Amala Akkineni, actress, social activist, director of Annapurna College of Film and Media and a creatively driven person, remains an inspiration to many. She continues to intrigue people with her effortless presence, and her simple yet elegant aura. For a long time through her work, she has been a strong pillar of support for Annapurna College of Film and Media. From mentoring students to encouraging them to give their best to the film industry, she has consistently set the bar high. As the industry continues to evolve and filmmaking gets prioritised among the youngsters, CE finds out more about the film school and engage in a candid chat with her.
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How is Annapurna College of Film and Media keeping up with current film trends?
In a degree programme, we don’t really teach trends because they come and go. They’re more about innovation. We have a very sound curriculum approved by the university, and it includes the foundational courses that are mandatory for a degree. Beyond that, we add value that we believe gives students an edge. When you say a student is from Annapurna, the industry immediately associates that with a certain respect; essentially strong, solid technical craft. Whether it is editing, sound design, cinematography, or anything in post-production, pre-production, and AI-driven tools, these skills are essential, and they are built through repeated practice-based projects. Students work with killer timelines, high budgets, and very demanding output expectations — exactly what the industry expects. We provide this training by giving them access to the latest tools and technologies that offer the edge needed to work efficiently and quickly.
Can you explain the latest technologies used in the curriculum?
Film is a highly technology-driven craft. The visuals you get on an ordinary camera or smartphone is different from the image quality expected on a big screen. That difference comes from technology — how you use cameras, lenses, and lighting. For different screen formats, you must know what visuals work best, and that is where cinematography-driven technology comes in.
There is also all the software required to process those images, and now most of it is AI-driven. Earlier, films used stereo sound; the same system used 20–30 years ago — but now we have Dolby Atmos. In Atmos sound, you are completely immersed; it feels like you are in a sea of sound coming from all directions, and the precise calibration of that sound creates the experience.
Is there a subject that covers AI in films?
AI has been around for more than ten years, and many of the tools we use have already incorporated it. Today, most professional software, whether for pre-production, post-production, or even marketing — runs on highly advanced technology, and that is where costs come into play. When you invest in good professional software, it already has AI built into it. So when you’re using an editing software, for example, it already incorporates AI; you don’t have to add it separately. Using AI can significantly cut down your time — you can scan through 300 hours of footage and quickly find exactly what you’re looking for.
The industry wants professional ethics, efficient timelines, affordable budgets, and high-quality output. Once you build these as your foundation, you can start adding craft and creativity. I know from my experience as an actor that until I became comfortable in front of the camera, I couldn’t really bring nuance into my performance. Only after getting the hang of the basics through repeated practice, you can truly tell the story your own way.
How has the industry evolved over the years?
Well, the big change was the shift from celluloid to digital. When digital technology arrived and we had digital monitors, you could instantly see what you had shot, and the quality improved drastically. Earlier, we couldn’t see what we were filming until 30 days later, when the footage was developed and edited. Very often, as an actor, I never saw what I had done — I simply trusted what the director and cinematographer wanted. We went in blind until the preview screening.
So, once you could shoot and immediately see the result, there were leaps and bounds of improvement, not just for the director but for the actor as well; it became a collaborative process. That was a huge change. Even sound technology evolved; when Atmos sound came in, it gave audiences a far richer experience, and brought people back to theatres.
Of course, disruptive technologies also emerged. People began watching films on smartphones and streaming platforms, and theatre audiences started to decline. I witnessed a similar shift when cable TV became very popular. Back then, theatres were empty, and I remember the Tamil film industry even shutting down briefly, with the producers’ council meeting to discuss how to reinvent ourselves to counter the disruption of cable TV.
Every industry faces disruption, but media and entertainment experiences it much faster. It’s a continuous journey, and the challenge is how to fit that into an educational programme. We are guided by the university curriculum, but we add innovative labs where students can experiment with new technologies, and collaborate across streams to create meaningful work. It’s not always successful — it’s hit or miss — but that’s what education is: trying new things.
Generative AI is not such a big deal in itself, and in education, bringing it in is a no-brainer. What we do is introduce AI-driven tools that filmmakers can choose to use in their projects. Their project documentation highlights the tools they selected, the creative choices they made, the props they used, and the qualitative output they produced. It’s essentially a documentation of their process, and once a young person masters that process, it becomes easy to apply it to any AI tool.
How do you engage with students and mentor them?
I frequently interact with students and design experiences that support their growth, and it’s very rewarding to see how that works out for them. Seeing them actually progress feels good. I am curious, and I listen. I don’t lecture students; I listen to their ideas and make suggestions. When you truly listen, young people feel comfortable and open up in meaningful ways.
I don’t go in with a fixed agenda — I’m here to enable them so they become lifelong learners. My focus is on creating experiences that bring back the joy of learning. I tell them that I cannot wait to see their work at the end of the semester. I sit with them and watch their projects. We try to remove the pressure of judgment here. I believe education should be a safe space where people can try, experiment, and learn. Learning doesn’t happen under judgment; that takes away the joy of it.
Have your students made it to OTT?
A lot of work has been done. Even if they haven’t been key crew members, many of them have worked as assistant crew members. We have a long list of students who have had their work released both in theatres and on streaming platforms.
You and Nagarjuna sir were recently seen dancing on the sets of Bigg Boss. What were those fun moments like?
It was a lot of fun, and it was heartwarming to see Nagarjuna in his Shiva attire. He was wearing the typical Shiva rolled-up sleeves. The whole thing was a lot of fun. I watched the remastered copy with our students in our theatre, and there was whistling, screaming, and a lot of fun in every scene. I got to revisit something that was really special and had created history. Watching it with immersive Atmos sound was truly rewarding. It brought the whole thing closer to the present. It was like a period film; a film made now but about the ’80s or ’90s; it felt like that.
What keeps you motivated?
I have a very big legacy to carry. When I think about my father-in-law and mother-in-law, Annapurna garu and Akkineni Nageswara Rao garu, I feel the weight of the responsibility they carried. They created a beautiful legacy for the next generation. Being part of it is a privilege. Playing a significant role in the education side of that legacy and vision is an honour.
I had my own struggles while setting up Blue Cross in Hyderabad and running it. That journey was my vision. It taught me how to stay motivated. When you feel passionate about something, a bad day has to be turned into a good one. You have to become unstoppable. You must motivate your team and lift the energy whenever it drops.
Blue Cross also taught me how to deal with suffering. I learned meditation, and the value of community. I also understood the importance of motivating the younger generation.
Today, when I walk into government offices or professional circles, people in leadership roles often tell me, ‘Ma’am, we heard you when we were in college, and never forgot your words’. It reminds me of the responsibility that comes with having a vision and a legacy. We must continuously remind the younger generation of what they are capable of. Alone, we cannot achieve much. But together, we can go very far.
How would you define cinema?
It’s an art, a business, and a magical place, where you can tell a story and make it come to life. It is just magic.
What does success mean to you?
When you no longer have to prove yourself every day, but you stand strong because of the work you’ve done and the recognition it has earned you.