A Quote by Katrina Kaif
I don't have any great detail or logic or exact point that I look for in a film. It's just if I get a good sense from it and I feel that there is something interesting that we may be able to do with it, then I just kind of go for it.
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It just kind of continues to be strange and interesting to me to try to understand what other people are looking for. And this also just comes from getting older. You look at the stuff certainly that's coming out of Hollywood these days, and you go, "Did what came out of Hollywood when I was a kid make more sense, or was it just that I was in the demographic then?" But I certainly feel increasingly confused and disconnected from it.
I feel like every time I start up, it's like a truck you have to get into 15th gear, so you very solely crank into that mental space where you feel really immersed in the world of the book and then you can just kind of go. But there's just that few days of frustration to get to that point.
To go too much another way, for the sake of my ego in wanting to create something... in the situation of Superman is just wrong. Especially since we're continuing, in a sense, that story. The characters have to feel somewhat similar. What are you going to do with Superman? The world, and all the people that have created it, created him and have all kind of come together to make this image. Everybody kind of has the same idea of what it should be. So for me to go, "Okay, no, I think he should have a southern accent." Or something crazy, just doesn't make any sense.
If we did not have a sense of who we were, how we got here, why we want to achieve something - which, on the face of it, on the logic of it, is probably not worth trying - and prove that logic wrong, then you wouldn't succeed; then you would just evaporate.
The most extraordinary thing, you'd be given permission for, and then the weirdest, simplest things, you just wouldn't be able to obtain permissions. And it would go on and on and on forever and ever, and there was no way to know. You have to kind of approach it with an open, quite optimistic mind, no matter what's thrown at you, because it will only ever result in damaging the film if you let any kind of despondency get to you.
I always look at the NBA as kind of a muddled mess in the regular season, and then you just get in the tournament, just get in. And then the great teams just get on a roll and play well or the team that is hot gets hot and goes and wins it.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
I'll have a sentence in my head that's kind of beautiful and interesting, but I'm not sure why or where it's coming from. So it's kind of funny, because when people point out patterns or themes, it's the exact opposite of my film school experience.
When you break a sweat you just feel great. You've got your endorphins going. You feel better. You look better. And if you aren't able to get a workout in, try to find a steam room somewhere. You just look and feel so much better after a sweat.
I invite the entire spectrum, shall we call it, of feeling. Because that is my greatest resource as a film actor. I need to be able to feel everything, which is why I refuse to go on any kind of medication. Not that I need to! But my point is, I wouldn't even explore that, because it would get in the way of my instrument.
I don't ever like to feel myself in the position to demand of an actor that they trust I'm going to do something worthwhile. I feel a responsibility to articulate what it is I'm going to do. Whether that's showing them a full script or sitting down with them and describing my ideas in detail. It's a very healthy burden on me as a film director to be able to articulate what I want to do, to inspire actors, rather than just saying, take it on trust I'll be able to do something worthwhile.
I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.
I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.
You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.
See, the first thing about actors is, you're just trying to get a job; and you audition and audition and you finally get them. And you still consider yourself an auditioning actor. I auditioned for One Fine Day, I wasn't offered that. So you're still in that 'Hey, I'm just trying to get a job' thing. Then, you get to the point where, if you decide to do it, then they'll make the film. That's a different kind of responsibility, and it usually takes a couple of films to catch up. And then you have to actually pay attention to the kind of films that you're making.
I just found such a love for dancing. If anybody would love to just feel great, not just physically, but you want to feel such confidence, just go and take a ballroom dancing class! I love it more than any kind of workout.
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