Gopal Varma is a film director, screenwriter and producer who has made films in Telugu and Hindi in a range of genres - psychological thrillers, gangster films, road movies, horror films and musicals. His first successful Hindi film was Shiva, but it was with Rangeela, which won Filmfare Awards for the lead actor and music director, that he truly gained recognition in Bollywood.

The reason for that is that each and every actor and technician is contributing his work and talent as per my vision, and in many cases delivering far beyond my expectations.

If I use their contributions wrongly, the film does not work. But when it works and I am being praised, I know in my heart which individuals specifically lifted a particular moment in the film or the film in its entirety even. So in short, the success of a film is due to the contribution of the actors and technicians in excess of my expectations, which is why it belongs to them, while failure belongs to me alone, as it means that I failed in channelizing their equally great contributions to their intended destination.

It has to be realized that in the making of a film the technicians and actors are working towards satisfying the director, and the director is working towards satisfying the audience. So I find the concept of an outside body giving awards ridiculous, knowing as I do the mechanics of making a film.

He reckoned that with an investment of just 20 lakh, he could make a crore in the very first year. There was a huge colony on that road and not a single bar within 5 km either way of the location he had chosen. His logic seemed infallible and I wished him all the very best. By the end of the year, he had lost his investment and closed down the bar for lack of business. In the run-up to the Iraq war there was a lot of opposition to America attacking Iraq, including among Americans.

They all questioned the authenticity of the information about Saddam Hussein stockpiling weapons of mass destruction, and said that innocent women and children would die in the war. But nobody ever doubted that America would be able to conquer Iraq. After the attack, the war was over in a week. But for years after that, the US did not know how to get out of Iraq without making things worse than before. Coming to films, over the years so many people ask me in surprise how I could have made such-andsuch a flop.

There are a hell of a lot of things which can go wrong between the intent and execution of a film. This is because the audience views it maybe in a different time and context from that in which the idea was conceived by the filmmaker.

I have always maintained that all my flops are by intent and all my hits are by accident. That is because any of us will act upon anything if, and only if, we are convinced about something but what comes of our action is rarely under our control. I know of a friend who was dating this girl for seven years and when they finally got married, their marriage was a big flop.

When I asked him why, he said that they had both discovered some things about each other which they had never known in the seven years of dating. The point I am trying to make is that apart from films, lots of things in our lives flop regularly, because a flop is nothing but a decision gone wrong. Mahesh Bhatt said that Sunil Gavaskar once told him that if he failed in a match, after coming back to the pavilion, even the attendant removing his knee pads would tell him how he should not have hit soand-so ball.

It is another matter that the attendant might not even have known how to hold a bat, but he would feel free to advise and give gyan to Gavaskar since he had flopped. Coming back to Chitti, believing in his reasons, his family backed him financially.

If the bar had become a hit, he would have been hailed as a visionary but since it flopped, he is now considered blindly stupid by his family because it could not afford the loss he made it undergo. In the case of my video library business, on the other hand, my family thought I was being blindly stupid and hence did not support me financially, but I became a visionary once the video library became a hit. But why I thought the library would be successful was not why it worked, whereas why Chitti thought the bar would be successful was the very reason it failed.

So we both failed in what we intended but I succeeded by accident. In the era of commercial formula films like Deewaar and Zanjeer, he successfully went against the grain to make cult films like Rajnigandha, Chhoti Si Baat and Chitchor. I remember seeing Chitchor seven times somewhere in the late s or early s, and the simplicity of narration that I learnt from it was pretty much what shaped my vision of Rangeela.

Cut to twenty years later I was at my office in Mumbai, when my receptionist called me and said that someone called Basu Chatterjee had come to meet me. I walked to the reception to see a gentle-looking elderly man and welcomed him into my room. I offered him coffee and started telling him how I used to stand in line outside Ramakrishna theatre in Hyderabad to watch his films. He smiled and told me that he was aware of it, as I had mentioned it many a time in my interviews over the years.

After a chat, he finally told me why he had come. Apparently, he had a script and a producer but he did not have access to any actors. He was desperately trying to get in touch with Manoj Bajpayee, but was unable to do so. So he had come to seek my help in accessing Manoj. His phone was switched off, so I called his secretary.

