A Quote by Ashok Saraf
Shashank Udapurkar came to me with the 'Pravas' script and it's a unique story.
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I am so thankful to work with Shashank Khaitan because of the kind of person that he is. One of the things I am most thankful for is to have Shashank as my first director and as a mentor.
When I read the script for 'A Quiet Place', I immediately wanted to be a part of the film. It is such a unique story and I love my character, Regan.
I think every business, really, has a unique reason for being, unique assets, unique attributes, a unique history. And that can be turned into a very attractive design story, essentially, that consumers can relate to.
For me, the first thing is script. When I heard 'Mom''s script, it really touched me and moved me. I felt really nice about the story. That's the reason I did the movie.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
'The House Of Tomorrow' offered such a fantastic script. I couldn't believe that script - it was just so original and unique.
The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research.
I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.
I have been waiting around to get the right script and the right director. For example, in the past, if a Hollywood director came to me with a script and wanted me to play a character, and she was a stereotypical Asian woman who gets into a fight and gets killed off quickly, that didn't seem to have much interest for me.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
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.
I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
I came to America, and I made good. It's an old story, but it hasn't been told in a long time. Usually, it's, 'I'm an immigrant, I came here and got persecuted.' My story is I came here, I worked hard, and it worked out all right. So it's still available.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
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