A Quote by Harshvardhan Rane
I don't come from a film background, so I am free to work in any script that interests me.
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I don't come from a film background. so I am grateful to everyone who loves my work.
I am not choosy and would work in any film with a good script.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
My criteria has always been the script, director and character. But I also attach importance to the production house. After all, the banner has to go all out to present the film in a grand manner. I am ready to work with any house that is capable of marketing and packaging a film well.
When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
I am not from any acting background, not from any film family.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
It's hard for me to find a script that's perfectly suited to me, so even if it's a good script, I'll still have to work on it with someone and shape it, making it the film that I want to make. So in that respect, I prefer to do the stuff that I've generated anyway.
They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.
When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.
I am always open to any film from any place, given the role and the script is interesting.
Any role that is well-written, exciting and something that I am comfortable with interests me whether it's comic or tragic. It could be in a film, play or TV.
The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.
As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project. My background are acting, film production, directing, and I studied them for many years. Keep in mind that you need many other skills when you are starting any film project related to real life.
In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
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