So I explained to him that Basuji was a highly successful director who had made cult films like Chitchor. Two days later, I got a call from Basuji thanking me. I asked him if Aftab had come to meet him. I say this because a film in a true sense is a one-on-one experience between the filmmaker and each individual viewer.

A film is made because the filmmaker has a story, which he desires to tell, and film business is about carrying the film effectively to as many viewers as possible and in the process making money out of it. There is the hardware of the film business, which is the hundreds of theatres in existence and hundreds still being built across the country, and they need software to play.

We keep hearing that 90 per cent of films are flops, and nobody even thinks of asking how any industry can run if it is losing money 90 per cent of the time. This is how it happens. The buyer further retails it to various others for, say, a sum total of 13 crore and the film finally collects 15 crore.

Now this would be a case of the film making money for everyone involved. In the above case, it is a flop for the producer, but for the buyer it is a hit. This is the financial part of it. Coming to the creative part, Darr is a superhit for Shah Rukh and a super flop for Sunny Deol as far as their star branding is concerned. Murli Mohan Rao, was released around the same time, and collected much more than Satya. But was it because the audience genuinely liked it better than Satya, or was it because Salman is a crowd puller?

The fact that a film has good collections does not necessarily mean people liked it more than films that collected less.

It only means that more people saw it. For instance, Satya was taken off from the theatres on the second or third day in parts of UP and Rajasthan for lack of audience.

So it registered a super flop in those areas. But a year later, when I went to those areas for some other work, everybody recognized me as the director of Satya. How did that happen? It was simply because when it was released, nobody had heard about it and did not go to see it. By the time they heard about it, it was taken off from the theatres. So they must have finally seen it on video or cable.

Suppose you go to a crockery store to buy a dinner set. You will check out the various designs available and pick the one you like best.

Anyone with a mind of his own will do the same with a movie. On the first screening, if all shows are full, it will register as per cent opening, meaning 2, people saw it.

But if the distributor opens it in twenty theatres and it registers 50 per cent opening, it is considered below the mark; but the bottom line is that 2, people still saw it. Undoubtedly, the additional theatres will incur extra theatre rentals and print costs, but that decision will always be with the distributor of the concerned circuit based on his perception and vision of how many people will watch it and has nothing to do with the filmmaker.

If a wholesaler or retailer tries to sell an Ayn Rand book to a Mills and Boon-reading public, he is bound to be unsuccessful. Going by his worldview, a filmmaker will make a film which some will love, some hate and some ridicule on an individual level, which is perfectly alright.

My father was a sound engineer in Annapurna Studios in Hyderabad, and owing to that had reasonable access to the big guns there. One fine day, when my film mania reached its absolute peak, I went to him and declared that I wanted to be a film director.

He looked at me as if I were stark raving mad, and with good reason, because there was not a single constructive thing that I had done in my life until then. I was a bad student and had the reputation of being a useless bum. The editor was startled by the title, but after reading it he agreed to publish it. Soon, on the strength of being the author of that article, I managed an appointment with Ramoji Rao and pitched my idea of directing a film for him.

He rejected my pitch outright on the grounds of my lack of practical experience. I argued that a director does not need experience, only clarity of vision and the skill to communicate it to the actors and technicians. He did not buy it. I was completely disillusioned with the experience, as he was the only option I had.

My salary as a site engineer was just per month and it was damn difficult to make ends meet. My wife Ratna was really worried about her future with a guy as impractical as me, and she requested her father to get me a job in Nigeria. He managed to get me a job paying 4, per month, which was obviously a huge jump from the and very much needed by my family. The 1-kilometre walk I gave up the idea of being a director, and began preparing to go to Nigeria. One of the documents necessary for the purpose was an international driving licence.

A friend of mine called Naidu was taking me on his bike to an RTO office, where he knew someone who would do the needful. En route he stopped at a video library called Priyadarshini Videos owned by his friend. Those were the days when video libraries were just coming up, and that was the first time I had ever been inside one. As Naidu was chatting with his friend, I was checking out the cassettes and suddenly had the brainwave of starting a video library myself.

