A Quote by Dileesh Pothan
The Malayali audience, which appreciates a good story or experiment, is our strength. They don't ask who is the star of a new film, they ask who is the director and writer.
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The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
Ask not of me, love, what is love?
Ask what is good of God above;
Ask of the great sun what is light;
Ask what is darkness of the night;
Ask sin of what may be forgiven;
Ask what is happiness of heaven;
Ask what is folly of the crowd;
Ask what is fashion of the shroud;
Ask what is sweetness of thy kiss;
Ask of thyself what beauty is.
Exactly as we might ask God, and do ask God, to change our fate. The difference is that in the story the writer actually replies and in the end even changes his mind.
This is the deepest experiment of life. And whatever has been discovered in regard to life, this is the most significant finding of all: don't ask for happiness if you want to be happy, don't ask for peace if you want to be peaceful. Whatever you ask for will be lost. Whatever you do not ask for you will get. You have asked many times and seen that you do not receive it. Now try not asking and see. There is no need to believe me; there is a need to experiment.
every short story is an experiment - what one must ask is not only, did it come off, but was it, as an experiment, worth making?
What most of us need, almost more than anything, is the courage and humility really to ask for help, from the depths of our hearts: to ask for the compassion of the enlightened beings, to ask for purification and healing, to ask for the power to understand the meaning of our suffering and transform it; at a relative level to ask for the growth in our lives of clarity, peace, and discernment, and to ask for the realization of the absolute nature of mind that comes from merging with the deathless wisdom mind of the master.
After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.
People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
If the show encourages an audience to ask the question, "Is this character's emotional response to this situation valid?," then that's a really good question to ask.
In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.
One of the jobs of a director is to ask questions. One of the jobs of the director is to stand in for the audience until they get there.
Ask for what you want.Ask for help,ask for input,ask for advice and ideas- but be afraid to ask.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
Mostly, I would like people to ask other writers about the craft of their writing so we could learn from one another. We ask movie directors why they chose to use certain lights and angles and speeds of film, but most of the time, we ignore the craft of a writer.
In science there is a dictum: don't add an experiment to an experiment. Don't make things unnecessarily complicated. In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story.
