A Quote by Divya Khosla Kumar

I am a hands-on director. — © Divya Khosla Kumar
I am a hands-on director.
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.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
I can also tell in whose hands I am. Do these hands tremble? There can be no doubt: these are the hands of a military officer. Is it a firm pulse? I say without vacillating: these are the hands of a liberator.
The way a Dibakar Banerjee conceptualizes a film is different from a David Dhawan! I've worked with both, since as an actor I am just a tool in the director's hands.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
The size of budgets does not alter my decision if I should do it. If there's a movie with a budget of only $1 million that I find interesting, then I'll sign up, but it has to be in the hands of a director who can do something with it. Ultimately, it's a director's medium.
I am very reactive and malleable. I have to figure out when to be hands on and hands off. If I am hands on all the time, I can't do too much. But my attitude works in a certain way. So the idea is to spread your personality, your attitude.
I hold my face in my two hands. No, I am not crying. I hold my face in my two hands to keep the loneliness warm - two hands protecting, two hands nourishing, two hands preventing my soul from leaving me in anger.
I don't take anything for granted from any director. I am just a slave of my director.
I am a director's actor. It is a director's medium, definitely. That doesn't mean I stop using my head.
And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.
Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?
I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I know what its like to direct. You become a more considerate actor. After you have directed, you understand what is going on. You can't help but think of the material as a director. You do come up with suggestions. You come up with shortcuts that you weren't aware of before. You try to be helpful to the director if he has a lot on his hands.
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