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Is filmmaker Nagesh Kukunoor a great gambler? If yes, why?

For 24 years now, Nagesh Kukunoor has risked experimenting and switching tracks with each new project... and lived to inform the story It has taken daredevil gumption and an urge for food for hazard for Nagesh Kukunoor to carve out his niche. It hasn’t all been clear sailing, however many years after Hyderabad Blues, the renegade filmmaker remains to make waves with the second season of his internet collection City Of Dreams. His experimental cinema has now no longer been acquired with an open hand every time. Yet Kukunoor has in no wayoffered out. He has continually gambled. This intuition for intrepidly following his convictions is what drove him, an Indian engineer dwelling the NRI model of the American Dream in Atlanta, to throw up his comfortable-company process and make movies in India. “There had been some of the folks who attempted to dissuade me from making Hyderabad Blues,” Nagesh recounts. “I had raced via the proverbial take a look at listing for success—long gone abroad, executed my masters’, discovered a process, labored my manner up the company ladder, had an excellent apartment, a sports activities car, everything. But I become nonetheless miserable. Unhappiness is a wonderful motivator. I determined to present my ardor for movies a shot.”


Kukunoor didn’t pursue a rewarding appearing profession even after gambling the lead in a successful film. “I experience route one hundred instances greater than appearing,” he explains. Direction becomes a clever preference due to the fact his movies, consisting of Hyderabad Blues, Iqbal, and Dor, placed him withinside the forefront of the cinematic motion that, withinside the new millennium, has visible Hindi movies shift from method fare in the direction of a certified realism.

I ask Nagesh if he recognized his consistent switching of genres as a risky career move, and he exhales, “Hell, yes! A director is not given an opportunity to try a different genre unless she or he fights. If Raju Hirani wanted to make a really dark, psycho-thriller (and more so after Munnabhai), the whole industry would have been like, ‘What! This succeeded so don’t back off.’ However, I am determined not to repeat myself. After Iqbal and Dor, I started a wacky comedy, Bombay to Bangkok, and a hundred people told me ‘joote padenge’ but I didn’t listen.”

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