Microsoft Commerce Server

Microsoft Commerce Server is a Microsoft product for building e-commerce. It uses Microsoft.Net technology.

The latest release of the product is Commerce Server 2009. It was launched at the National Retail Federation (NRF) in New York in January 2009, with its official launch at the MIX09 event in Las Vegas in March 2009.

With its inaugural release in 2000, Commerce Server replaced Microsoft Site Server, expanding on the functionality of it and establishing a focus on e-commerce functionality (rather than concerning itself with document management or content metadata). It helps create e-commerce solutions and Web sites with high-performance, familiar tools that simplify setup, management, and administration tasks.

Microsoft Commerce Server 2009 provides a comprehensive solution for many business scenarios, including:

• Business-to-consumer (B2C) sales of tangible or digital goods or online service delivery.
• Business-to-business (B2B) scenarios, such as e-procurement and trading communities.
• B2X scenarios, combining Business to Consumer (B2C) and Business to Business (B2B).
• Self service portals using catalogs, profiles, or content targeting for personalized information delivery.

System Components

Commerce Server 2009, which became available on Microsoft's price list on April 1, 2009, introduced multi-channel awareness into the product, a new default site (running in Microsoft's SharePoint product) - including 30 new web parts and controls, and WYSIWYG (what-you-see-is-what-you-get) editing experiences for business people and site designers.

These features were introduced through the new Commerce Foundation - a new abstraction layer which unifies calling patterns of the core systems (see below) and allows for different presentation and business logic to be easily added and represented as 'selling channels'; and SharePoint Commerce Services which includes integration with Microsoft SharePoint - a new default site with 30 new web parts and controls pre-assembled. The default site can be skinned through the new page templating technology, allowing for individual pages to be easily changed by selecting a different template.

The product still retains its core systems of Catalog, Inventory, Orders, Profiles, and Marketing (discussed below).

Orders & Inventory

The Orders & Inventory system is responsible for tracking orders made by customers. The server can link with external systems that track inventory for a business so that inventory information is kept up-to-date and communicate with the appropriate parties when inventory runs low to indicate that it's time for new stock to be ordered. Business users are able to determine what "low" is through a management tool which lets them set inventory thresholds and get reports on product sales according to whatever metrics are desired, using Microsoft SQL Server Analytics.

Catalog

A company's products are intended to be described in the Catalog system. The products, the categories they belong to ,and relationships with other products are tracked by Commerce Server . A configurable metadata system enable the server to address any kind of merchant scenario.

Marketing

Managing promotions on a website can become a task unto itself, but the server addresses this web-trend by distilling the index operations associated with online advertising into a finite collection of functions. These let the business user manage ads and set rules that determine the conditions under which specific ads appear.

Profile

Almost every commercial website today makes an effort to personalize the content for an individual shopper. Its Profile system can do everything from tracking a shopper's product preferences, to tailoring the website presentation for the individual user.

Other Components

The server comes bundled with Data Warehouse Analytics, which offer sophisticated reporting functionality, dependent on the availability of Microsoft SQL Server Analytics module, in addition to the Commerce Server Staging (CSS) system. The Staging functionality automates the deployment of both dynamic and active content across a network infrastructure and can accommodate a wide variety of network configurations. (Some have remarked that the speed of CSS deployments is perhaps the most note-worthy aspect of this component.). Commerce Server also comes with BizTalk adaptors, which allow for integration with Microsoft BizTalk for enterprise data manipulation.

Related Technologies

The product requires the presence of Microsoft SQL Server 2005 or later. Commerce Server also can leverage a number of other Microsoft server products, including BizTalk Server 2006 and Microsoft Office SharePoint Server (MOSS).

The product relies on components that are themselves dependent on the presence of the .NET Framework 3.5 and Microsoft's Component Object Model (COM). Recommended deployments are confined to Windows Server 2003 or higher.

Future Development

The Commerce Server Product Unit has planned to have periodic releases of the product over the next 5 years. The next planned release of Commerce Server is targeted for the 2010 time frame.

Versions for Windows

• 2000 - Commerce Server 2000
• 2002 - Commerce Server 2002
  • Service Pack 1
  • Service Pack 2 (2003)
  • Service Pack 3 (2004)
  • Service Pack 4 (2006)
• 2007 - Commerce Server 2007
  • Service Pack 1 (2008)
  • Service Pack 2 (2008)
• 2009 - Commerce Server 2009

External links

• Official Site
• TechNet Site
• Technical Overview
• MSDN Site
• Commerce Team Blog
• Microsoft Commerce Server Subject Matter Experts Group
• Commerce Server Developer Wiki

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RGV Reveals about the entry of two great music directors in the telugu film industry.