With my extensive knowledge about films, I was confident of making a go of it. I decided that I would make a film myself with the profits I earned from the library. Everyone including my father, grandfather and Ratna thought I had completely lost it, and Ratna understandably was in tears.

So I went about asking for loans varying from 1, to 3, and managed to raise about 20, from some eight people. That was just enough for buying cassettes, but not for renting a shop. My father was nearing retirement and he was pretty worried about how to run the house. One of my uncles had a shop in Ameerpet area, which he had given to my father without taking a deposit.

My father was planning to start a juice parlour there as a retirement plan. I went to him and asked him for the shop for my video library. He just kept quiet and I thought he wanted some time to think about it and left him. The following night, my uncle took me to a bar and while having a drink told me how distressed my father was with my asking for the shop. My father had apparently told him that what he had kept for his old age was also being demanded from him. I was so upset with this that I decided to drop the video library idea, return the loans I had taken and resume my preparations for Nigeria.

Now, the bar where my uncle broke the news was a kilometre away from my house. I started walking with tears in my eyes, meaning to go and tell my father that he could have his shop back. But as I walked, my emotions slowly started subsiding and logic started exerting itself. I told myself that just because my father was feeling disturbed was not reason enough for me to give up on a plan I believed would work, financially and in every other way.

So the choice was between making him momentarily unhappy with prospects of long-term happiness, and making him happy for the present with all of us remaining unhappy for the rest of our lives. Logic prevailed by the time I finished the 1-kilometre walk, and I just ignored my father and went about my preparations of setting up the video library.

Also, this sudden change in my financial status gave me the confidence to try again for a break in films. The point I want to make is that the primary reason for my becoming a director was the unscheduled stop Naidu made at the video library, and that 1-kilometre distance between the bar and my house which allowed me the time required for my logic to win over my emotions. Whenever life decides something for me, I immediately decide to use the turn of events in a certain way so that I always manage to come out on top.

When I decided to start a video library with a capital of 20,, I went about trying to buy quality video films. So by the time I started my shop, I barely had a workable tapes. Once it started, my library became successful within a month and Fantasy soon went out of business.

Now the same people said that these days everybody owned a VCR, and that Movie House had better parking space than Fantasy. For my films, as for my video library, I get a lot of unsolicited advice. I was told Daud would be a blockbuster because it had Sanjay Dutt after Khal Nayak, and Urmila and Rahman after Rangeela, and I was advised to shelve Satya because nobody wanted to see sweaty-looking faces in dirty locations. The same people advised me not to do Aag and my various other failures, and today they will all remember what they said about Aag and conveniently forget what they said about Satya.

So eventually, neither was I correct in what I believed, nor were my various well-wishers. Random things keep happening, which are completely out of your control, and you can only control your reaction to an out-of-control situation. My real success, I believe, lies in my ability to make decisions and implement them superfast. Anyway, coming back to the video library, I used to narrate the stories of the films to my customers depending on their tastes. In due course of time, they became so addicted to my story sessions, many said my narration was better than the films.

That was my first close encounter with the police and I made friends with them and studied their psychology, and later put that understanding to good use in my cop films. Raghavendra Rao of Himmatwala fame signed up. He asked me if I could write a story for a hero to be told to Raghavendra Rao. Venkat liked the story very much and took me to narrate it to Raghavendra Rao.

Mr Rao that said it sounded like an experimental film and had no drama in it. I thought maybe he knew what he was talking about since he was so successful and asked him if I could work on it. As I was trying to rework it, I happened to see his film Kaliyuga Pandavulu, and I suddenly realized how he must be seeing Shiva.

I immediately gave up the idea of being a story writer and went and told Venkat. I asked him if there was any director I could assist, as everyone felt that was a very important precondition to my becoming a director. Surendra, to whom I had become quite close by then, was starting a film with director B. So I formally joined as fifth Assistant to B. Gopal who was very busy with another film which he was finishing, and I started attending script sessions with writers Ganapathi Rao Kommanapalli and Suryadevara Rammohan Rao on the script of Collectorgari Abbayi.

