A Quote by Abhay Deol

The kind of stories I like often comes from debutant directors. — © Abhay Deol
The kind of stories I like often comes from debutant directors.
When I am in Calcutta, for instance, I often charge nothing for singing for debutant directors and small producers who cannot afford to pay me.
I am fine working with debutant directors. They have a freshness about them.
I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.
I am always open to working with debutant directors, as they bring a new perspective to a script. That motivates me and helps me choose unique scripts.
The five directors in '5 Sundarikal' experimented, and it was a very personal exercise. Amal, Anwar, Aashiq, and Sameer have done things that they have never done before. Debutant Shyju has also made a beautiful film.
I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.
History, in the end, is only another kind of story, and stories are different from the truth. The truth is messy and chaotic and all over the place. Often it just doesn’t make sense. Stories make things make sense, but the way they do that is to leave out anything that doesn’t fit. And often that is quite a lot.
Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.
With the kind of money Bollywood directors have, they can at least add drama, gloss and glamour to their films, even if the stories are uninspiring and run-of-the-mill.
But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.
I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.
I like to work with directors who write their own stories.
Writers tend to write stories as a kind of holiday between novels, or as preliminary steps towards a novel. Stories just don't often make up a writer's main body of work, and that's not because they don't see the market for it.
I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
I like to tell untold true stories, or the lesser-known aspects of larger, familiar stories. I think people or topics that are slightly on the edge or outside the mainstream often reveal more than better-known stories.
Long fiction is wonderful and you can lose yourself in it as a reader and as a writer, but short stories don't allow the same kind of immersion. Often the best stories hold you back and make you witness them. This may be one of the reasons some people reject the form. That and the fact that they are harder work to read. A story will not let you get comfortable and settle in. It is like a stool that is so small that you must always be aware of sitting.
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