8 October 2009

Cycle I

When I was hanging out around Annapurna Studios trying to get a break, I used to attend the music composing sessions of “Collector Gari Abbayi”. In the course of those sessions whenever its music director Chakravarti and the director B.Gopal used to go for lunch I used to chat

up with the music director’s assistant and once in a while he used to sing tunes which he himself composed. I was very impressed with many of his tunes and one day I described to him a scene from “SHIVA” the way I was intending to shoot it and I asked him about what kind of music he thinks should be there in that scene and he replied that there should not be any music in that scene. I was mighty impressed with the answer especially as it came from a musician and I committed to him that if ever I get a break I will sign him as my music director.

Finally when I got the break I suddenly had this opportunity to get Ilayaraja. So with a lot of guilt I told that assistant that I won’t be taking him for the film as I am getting Ilayaraja. He was obviously very disappointed but said that he understood the situation and wished me all the best. But because of the time I spent with that assistant and the association I developed, the guilt was killing me and the moment “SHIVA” became a big hit I went back to him and signed him for my second film. That assistant’s name was Keeravani (also known as M.M.Kreem) and the film I signed him on for was “Kshana Kshanam” which I think along with “Rangeela” are my best musical

films till date.

A keyboard player used to be working for Keeravani and I used to interact with him a lot especially when he was doing the background soundtracks and I always believed that he can be a very good music director if he ever tries which he used to deny saying that he is technically not a composer. Much later when I had a problem with R.D.Burman during “Drohi” (Antham) and I could not get Keeravani as he was busy, I forced that keyboard player to do one song in that film.

Both the song and the film didn’t work but later on when a film with megastar Chiranjeevi came up I told Chiranjeevi that the “Drohi” song didn’t work but I really believe that the keyboard player is very good, Chiranjeevi said that if he was good enough for me he was good enough for him. The keyboard player was ecstatic and after a great fanfare launch the Chiranjeevi film got shelved due to various reasons which I can’t tell now and the poor keyboard player was devastated. But on the strength of the impression Chiranjeevi developed on the keyboard player due to a song he recorded for my shelved film he gave him another film called “Choodalini Undi” which firmly set the keyboard player well on the way to be one of the top music composers in the Telugu film industry. The keyboard players name is Mani Sharma.

Cycle II

When my first film “SHIVA” was ready for background score there was a musicians Union strike in Chennai and so Ilayaraja and me shifted to Mumbai to get the score done. A musical team chosen by Ilayaraja in Mumbai saw the film and one particular violin player from a group of violin players walked up to me and said that this film will create a sensation. Technically that was the first ever compliment I have ever received from an outsider in my career. After that me and that violin player used to chat once in a while through out the period while the background was going on.

A few years later I signed R.D.Burman for “Drohi” and I went to Mumbai for recording a song. Those days I used to operate from Hyderabad and kept flying up and down to Mumbai. I again bumped into the same violin player in the violin group. After telling me how happy he was for “SHIVA’s” success which he predicted, he brought a guy and introduced him as his closest friend and told me that he is a lyric writer. That guy gave me a visiting card. I put the card in my pocket and in the evening returned to Hyderabad and completely forgot all about it.

Like I told you earlier, as I fell out with R.D.Burman due to various reasons which I can’t tell now, I had to record a song with a new music director Mani Sharma in Chennai.

As I was leaving for Chennai in the evening, my mom brought in a bunch of visiting cards collected over a time to ask me if she can throw them away. I quickly glanced through them and I just kind of registered the card which the lyric writer gave me before telling her to throw all the cards away.

By the time I landed in Chennai I got news that Javed Akhtar who was supposed to come with the lyric to Chennai is not coming as he got stuck in some work. I got cheesed off and I told my guys in Mumbai to send some lyric writer or the other in the night itself as I didn’t want to cancel the recording. I was told that none were available. As I was getting flustered I suddenly remembered the visiting cards my mother showed. So I called up my mom and asked her about it and she said that she already threw it in the dustbin. She searched for it in the bin and luckily found it and gave me the number. I immediately got that lyric writer flown to Chennai and he wrote the song for “Drohi” composed by Mani Sharma and the recording was done.