In the course of their script discussions with Surendra, I used to come up with ideas and suggestions which visibly impressed all three of them. Within a few days, Surendra started sending a car to pick me up, which was a huge jump up from my bus and occasional borrowed-scooter travel. Mr Gopal and his assistants used to feel visibly uncomfortable with my proximity to the producers considering that I was merely a fifth assistant, and in those days assistant directors were expected to be very subservient.

My attitude and my speaking in English also understandably put them off; to the extent that when one day Surendra was discussing budget cuts with Mr Gopal, he suggested removing me as one of the cuts.

Moreover, in just about a week, I had proved to be the worst assistant director ever, often losing clapboards and continuity books. So Surendra asked me to lay off and just hang around the set without taking on any responsibilities, which worked out fantastically for me. By virtue of being free on the set, I slowly started developing a rapport with Nagarjuna who had started shooting by then. Meanwhile, I left my video shop to my staff and they cheated me royally and the business went for a toss.

Since I had come in towards the end in Collectorgari Abbayi, after most of the script had been finalized and decisions about casting and selection of technicians already made, I thought this would be a great opportunity to be involved in a film right from the inception.

But by the force of my personality, I slowly started influencing Surendra who wanted an established director for Raogari Illu to take on a new director with lots of experience instead. My agenda was that if he was directing, I could be part of all the decisions right from the beginning or, simply put, I could be a backseat director. So I manipulated Surendra to decide on Tarani, which he finally did. I was ecstatic because this gave me a chance to get a ringside view of how an idea grows and shapes into a film.

Little did I know how horribly wrong this would go. Tarani was initially very grateful to me as he knew that I was mainly responsible for Surendra taking him on as director, but slowly he grew tremendously irritated with what he perceived as interference on my part and which I had thought of as my creative inputs.

He was also very jealous of my proximity to the actors and the producer. ANR was the star of the film and he kept a distance from everybody including Tarani. All the other actors like Jayasudha and Revathy interacted more with me than Tarani, which understandably upset Tarani. But the problem was that it was I who had narrated the story to the actors and Tarani was shooting it differently without being able to tell them the reasons for the changes.

This created a lot of discomfort on the set. Meanwhile, Collectorgari Abbayi was released and became a big hit and Nagarjuna was hot property.

By that time he was keen to take a chance with me as a director, but ANR was dead against it. As this was going on, one day Tarani was shooting a key scene, and ANR had a doubt about the way the scene was structured that Tarani could not resolve. As an escape route, Tarani told him that the scene was conceived by me and approved by Surendra and that he was just forced to shoot it. ANR called for me and Surendra. He took off on the stupidity of the scene when I stopped him and explained to him the whole point of the scene and how it should be shot.

He asked me to be present for the shooting of the scene, and by the end of it he told Nagarjuna at home that he was mighty impressed with me. With that, practically all decks were cleared for me to be given a break, as ANR had given the green signal. Nagarjuna was positive anyway, and Venkat and Surendra were reasonably positive although dilly-dallying.

The question was when. Venkat said they were shooting a film called Vijay with B. Gopal, and Surendra was planning another film with Kodandi Rami Reddy starring the father and son duo again, and after that there was another project with K.

Raghavendra Rao. They could think of giving me a film only after those films were over. My heart sank as I was in no mood to wait that long. By that time I had understood enough of how the industry operated. He signed Ganesh Patro as dialogue writer. Kodandi Rami Reddy in those days did seven—eight films a year, and most of the time would not even remember the story of the film he was currently shooting.

I digested this information and resolved to use it to further my end. I narrated the story to Mr Reddy and Mr Patro, who were fine with it. Later that night I talked to Mr Patro and offered to go in his place. Mr Patro was only too happy to be saved the trouble, and Surendra sent me instead. Once there, by deliberate design I narrated the story in such a way that ANR had lots of problems with the script. They were taken by surprise, and waited for me to come back to tell them what the problem was.

I relied on the fact that Mr Reddy did not have a script sense and he also had a weak memory, and Mr Patro at any given point of time was busy with ten films and was primarily a dialogue writer. Leaving all three in a state of confusion, I went to Nagarjuna, who then used to live above the office, and told him that there was no script for the Kodandi Rami Reddy film and no way a script could come up in the given time.

