A Quote by Mohanlal

As an actor, we can only do what the director wants. Only the director has a vision of the entire film. — © Mohanlal
As an actor, we can only do what the director wants. Only the director has a vision of the entire film.
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.
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.
I think a director is hugely responsible for the fate of a film, so if it does well, he should be appreciated. As an actor, I can only perform well or choose to work with a good director in a good film.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
As an actor, you've got to have faith in the director's vision, that the director has a vision for this that is greater than the critics say.
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.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into 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.
For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
A film is a director's vision... there is, however, much input an actor or actress can have.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.
My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
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