A Quote by Bhumi Pednekar

Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts. — © Bhumi Pednekar
Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.
Even if I have a home in Paris and sometimes in New York, whenever I was saying I have to go home, it was going to my mother.
Back in the 1990s, I had an opportunity to make a film. But I realized that it is better for me to go in stages so I could explore myself as an actor and in the process I started writing scripts.
For me it's a very organic process. I read the script/hear a narration and pretty much know instantly if it's something I want to be a part of or not. It's really as simple as that.
A trap screenwriters can fall into is making scripts that are good reads, which doesn't necessarily mean it will make a good film.
Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.
When I choose the scripts, all I look forward to is an impressive narration.
My sister and I had jointly heard the narration of 'Revolver Rani' in Tigmanshu Dhulia's office. After hearing the narration, my sister was very scared and adamant that I should not do this film, as my character was twisted, neurotic, violent and abusive.
I want to aspire to something like what Denzel Washington does, which is try to find scripts written for white actors - or Jodie Foster, who reads scripts for male actors.
Whenever I leave home to film, my wife Marina gets terrified that I'm going to come back having bought a tiny plot of land in rural Alaska.
I go up to San Francisco on holidays and spend time with my family there, but whenever I go to Japan, I enjoy every moment. I try to go back there every year or so. It's a phenomenal place, and I absolutely love it. It's not my second home; it is my home. Whenever I go back, I feel very connected with Japan.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads... and the pictures were so vivid.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads and the pictures were so vivid.
I write scripts, I read scripts, I meet people who chat about their scripts. So honestly, I don't feel bad if I don't act in a film, as long as people are making great films.
For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.
For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.'
Because the state I was in, contesting elections with Azam Khan, as a woman, with acid attack threats, threat to my life... I couldn't even tell my mother if I would come back alive whenever I left from home.
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