People say that I'm very intimidating when they see me. I think confidence can be intimidating. I kind of think it's good, because it keeps away a lot of boys.
Here's the thing: If you're taking roles that aren't intimidating you, and I think this is a cliche that a lot of actors say, but if it's not intimidating you, then why are you doing it?
Heres the thing: If youre taking roles that arent intimidating you, and I think this is a cliche that a lot of actors say, but if its not intimidating you, then why are you doing it?
When a show's already established, and a director comes to set, it can be quite the intimidating experience.
I think sometimes when you speak about something like 'Indian classical music' and 'ragas,' and all of that's new to people, it can be quite intimidating, in the same way that I have sometimes found opera and Wagner intimidating - one doesn't know where to begin sometimes.
I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.
I am the least intimidating person. I think I would have done better in my career if I were a little more intimidating. Even the maid who comes to work for me once a week has found out that she can just trample over me... I'm a Cancer! We are not ferocious people.
I am the least intimidating person. I think I would have done better in my career if I were a little more intimidating. Even the maid who comes to work for me once a week has found out that she can just trample over me... Im a Cancer! We are not ferocious people.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
I really enjoyed judges critiques because I can always grow and improve from that. I don't think any of the judges are intimidating.
I think that I'm a better speechwriter than my speechwriters. I know more about policies on any particular issue than my policy directors. And I'll tell you right now that I'm gonna think I'm a better political director than my political director.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
You put these politicians in office, but then you've got to tell them what you want them to do. And it's intimidating to most people. I was intimidated by it. I mean, calling my senator or writing my senator? I'm like, what do I say? What do I do? But we're showing people that the political process is actually less intimidating than we think.
Men are always like, 'You're so intimidating.' I don't find myself to be. But whatever - I'm not going to try to be less intimidating. It's just a matter of finding a guy who's able to deal with it.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.