A Quote by Esra Saydam
When you direct a film, everything should be about the story and nothing else.
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Thank God, 50 years ago I learned that our entire business is all based on two things; a great song and a great story. Film, television, if you don't have that story, nothing else matters. You don't call anybody else or direct anybody. The same with a song. A great song can make the worst singer in the world a star.
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.
More than anything else we should be concerned about meekness, or our standing in God's sight. If that standing is as it should be, nothing else matters. If it is not, nothing else counts.
A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
I never make a distinction between doing a film in Hollywood or doing a film independently. It's just the story. It's always the story for me. The constants are that it should challenge me and I shouldn't repeat myself. And the story should always be a story worth telling.
As an actor, I'm my own worst critic, but after awhile, really, when you watch 'Moonrise Kingdom', it's such a fantastic film that you sort of get sucked into the story, and then you kind of forget about everything else.
'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.
You used to need a big camera to direct, but now, anyone with an iPhone can tell a story visually. You can film something. You can start off with a five-minute story, then a 10-minute story.
Comedy is immediate. Comedy is a solo mission. You're all by yourself, up there. And when you're in a film, on a set, it's a collaborative effort. It's about me being a tool for somebody else to create a story and a character from nothing, from their imagination.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
I had directed a short film called 'Girvhi' earlier, on child labour. It was a fictional story. At that time, I realised I could direct a film if given a chance.
I think that anybody that wants to direct, particularly writers, should spend some time in an editing room, whether it's a film of theirs or someone else's, or shoot their own picture on video and cut it.
Where the Truth Lies rating has a lot more to do with the political climate in America today than it does with the film. It wouldn't have had this rating five years ago. There's nothing graphic in this film on screen; you can look at it, but you won't be able to see it, it's not there. There's nothing graphic sexually that's not about the story telling.
In television - not film, and not factual, nothing else - within television, likeability is everything, and relatability is everything.
Personally, I think that the story is all-important; everything else comes later. But if there's any other way to ensure the betterment of the film, I always implement it.
