A Quote by Blair Underwood

I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
A great idea can't succeed without a great operator. But rarely can a great operator squeak by with a bad idea. So, as pithy as it sounds to say 'It's all about the people,' I only invest when I think I have found the right team for the right business.
There's a way to speak your mind. You don't just go off and say whatever you feel is right. You have to say what you feel is right and say it if it's something that works for the team.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
I know that I wouldn't mind going back to work if I could find the right script and the right crew to work with.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with. And then my job is almost done, with a great script, obviously.
You often hear people say 'Luck is self made.' I think it is, to a certain extent; if you work hard on something, you are more likely to be lucky than if you don't. That having been said, I do believe during in my career I have been at the right place at the right time with the right people.
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.
If the right people do the right things, we can walk, we can have a future. But if people don't put time into it to make it run in a right way, I don't think your team will work.
This Ariyan Eightfold Path, that is to say: Right view, right aim, right speech, right action, right living, right effort, right mindfulness, right contemplation.
Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late.
I thought one way to try to hold on to the power was to write the script myself. That way, I could say to filmmakers, "I'm not asking you to hire me unseen. I'm just saying, 'Here's my script. Can we work together?'" So that worked out well.
I was waiting for a right script and then I got a script which I could write and tell the story the way I want to. And that film is 'Antim.'
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