There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
Any artiste would die to be a part of a film like 'Gandhi My Father.' Director Feroz Abbas Khan had a very clear vision about what he wanted to make.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.
Certainly there is a lot of collaboration, but there is also a lot of clarity that has to be had in the vision that you have for the film when you come in as the director. Without that, there's no bullseye to be aiming for.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
A successful film begins by choosing a director whose creative vision will define the choices made by everyone involved in the film.
As an actor, we can only do what the director wants. Only the director has a vision of the entire film.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
As an actor, you're always at the service of somebody else's vision. In a play, it's more of the director's vision, and he or she's got their hands on you all the way up to opening night, and if it's a film, there are even more people.