Both “Drohi” and the song bombed but because of that association my relationship with that lyric writer continued and whenever I was in Mumbai, me, the violin player and the lyric writer used to meet up once in a while and at that time I was just beginning to work on the idea of “Rangeela”. When I mentioned the story to both of them, they got very excited and the violin player composed a tune for which the lyric writer wrote a song. I was very impressed with both and committed to both of them that they will be doing the music for “Rangeela”. They were thrilled to bits.

A few days later Maniratnam made me hear the songs of “Roja” at his home on Chennai and I was simply blown away with the orchestral brilliance of A.R.Rahman. I got too greedy and at any cost wanted to get that sound in my film and went back on my commitment to the violin player and signed Rahman instead, which understandingly left the violin player in a very angry and a heartbroken state. The lyric writer pleaded with me not to do that to his friend and I said it is just a professional decision in the best interest of the film.

I spoke to Rahman about the lyric writer and told him that his first song didn’t work but I do believe that he is very good. Rahman said, “If he is good enough for you he is good enough for me”.

Thus that lyric writer named Mehboob came into “Rangeela” minus the violin player and the first song he wrote was “Tanha Tanha”. I played that song to Maniratnam and he was mighty impressed with the fact that he hasn’t heard a song since a long time which didn’t have the words dil, deewana and sanam and signed on Mehboob for “Bombay”.

With the super success of both “Bombay” and “Rangeela” Mehboob got a very big name and credibility and using that he recommended his closest friend the violin player to Sanjay Leela Bhansali who was looking for a new music director for “Hum Dil De Chuke Sanam” and thus was born Ismail Darbar.

After the tremendous musical success of “Hum Dil De Chuke Sanam” which also timed with a couple of Rahman albums not doing well including my own “Daud” Ismail Darbar was the new musical genius on the block. I called Ismail Darbar up to congratulate him and he didn’t pick up my calls.

Later on Ismail gave an interview where he said that now that he is a success, everybody is calling him including Ramgopal Varma. That was obviously his revenge on the heartache I gave him by dumping him from “Rangeela”.

Both the close friends Ismail and Mehboob who were responsible for each other’s careers broke up after “Devdas” due to various differences which they didn’t tell anyone and both went on a decline in their respective careers and now after years sometimes when they try to call me to patch up and bury the hatchet I don’t pick up both their calls as I moved on to a new set of people and I don’t have neither the time nor the inclination to dwell on old time relationships.

Anyway the point of this whole article is that I am just so f**king fascinated with how the cycle of fortune keeps on throwing people in and out of dustbins.

PS: I just signed Mani Sharma for Rakta Charitra and am planning on to take Mehboob as the lyric writer.

Interview with Chaitanya Dantuluri

Chaitanya Dantuluri, the son of noted film journalist and writer D Narayana Varma is making his debut with Banam movie produced by the Three Angels Studio (Ashwini Dutt's production house). Nara Rohith, the nephew former chief minister Chandrababu Naidu's brother is being introduced as hero with Banam. Banam is all set to release on 16 September. Here are the excepts of our exclusive interview with this new breed of filmmaker -

Background:
I was raised in Chennai since I was 3 years old. My father shifted to Chennai at that time with an intention to work in films. He settled as a film journalist and worked for magazines like Vijaya Chitra and Jyothy Chitra for 20 years. He became a freelance writer for films when Telugu film industry shifted to Hyderabad. I joined films after graduation and worked in direction department. I worked for several films in Telugu and Tamil. I learnt a lot during my work for Venkatesh's film Ganesh. I had a close association with Mani Sharma and Marthand K Venkatesh when they were at the beginning of their careers.

Why did it take so many years to become a director?
I was working for films, watching films and criticizing them. The real seriousness was started only after 5 years. I used to write stories just to impress decision makers (heroes and producers). Then I realised that I should do stories honestly. Mani Sharma told me 1 and half years back that he would produce a film in my direction if nothing works out for me. His word gave me the feeling of security. The story of Banam was written at that time. I worked for six months over that script. I narrated it to many people in 2007. I also penned another script. The producers used to like it, but used to say that it won't appeal to Telugu audiences.

I wanted to produce it on myself with funds from my friends. We started a banner called 'Start Camera Pictures'. I wanted to make an independent film. I went to the edge in February 2009. That is when I met Swapna Dutt through a common friend. I gave her a 20-minutes narration. She liked it and referred me to Ashwini Dutt. Ashwini Dutt said that he would produce the film right after listening to the story. He could able to understand and grasp the content of movie immediately. I was little skeptical about Nara Rohith because he comes from a big political family. But once I met Rohith, I am convinced that he is the hero of Banam.

