A Quote by Fatima Sana Shaikh
I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.
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I thought of learning cinematography, so I assisted a cinematographer for an ad.
I started getting a lot of work once I came to Mumbai. I was working with some of the biggest ad filmmakers. But I had to give auditions.
Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
I went to a hotel to become a chef and then tried becoming a flight attendant, but no one took me. I then worked in a travel agency and got into advertising and modelling after someone spotted me. So I started doing ads. I did 'Charminar' ad, because of which I got two films.
I was working at a restaurant, I booked the role in 'Twilight,' put in my two weeks' notice, got fitted, flew to Portland, filmed, and then it started getting hype. That helped me get my foot into certain doors before the movie even came out.
There was a very bad phase for me where for two years, I did not get any work, and this was initially when I started, in 2014-15. I did not do any work during that time, I did not even get ads.
After high school, I drove out to L.A. with a friend of mine who had just graduated also, and I started auditioning. I got an agent, but it was all 'Saved By the Bell' auditions.
I like auditioning. I like working on material. I just love working. I like the chance to work on material. Sometimes it helps to not be going into a room cold and to know people. I've spent a lot of years getting to know people in the business, and that really helps. It depends. You can have some pretty terrible auditions.
After the war, photography came alive, in part because everybody started to use the 35mm camera, and worked on the street instead of in a studio, and that made an enormous difference in not only how photographs looked, but what they were about.
I think that it's workshops, honestly, that have kept me keen about photography, and about my photography. My career as a workshop photographer came while I was at the Geographic in the late 70's, and has continued consistently since then.
I prefer working on films. I like the variety. There is nothing better than playing a bad girl for two months, then playing someone sweet for the next two. Films give you this opportunity.
I quit the tax job then and decided that I was going to play in a band. I answered ads in the Village Voice and went through two days of auditioning for bands.
You come to my studio, it says 'No photography on premises.' I picked that up from Kanye. We don't need all that. In the old days in the Wu, we didn't allow anybody in the studio, not even women. We didn't start allowing women until five years after our debut. ODB used to get mad.
Once I actually get in the studio and I start working, I'm fine, but it's just getting there and these hours of torment with myself and self doubt, thinking 'I'm useless' and 'Who am I, conning myself into thinking I can do it again.'
I won't play any blame games for my films that didn't work. But I've been working towards getting good roles. Even Abhishek Bachchan became a superstar after delivering 17 flops.
The visualization of my films is always very important to me and I work very closely with my cinematographers. I've never had the same cinematographer twice now that I think about it. I don't know why that is. Everyone is always busy. They do three or four films a year. It's vital to me.
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