A Quote by Gurinder Chadha
You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.
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I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten.
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect . . . You know, I'm in.
It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.
With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.
Language is one of the fundamental principles of human understanding. It is the way we interact with each other and how we grasp the world we live in. Intelligence is the ability to avoid doing work, yet getting the work done.
It was nice to be reminded of how much hard work goes into movies, and how as a director, it's your job to acknowledge and channel that hard work. She's amazing at that.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
There is no hard and fast rule that I only work with debutants. I give prime importance to script, and when that works out, everything else falls in place automatically. In fact, most debutants express interest to work with me.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.
Antonio Gramsci said that social reformers should have pessimism of the intellect and optimism of the will. This means that one must have the intellectual ability to see how bad things are and the emotional ability to look forward with hope. It's a hard combination to sustain, but if you can do it, you can change the world.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
You want hard workers. You'd be surprised how many people tell me, 'I don't need to work hard. I'm smart.' Really?
After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.
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