Tell us about Banam?
Banam is a personal film for me. It is about ideology and traits. Banam is about a character's journey towards it's goal. Banam is not about goal, but about the trajectory it travels on.

Technical departments:
I always feel that there should not be any separate department for dialogues. Dialogues should be the part of screenplay and story. But when I met Nagaraju Gandham (Gamyam fame), I could visualize the amount of value he could add to the movie. His contribution for Banam is fabulous. I had long association with Mani Sharma and Marthand K Venkatesh. Both of them gave their best output. Anil Bandhari is a long time friend of mine and he did cinematography.

Vyjayanthi banner is known for mass entertainer and commercial films with crazy combination. The profile of Banam movie looks very much different?
Banam is also a commercial movie made in aesthetic way. I feel that human emotions are same and movies do well if human emotions are presented in effective manner.

What is the runtime of the movie?
It should be around two hours.

Can you tell us about Nara Rohith?
Nara Rohith is a sensible guy with a clear mind. He understood the movie well and gave the right output. He comes from a high-profile political family, but he is down to earth and casual in his approach.

Tell us about producer Seshu Priyanka Chalasani?
She is a young filmmaker and he completed her filmmaking course in USA. She is passionate about doing meaningful cinema. Banam film has limited female characters on screen. Priyanka is my first audience. And her opinion is very important. She got excited about the movie.

Are you tensed about the result?
Not at all. I have completed my job. I am not running a 100 meter routine sprint here. I am aiming at gold medal in a different category. However, I am very curious about how people will react to the movie.

Tell us about your next venture?
I have a script ready with me. I want to be an independent filmmaker. I want to have a signature of my own in my films.

Chit Chat with Kamal Hassan

Kamal Hassan's latest movie Eenadu (remake of A Wednesday) is all set to release on 18 September.

You had been acting in films for the past 50 years. Do you find any of the scenes in Eenadu challenging enough?
Each and every scene of Eenadu film is challenging.

How do you enact on sets?
For the past few years, I am involving myself in scripting and writing apart from acting. For Eenadu also I worked on the script. My writing and scripting helps me understanding the character better and it helps acting easier.

What is the reason for selecting Chakri Toleti as director of Eenadu?
I liked his enthusiasm when I went to Los Angeles to shoot for Dasavatharam movie. He brought up the offer himself. He knew that I would give him a chance if he comes with the right project.

How different is Eenadu from A Wednesday?
The performance varies from person to person. Naseeruddin Shah has a style of interpreting the character and I have different style. Likewise, the director too presented the movie in his own style. There is a different way of looking at and reacting towards terrorism in Mumbai and Hyderabad. Hence Eenadu film will be different from A Wednesday.

You have used RED camera. Is the quality or price that matters at the end of shoot?
RED camera is flexible. It is the future. Digital cinema is the future. I have used RED camera for the flexibility it offers. Not because it's cheaper in cost.

You told that performing 10 roles in Dasavatharam was a satire on your dual role films. Are you planning to stop doing double roles in future?
I did dual roles in 20 films so far and I wanted to give a complete treat with 10 roles in Dasavatharam. I want to put an end to dual roles. But I am not the only one who makes the decision.

Your directorial venture Virumandi (Pothuraju) was a well-directed commercial hit and it had Rashomon type of narrative. When can we expect another film in your direction?
Most of the people might think that Virumandi is a medium budgeted film. But it was an expensive film. It was more expensive than Thevar Magan. I am little dissatisfied with titling the film as Pothuraju with a tagline 'Cheppinattu Chestadu' for the Telugu dubbed version. I wanted it to be titled as Pothuraju Cheppinattu (just like they write in FIR). But the people who bought it in Telugu looked at it as a commodity and titled it as per their wish. I was to direct Marmayogi, but was shelved due to various reasons.

Your Dasavatharam was an extravagant movie made on high budget and it did well at box office?
Yes. There is lot of potential for well made high-budgeted films. Magadheera is the recent example of the stamina of our cinema if producers spent money on making the movies with high technical values and rare backdrops. I am going to direct a film soon.

Can you sum of Eenadu in one line?
I am sum it up in word word - Eenadu. It reflects today's threat of terror.

