A Quote by Ashok Saraf
The script of 'Hum Paanch' was extremely powerful, written by Imtiaz Patel. He has written the characters so well, people got hooked with each of them.
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Playing dysfunctional characters or crazy characters is only fun if they're well written. So I have been lucky enough to be asked to play crazy people who are very well written.
When script is written well, then you start to make decisions of, "Well, do I want to be away from home for that long? Do I like the people involved?" When it's written well, a lot of those things go away and you can't not do it.
You can always find ways to make it different, as long as it's a really well-written script and well-written character.
When the first emperor wanted to unify the country, one of the major policies was to create one system of written signs. By force, brutal force, he eliminated all the other scripts. One script became the official script. All the others were banned. And those who used other scripts were punished severely. And then the meanings of all the characters, over the centuries, had to be kept uniform as a part of the political apparatus. So from the very beginning the written word was a powerful political tool.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.
Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.
It's impossible to make 'Hum Paanch' again. Some people tried but it was a failure.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
One day, I discovered that a couple of people had written 'fanfic' - stories of their own based on my characters. Just the thought of people thinking that hard and deeply about something I've written is incredible.
From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.
Most of everything I've ever written actually was written on acoustic. 'Do You Feel' was written on electric. 'I'm in You' was written on piano.
My music wasn't written by Mozart, Beethoven, Bach or Schubert. It's written by God and me. They go "a one and a two and up." We start on the downbeat. Bam! And that's where we got them.
I read the script, and I knew it was a good part. It was written for a white actor. That's what I'm up against - I have to try to make roles happen for me that aren't written black.
I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.
I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.
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