A Quote by Chinmayi

It was one of the best experiences in my life to work with Director Prem. — © Chinmayi
It was one of the best experiences in my life to work with Director Prem.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
'Prem Granth' was a good film, but it didn't work.
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.
The best stuff in life isn't stuff at all... relationships, experiences & meaningful work are the staples of a happy life.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.
Ultimately, a director is a storyteller. I wanted to fortify that part of my life as a director, so I thought the best way to do that is to study and learn about the greatest stories ever written.
I'm doing my best. I read in the paper that I'm an action director. They always say that, "Action director Walter Hill", if they bother writing about me at all. I think that's fine. I'm happy to do the work.
I have my own orchard, and I also work with the Bloomington Community Orchard, which has been one of the best experiences of my life.
That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.
Music, to me, was - is - representative of everything I like most in life. It's beautiful and fun, but very rigorous. If you wanted to be good you had to work like crazy. It was a real relationship between effort and reward. My musical life experiences were just as important to me, in terms of forming my development, as my political experiences or my academic life.
I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.
In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.
I'm not as eager to go just work to work. I have another life outside of it, and if I'm pretty sure the movie's not going to have a life, or if it's not a director I believe in, then I probably will say no.
One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.
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