A Quote by Lara Dutta
I don't want to be seen in every second film. I don't want the audience to say, 'Oh no, she's in this one too.'
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I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.
The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.
The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
Films take too long. There's too much BS, too much nonsense. If I want to do a play, I just call the theater, whether it's here, or in Paris or Mexico or Spain or London or whatever, and say, "I want to do this, are you interested?" They'll answer the next day. With a movie, it's all, "Oh, I see this film as blah blah blah." They don't know what you're talking about, they don't care.
After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."
Actors go, 'I just want to act.' And I say to them, 'You know, stop for a second and think about what charges you up the most. Do you want to be on the stage, do you want to be in film, do you want to be a comic actor? Do you just want to make it for the money and capitalize on your look and do commercials and soaps?'
Well, the studios don't really want to take those risks right off the bat. They'll take the risk after they've seen the finished product and say oh yeah we want that. This is a great film but they are hesitant to take the risk when you just see it on paper.
With any project I work on - not just 'True Detective' - I don't feel the need just to play a strong woman. I don't want the audience to say, 'Oh, she was so strong.' I want to play characters that are flawed and interesting.
Those are the films I want to make. I don't want to make a film about, "Oh, those poor prostitutes!" Or "Oh, isn't it terrible in Chicago!" I want to make a film where people think, "Brenda's like me!"
In an homage, you always want to subvert it and have fresh new takes. You don't want the audience to say, 'Oh they just did 'The Amityville Horror' there,' you always want to add something new.
When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'
Film festivals are usually unpleasant experiences on some level. The lines are ridiculous, the crowds are ridiculous, or the schedules are impossibly arranged: 'You say that there's a film you really want to see? Try the 8 A.M. show! Oh, it's too bad you didn't get to bed until 2 A.M. the night before.'
My mother says to me, when I'm making a new movie, she says, "Oh, is Steve Buscemi in it?" I'd say, "Yeah." And she, "Oh, then it's going to be a good one." I swear to God, she says that every time. And when I say Steve's not in it, she says, "Oh."
Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.
The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.
I think it was in my second week that I auditioned for Battlestar. I was very "Oh gosh, I want to be in television, I want to be in something, but I don't know if I want to be in this."
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