A Quote by Divya Agarwal
If I have to get a film by impressing someone, the audience can see everything. They will criticise me if I can't act, no matter how many films I get.
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There's so many great films coming out. It's still kind of astonishing to me how certain films get ignored, and that film ended up getting ignored and didn't get the attention that it deserved at Sundance.
We see films all the time, whether they have access to all kinds of intellectual property or artifacts, and the one thing that they don't get is story. So I think whether you're talking about a biopic or an action film or a science-fiction film that has all the CGI in the world, if you're not trying to connect with an audience, it doesn't really matter.
One of the rules that I always follow is that no matter how crazy characters may act, and no matter how absurd or strange their actions may be, that it's justified in the character's mind why they are doing it. Not to get all heady about it, but it's fun for me to test how far I can go with things while still keeping it grounded enough that you believe that the character really believes that what he's doing will get him what he wants. It's a personal challenge to me to see how far I can go with that.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through. Studios no longer do this for a large percentage of films. The odds that your film will get a major campaign are dim these days. So you must find and nurture your own audience and make sure your film has a life.
Sometimes earning awards doesn't matter as much as earning revenue or profit, or having a good response from the audience. No matter how many awards you win, if you can't earn any profit from your movie, if the audience doesn't like it, then it doesn't matter how many awards you get.
I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.
If I don't try and bring variety in my appearances, I will get bored with films, so I can well imagine how bored the audience would get watching me.
I just love films and any time you get to see a film with a good story, no matter how much money you have for visual effects, if the story isn't good it won't be a good film.
The audience will teach you how to act and the audience will teach you how to write and to direct. The classroom will teach you how to obey, and obedience in the theatre will get you nowhere. It’s a soothing falsity.
The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.
In the first act, you get the audience's attention - once you have it, they will repay you in the second. Play through the laughs if you have to. It will only make the audience believe there are so many of them that they missed a few.
I get a headache when films are too filled up with people. And I don't understand what's going on if there are too many extras walking around. This film was very comfortable for me, I want to see just the actors. This is how I can concentrate.
I don't want to be sitting and pondering over how many stars my film will get. It's rubbish! I make films that I like - some get really appreciated, and some don't. Till now, luckily, they have done well, but I can't become a slave to that. And I won't - never!
When you do a film, when you do a television show, eventually someone comes along and will say to you, 'Don't say that because, one, you will offend someone, or, two, no one will get that. Someone's going to be confused by that, not get the reference and feel abandoned, and then they will get angry at the entertainment.'
It is at programmes organised on the sidelines of temple festivals that you get to see raw audiences who will let you know immediately whether the act has clicked or not. It was those audiences who taught me how to strike a rapport with the audience.
I see things in hardcopy that I miss if I only see words on screen. I do get sick of the words, but I like to see everything spread out because I get a sense of scale that is missing from screen. Going over each sentence many, many, many times gives me incredible intimacy with sentences, especially their rhythm. The rhythm and music of words matter a lot to me and it only takes one misplaced word to spoil the music.
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