A Quote by Conrad Hall
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
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If you're going to make a film, and you're going to have dialogue, and you want to take the characters seriously, let's understand what they're saying. If there is going to be technical dialogue, let's render it in a way that the audience can understand it and expect that it's not going to be so far over their heads.
That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, "This is what children are going to think" or "This is what adults will understand."
When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.
I learned early in my life that sometimes I'm going to lose. I don't like it, but I accept it, meaning that I understand it's going to happen. But I don't see it like defeat; I see it like a learning process. Then if there's nothing to learn, I move on.
I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
My school of thought with going into a character is that you have to understand where they come from, and you have to empathize with them.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.
You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
When you are making a film, you do not know how it is going to be received by the audience. In fact, if you set out to make a film thinking that it will make 100 crores, it never ends up making that much money.
I like to understand, very specifically, what it is I'm seeing, and where it is and where it's going, and a lot of that is just hitting the mark and following the dotted line. But that's good, too because there's concentration and focus that's involved in that.
I like to understand, very specifically, what it is I'm seeing, and where it is and where it's going, and a lot of that is just hitting the mark and following the dotted line. But, that's good too because there's concentration and focus that's involved in that.
If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.
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