A Quote by Diljit Dosanjh
There are times when a film turns out differently from how it was narrated. But I don't look at it as a bad thing.
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Put your problems into perspective and it usually turns out things aren't nearly so bad. And when they are, look to those memories of happy times. Keep some happiness on reserve for those rainy days!
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
My parents didn't want us on the streets or in trouble, so they thought the best thing was to have us work. I saw how we had to, during bad times, stretch the dollar. And during good times, we couldn't spend it, because you never knew when the bad times were going to happen again. It gave me a great respect for how hard it is to make money.
I think that the process of making a film is an underrated factor in how that film turns out.
I think the one that's going to be the hardest to make into a film is the one that's probably going to be made into a film, which is 'The Art of Racing in the Rain.' I mean, it's narrated by a dog. How do you do that? But hopefully we'll get to see.
One doesn't want fashion to look ridiculous, silly, or out of step with the times - but you do want designers that make you think, that make you look at fashion differently. That's how fashion changes. If it doesn't change, it's not looking forward. And that's important to me.
Shock equals discovery, and if I narrated my past, you'd be pretty grossed out too, I bet - same as if you narrated yours. Aren't we all composed of our past mistakes? Isn't that part of emerging into an adult awareness of the world?
Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.
People always ask me
"Son what does it take
To reach out and touch your dreams?"
To them I always say
Are you hungry?
Are you thirsty?
Is it a fire that burns you up inside?
How bad do you want it?
How bad do you need it?
Are you eating, sleeping, dreaming
With that one thing on your mind?
How bad do you want it?
How bad do you need it?
Cause if you want it all
You've got to lay it all out on the line.
I don't think about how many times how many heroines have said 'I love you' to how many heroes on screen and that I am also doing the same. It is how differently I can say the same thing in my own style or how I can bring a new element into it.
You can have good times with anyone, but it's really different and much more interesting when you look at how you get through the bad times with someone.
Imagine everything you're experiencing now being a hundred times more wonderful. Bad turns good; good turns great. THAT IS WHAT IS POSSIBLE.
I want to have a great director, and also a great producer and co-stars. And there should be a tight script. After all, regardless of how the film turns out, I must have fun doing the film!
Script is not finished until it's finished. There's many times, partway through a film, when an idea comes, and I say, "How beautiful this is. This thing was not complete and look what's happened, look what's come along." And it just came along at what might be called a strange time rather than a normal time.
When you're on the inside, there's no other perspective but what you see on the inside. When you're on the outside, you get to look at things a little differently: how you can help, how you can fit in, how you can do certain things differently.
When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.
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