A Quote by Mahesh Bhatt
A franchise gives a sense of security to everyone - the director, producers, exhibitors, and even the audience feels that they are watching something close to the first part.
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When you're watching a Bond movie, if there's a violent death, there's something about cleverly chosen twists, or what props are used, or some way that he's doing something that feels like an ironic twist, that feels like it gives the audience permission to enjoy watching it and to enjoy watching something that's otherwise just brutality.
I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.
When I set out to make 'Bourne Identity,' my main goal for the franchise was to create something where it feels like you're in the action. You're not just passively watching it from far away. That's something that I have constantly aspired to do - even in 'Swingers,' to feel like you're Jon Favreau; you're not just watching him.
Being part of the Workshop is like being part of a really big family. Everyone is so close. Everyone feels the success of others who go on to do well. Whatever happens, I will still be part of the Workshop.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
They fired director Richard Donner because they didn't want to pay him, and he's the reason the franchise became so successful in the first place. There's a big part of Superman II that he did that no one has ever seen.
The franchise itself gives no real power, unless accompanied by the right on the part of all the possessors of it to elect something like an equal number of representatives.
For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.
When I was approached to be the 'Bachelorette,' I was like, 'Uh, no. I don't think I can do this again.' It was conversations that I had with people that said, 'I'm so happy to see a Black woman represented well in a franchise, or 'I'm watching this show again because you did it,' that renewed my wanting to be part of this franchise.
During the shooting of a scene the director’s eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the cameras are rolling, I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn’t right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way. I believe this is what the medieval Noh playwright and theorist Zeami meant by ‘watching with a detached gaze.’
After the first one [Twilight], people started referring to it as a franchise, but a franchise is a Burger King or a Subway. It's not a movie. The people who start to say it are generally the people who are making money off of it. They love it when something becomes a franchise. But, as an actor, I think it's scary.
After the first one [Twilight Saga movie], as soon as people start referring to something as a franchise. A franchise is a Burger King or a Subway. It's not a movie. The people who start to say it are generally the people who are making money off of it. That's how they refer to it. They love it when something has become a franchise. But, as an actor, I think it's scary.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience.
IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.
I remember when I was shooting for my debut show Tashan-e-Ishq,' the first season of Naagin' had just started airing and I used to be so fascinated by the characters. It feels good to be a part of such a prominent franchise on TV.
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