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Chit Chat with Venkatesh

Venkatesh's latest movie Eenadu starring Kamal Hassan is slated for a release on September 18. Chakri Toleti makes his debut as director with this remake of Hindi blockbuster

A Wednesday.

Kamal Hassan's influence:
I have to openly admit that I am a great fan of Kamal Hassan and I loved his movies like Swati Muthyam, Nayakudu, Kshatriya Putrudu etc. His influence on my work has been tremendous. Even at this age, he did a massive film called Dasavatharam by donning so many roles. I feel ashamed and belittled in front of Kamal Hassan. It was unfortunatethat I couldn't get a chance to act with him when he was doing those films. Kamal Hassan is not an ordinary actor.

I was supposed to do a vital role in his magnum opus Marmayogi, but the movie was shelved. When Kamal asked me to do the remake of A Wednesday, I thought that we could set a trend in Telugu if two big heroes join in their hands to do a story-based subject. This trend is prevalent in Hollywood. Success of films like Eenadu will encourage the writers to come with different subject and it will encourage big stars to do different movies. Initially I was keen on doing cop role in both Telugu and Tamil. I was also interested in playing the role of common man in Telugu version though there are negative shades to it initially.

Don't you think there will be comparison with A Wednesday?
Runtime of movie is 1 hour and 40 minutes. Once you start watching the movie, you forget stars and you will see two characters on the screen. You see a commissioner role played by me and a common man role played by Kamal Hassan. Eenadu is a honest and clean movie. In the beginning of the movie itself you will know that how an young commissioner handles a unique case of a stranger coming into his life and ruining it. I am hopeful of audience receiving it positively. I am sure that 95% of Telugu audiences haven't watched A Wednesday. So they will go afresh and watch it as Eenadu.

I get inspired from Hollywood films like Oceon 11 where seven stars join hands to do a heist movie. I often wonder why can't we do such kind of slick flicks in Telugu. We have to work in different manner when we attempt films like A Wednesday. Stars shouldn't ask for big remuneration for these kind of films.

How many days did you work for Eenadu?
The whole film was shot in 35 days. I worked for 15 days for Eenadu. The runtime of the movie is 1 hour and 40 minutes. It was refreshing for me to work in this movie where story unfolds in real time. There are no heroines and no love angle. I wear single costume throughout the movie.

Tell us about director Chakri Toleti?
He knows what he wants and he has got clear judgment about the movie. Another important aspect about the movie is the RED camera. One can do online editing seamlessly. They had a couple of vans with editing suites at the shooting location so that editing can be performed right after the shot is taken. It is a new experience for me to see the final product right after the shot is over.

Will you continue doing experimental films after Eenadu?
Yes. I was always willing to do it. I would have done Pithamagan (Siva Putrudu) if Bala narrated me that subject to me. In fact, I was supposed to act in Bala's direction later. I am open to new scripts. I don't mind doing villain role if the script is challenging enough. I am open to get into Hindi film industry and do different movies. I feel that we are stuck to formula films now. Somebody from the new generation of actors should let the trigger go. Then you can see a flood of different and highly potential films from our young actors. All our young actors are highly energetic with huge acting potential.

Tell us about your ambition to do negative characters?
I think every hero wishes to do a negative role deep down his heart. An actor is not complete unless he attempts negative roles. If you look at the history, all the great actors portrayed negative roles in few movies. It gives tremendous job satisfaction to look at the other side of heroism. If you look at Kaliyuga Pandavulu, it has bad shades to my character in the beginning. I had a second option of doing negative roles if I didn't click as a hero in Kaliyuga Pandavulu.

You get inspired by Kamal Hassan for emotional scenes. Is there any actor who do you think is difficult to learn from?
Mohan Lal is an amazing actor with a strong body language. I never try to attempt acting like him. He is unique.

Are you open to do Pouranika movies?
I am intrested in adventure based Pouranika movies. But I am not fit for dialogue-based Pouranika films as I feel that I don't have grip over Pouranikam language. If I attempt pournika film, people would take legend NTR as yard stick and compare. I better stick to my strengths than attempting Pouranikams.

Tell us about your next movie Namo Venkatesa?
We completed our first schedule in Austria and Iceland. It is an entertainment oriented romantic comedy. There will be high voltage entertainment scenes in my kind of body language. We will start second schedule from 11 September and finish the entire movie in that schedule. If all things go well, Namo Venkatesa will be releasing for Sankranthi.