Since my script was ready and he had decided to take a chance on me someday, why not take it now? He asked me about what Surendra might say. I went to Surendra and told him that since he would lose a project with Nagarjuna and not get dates with him again for quite some time, I would try and convince Nagarjuna to fit my film into those dates instead. When he agreed, I met Nagarjuna and told him Surendra was keen to do the film with me and I called Surendra and told him Nagarjuna was fine with doing my film.

He was non-committal. In the morning, before Venkat woke up, I told Nagarjuna and Surendra that Venkat was very happy with the decision. And after Venkat woke up, I took care that no two of them met each other without my being present. There were also some undercurrents among them, which I took advantage of by making each feel that if he opposed the decision, the other two would support me.

Then I leaked out the news to the staff at the office. I told him that he should hurry up and break the news to Mr Reddy himself before Mr Reddy got to know of it from someone else, which was bound to create bad feeling.

So Surendra met Mr Reddy and told him. The news of Annapurna Studios dropping Kodandi Rami Reddy for Ram Gopal Varma spread like wildfire, since it was the first time a big production house had opted for a rank newcomer in place of the reigning director. I conned and lied to everybody concerned, but the one and only truth was that I genuinely believed that Shiva would be a far superior film to whatever Mr Reddy might make.

PS: After the success of Raogari Illu, Tarani made a few flops and is now back to working as an assistant director.

My friends Sridhar and Naresh, and I were the three most useless bums in our college. Every day, without exception, we used to watch movies and often the same movie repeatedly. So like vagabonds we used to hang out in the compound of Vijayalaxmi theatre, having tea and biscuits in the canteen and running up an account with the canteen guy who used to, both out of pity and irritation, give us sizeable credit, sometimes going up to The manager of Vijayalaxmi, who used to walk around the theatre, knew us by face as we were constantly there even during college hours.

His disgust at our complete lack of purpose was often clearly reflected on his face. One day, he told me point-blank that I should be ashamed of myself for behaving so irresponsibly, and advised me to think of my parents who were working hard and had expectations of me regarding a career, while I was neglecting my studies and wasting my time on movies instead.

For approximately two days, I was suitably chastened and then I was back at my vigil at the theatre. The manager was so irritated that he would look away whenever he saw me in the theatre compound after that and in time, he began to look through me as if I was not worth his time.

For around four years, Vijayalaxmi theatre was a like a second home to me. Sometimes I used to be inside watching a movie, sometimes inside the compound looking at the posters, and sometimes at night when I had no money to buy a ticket, I used to stand at the back of the theatre to catch the soundtrack.

Years after I left Kamayyathopu and made my directorial debut with Shiva, I was invited by the distributor of Vijayawada to come and see for myself the crowd reactions, after it became a blockbuster. When I arrived there and asked him which theatres the film was playing in, one of the theatres he mentioned was Vijayalaxmi.

I told him that I wanted to see Shiva there. Throughout the journey in an air-conditioned car from the hotel in Vijayawada town to Vijayalaxmi theatre, which was 7 km away, my mind was flooded with memories of how I used to travel in jam-packed buses on that road, and many a time walk because I had no money even to buy a bus ticket.

Meanwhile, the distributor called up Vijayalaxmi theatre to say that Ram Gopal Varma was on his way, and word got around causing a big crowd at the theatre.

The owner of the theatre was there to greet me personally, holding a garland in his hands, and as I got down he put it around my neck and people started clapping.

He had only known me by face and never in his wildest dreams would he have imagined that this hugely successful film had been directed by the same useless bum who used to hang around aimlessly in his theatre. I smiled guiltily at him and as I was being taken inside, the owner asked the manager to get snacks for me from the canteen.

I turned back to look at the canteen, and the man who ran the canteen waved frantically at me over the heads of the crowd with tears of happiness in his eyes.

I guiltily remembered the 40 I owed him of old. I told one of my guys to return his money and also give anything extra if he asked. My guy later told me that he had refused, and he just wanted a picture with me.

So I posed behind the counter in the canteen with him. As I left the theatre after watching the film, I looked around and spotted the manager in the crowd and walked up to him.