A Quote by Kurt Fuller
Without being good enough, I started figuring out how to make my way through the minefield of a script, which is what it was to me at the time, and the rest is semi-history.
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The kind of approach that inspires me is taking what you've built and figuring out how to turn it into a new experience by expanding it smartly. The challenge is figuring out what's the best way to do that without totally jumping off of a cliff.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
My reading was good enough to play big-band charts, but I ran into trouble with Claude (Thornhill)'s theme song "Snowfall," which had a repeating bass line in D-flat that was very difficult for me to finger using my self-taught technique. I spent one morning figuring out an alternate fingering, and that started me on the way to learning a better use of the fingerboard.
Being a teenager and figuring out who you are is hard enough without someone attacking you.
For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.
The celebrity mill is so active these days that actors can make careers out of being themselves, and I don't know that I want to. I think I'm just figuring out how to make a career out of not being myself. It's hard.
My sweet spot is figuring out how to make a product that people love and how to refine it to make them love it more. All the rest is business noise.
I think my philosophy has evolved over the years. I started teaching almost 15 years ago and I've learned that how one student learns is obviously much different than how another student learns and so I've had to figure out how to get through to people honestly without hurting their feelings - which is no easy task just in the scope of being a human being, much less in the classroom, but which is something that is more important to me now than it was when I was 30 - and to show them a path to improving.
I started going out with one of my managers and he really grew me up in a lot of ways. He introduced me not just to being a full-time traveler, which I was, but he was also really very interested in history and art and continued to open my eyes up to regional history; less splashy histories. He was interested in historical societies and stuff like that. He introduced me to a way of looking at the way communities form that is the foundation for the book that I've just finished writing that has to do with what I see as effective community-building wherever I've been traveling.
I learned that you have to respect how much time and work a writer has put into their book. I always give the writer I'm publishing a good deal of control in shaping the book and figuring out how it looks, but I'll make suggestions on how to make it stronger.
I think everybody goes through that, especially... being in love for the first time. Some people, they're lucky enough that that ends up being who they're with for the rest of their lives, and sometimes it doesn't work out.
The conventional wisdom is - people say this all the time - you should only write something when you're far enough away from it that you can have a perspective. But that's not true. That's a story that you're telling. The truth of it is here, right now. It's the only truth that we ever know. And I'm interested in that truth and the confusion being part of the experience and sorting it your way through and figuring it out.
[on the reason for his seven-year hiatus in direction] My son Aditya made Mohabbatein, which took a lot of time and energy. Then we started looking for a script for me to direct. Nothing seemed to excite us both. There's a complete bankruptcy of screenwriting in our cinema. I wanted a very earthy and Indian subject. I was tired of the promos on television. With semi-clad girls, they all looked the same. Of course Dhoom has them too. But I'd personally not make a film like that.
I have a certain memory of the way in which my father loved me until I was 10, and it was unconditional and eternal. I get to carry that for the rest of my life, but on a practical level after age 10, it's just me sort of figuring it out.
History without the history of science, to alter slightly an apothegm of Lord Bacon, resembles a statue of Polyphemus without his eye-that very feature being left out which most marks the spirit and life of the person. My own thesis is complementary: science taught ... without a sense of history is robbed of those very qualities that make it worth teaching to the student of the humanities and the social sciences.
We all should be taking a good, long, hard look at ourselves and figuring out what we are and how we got the way we are. And make damn well sure that we're doing at least something to make what's going on inside a little bit of a better situation.
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