Tell us about Ganga film?
It is an action oriented family drama titled Ganga that is going to be directed by Amma Rajasekhar. It will a treat for mass audiences. I sport a rough look in Ganga.

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Interview with Chakri Toleti

One of the most memorable scenes in Kamal Haasan’s classic, Sagara Sangamam, is a boy photographer capturing Kamal in funny angles. That bespectacled boy, Chakri Toleti, has now grown up to become a film director. Incidentally, he has directed Kamal for his very first film, Eenadu, a remake of super hit Hindi film, A Wednesday, which also stars Venkatesh in the lead role. In an exclusive chitchat with Telugucinema.com, he shares his views about filmmaking, his experiences with Kamal and Venky and lots more.

Why did you select a remake for your debut film?

Whether it is a remake or straight film, what matters is how well we narrated it. I liked the original film, A Wednesday, and it has good script, so we remade it. My intention is to make good films, irrespective of from where the original idea comes.

Any changes done to the original film?

Not many except that we localized it. Made it more engrossingly as possible.

You are popular as child artiste. In how many films did you act so far?

About 18 films in both Telugu and Tamil. Among Telugu films, Sagara Sangamam, Paila Pachchees, Mayuri were better known ones.

Where have you been all these years?

After graduating here, I left for USA where I studied filmmaking and later worked Disney. After that I worked with my brother in technology projects. We both managed several projects. During my stay at USA, I got enough practical experience in filmmaking and I came back to India to make my dreams (of filmmaking) realize. I am good at technical side and special effects in filmmaking. So when Krishnavamsi asked me to work for Sri Anjaneyam for special effects, I readily agreed. Then I also assisted

Kamal Haasan in the same department for Dasavatharam.

How did Eenadu happen? Is it because of you association with Kamal?

Chance to direct this film didn’t happen just because I know him very well, and we are family friends. We have been discussing lots of things for over years as I have regularly been in touch with him. One discussion led to another and I ended up taking this project. I liked A Wednesday and Kamal too impressed with it and so we decided to remake it.

Although my father who wrote for couple of Kamal Haasan’s films is a good friend to him, I got this chance on purely professional grounds – not on personal relationships.

So are you satisfied with the final product?

Oh, yes. Although it is not original film, recreating the same magic in Telugu and Tamil was tough and we achieved it. The disadvantage with a remake is that people compare our work with the original. But I am sure that those who have seen the original would also love Eenadu.

Why did you choose RED Camera Technology for Eenadu?

First and foremost, it brings super quality and audiences can enjoy the rich visuals on screen. The other reason is I am very accustomed to RED Cameras.

Do you think digital technology will change the filmmaking process?

In my opinion, digital technology will revolutionalise the whole process. Ultimately, it is the way to go. It is efficient, cost-effective, and gives wider options for filmmaker.

But it was not used in South India before? So how did your cameramen handle it?

We brought three technicians from USA, Australia and London who are specialized on RED camera. These technicians worked for Hollywood films like District 9, 300 etc. That is why I am saying Eenadu will look richer and technically sound.

You worked as actor with Kamal and directing him. Can you share your experiences when you acted with him? Also what was the experience like directing him?

I don’t remember my experiences as actor because I was really a child. As a director, I am happy to share my experiences. He is great actor and it is my fortune to direct him in the very first film. He knows everything about filmmaking and his vast knowledge and expertise comes as handy for any director.

How was it working with Venkatesh?

Venkatesh is also great actor. I am really very lucky to direct all these stalwarts - Kamal, Venky, Mohan Lal (for Tamil version) in my debut movie. Venkatesh is cool guy.

Whose idea it was to rope in Venky?

Even before Eenadu started, Kamal planned Marmayogi with Venky. So he suggested him for this too. It was Kamal’s idea.

Why did you rope in an established director Neelakanta to write dialogues?

I was discussing about dialogue writer with couple of my friends like Venkat Kuchipudi and they suggested Neelakantha’s name saying he is best choice for this kind of movies. I didn’t see his films before I roped in but I loved his knowledge and understanding of films. He has given me good dialogues.

What kind of films you like to see and direct?

I love all good films. I watch all kinds of films. But I haven’t seen a Telugu film for a long time. Only recently that I watched Magadheera. As I director, I love to experiment in all genres.

Any film that had lasting impression on you?

There are too many to name.

What’s next?

There are couple of ideas and plans. Lets see how they materialize.

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