A Quote by Aamir Khan

When you work with a good actor, there is this natural rapport and chemistry that develops over time. That chemistry helps your characters come alive and makes the story of the film that much more convincing.
We would be glad to have your friend come here to study, but tell him that we teach Chemistry here and not Agricultural Chemistry, nor any other special kind of chemistry. ... We teach Chemistry.
The thing about a band is, it's not so much how good the musicians are - it's the blend of personalities and characters. It's the human chemistry that makes up a good team.
In some ways, the finding that financial education doesn't provide long-term payoffs is hardly surprising. After all, how much do you remember from your high school chemistry class? Unless you use chemistry at work, you probably don't recall much about ionic bonding.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
There's a difference between good chemistry and a bond. Chemistry is something you have with somebody you meet - or you don't. It's an intangible. It may be superficial. It's much harder to put your finger on than a bond.
One thing I think is really important is chemistry, and if actors have chemistry, audiences will pick up on that. Audiences will root for characters that don't even exist as a couple because the actors' chemistry is so strong.
Chemistry's a word that people who make hires and decisions say, 'Hey, you guys go out and work on your chemistry!'
I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.
Chemistry on film is like chemistry in real life, it's either there or it isn't.
The most important thing, when playing characters with chemistry, is being able to work off the other actor and be supported.
People talk about offensive chemistry all the time, but defensive chemistry is something you have to build, too, and there's a lot of that work to be done with just communications and the feel of who certain guys play.
As a director, it became important to hear that specific role read by that specific actor, and you hear the chemistry, or you don't hear the chemistry. So I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
Much remains to be learned about stratospheric chemistry - and, in more general terms, about the physics and chemistry of the global atmosphere.
I think there's a natural chemistry between us as friends; and there's really no separation between the rapport that we feel when we're in conversation and when we're playing music, it's one in the same.
It's weird because I once lost a job because I had a chemistry read with the lead actor, and I could tell we had negative chemistry. He was very lovely, but you could tell. We had the chemistry of two chairs.
Chemistry's a weird thing. You can see actors who are friends in real life but have no screen chemistry. Then there are actors who don't get on but have great chemistry.
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