A Quote by Ekta Kapoor
My creative team filters the scripts before they reach me and a few others. We evaluate them, ponder over the budget, and think of various possibilities to get the viewer excited.
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In retrospect, I think that I've been given quite a few scripts over the years that had dark elements to them but most of them took place in the countryside with a haunted house. I think I've probably had that script about six to 10 times over the past few years. Or it was something to do with the supernatural.
I needed to put something together that would continually get me up at 4:30 in the morning, get me to work and get me excited to throw on those costumes - which clearly continue to excite me, if you are a viewer of the show - and circumstances that continue to surprise me and ask me to go places acting-wise that I haven't explored before.
Charlie and I have a number of filters that things have to get through before we'll think about them.
I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.
I have learned, if you give a team a budget, then the team tries to maximise the budget so that they get the same next year.
Budget makes a huge difference in the treatment of any movie. When the budget is lavish, it helps the creative team to visualise a story on a broader canvas.
I'm neither excited nor worried when my film releases. As an artiste, I would definitely want people to like my work... that's why we are here. But I don't really sit up and look at reviews. I have never sat down to ponder over what others have to say.
Reminding people what in reality it is all about, giving them a theme on which to ponder, creating a shock within them, pulling them out of the delusion of non authenticity, enabling them to become aware of their true possibilities.
I've never seen anyone get so excited over books before. You'd think they were diamonds.
While it may not have been the flashiest or the most creative, I brought a very unique skill set, and I executed in a fashion that very few have done before me and, I think, very few will do after me.
What is important, I think, is to reach as many people as you can and do it as well as you can. Reach them and inspire them or amuse them, or maybe in some odd moments help them to discover something they hadn't thought of before.
I worked with creative people who were very demanding of me, and they helped me reach performances that I never could have gotten on my own without being pushed and having trust in them. And so I know the best way to get the best performance of an actor, and that's not to coddle them or to baby them. It's to help them; it's to push them.
We evaluate others with a Godlike justice, but we want them to evaluate us with a Godlike compassion.
I have a phenomenal team behind me who have helped get me here and I, along with them, will now put everything we can into the final few weeks of preparations before the Olympic Games, where I am aiming to race well, work well through the rounds, post good times and maybe even a personal best time on the biggest stage of them all.
Luckily for me, Hereford restarted their youth team. I trained a few times with the first team before my first stroke of luck, when the club's youth team coach Pete Beadle, someone who knew me well, became the first-team manager.
To worry is to acknowledge that the world is unpredictable, and there is power in understanding one's own powerlessness at times. But too often worry takes on life of its own. Men are quite prone to this. They'll plague themselves with so many 'what if's and 'if only's that they soon forget to ponder the true possibilities before them. Which inevitably lead to poor decisions. Whatever happens will happen. Sometimes we have say over the future. Sometimes we don't. Either way, worrying alone never accomplishes anything.
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