A Quote by Atul Kulkarni
In order to be a good director, you also need to be a good entrepreneur because the director is in charge of everything and everyone on the sets.
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I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
My favorite thing in moviemaking is to shoot in chronological order if at all possible, because it just helps for continuity and all the logistical purposes. It also helps with performance and the journey of each character, but I also think it's good for the director and everyone [else] involved.
A good director is not an expert in anything in particular. A good director just knows a little bit about everything.
There are some scenes that you have to lose in order to win something at the end. A good director will keep pointing you that way, but it is also your job as an actor to understand that there are scenes that you do, particularly when you are the lead, where other people get to come in and steal and you have to let them. I understand that but a good director always reminds you where those moments are.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
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