A Quote by Mukul Dev

I like to write on anything that is intriguing, unheard of - something that is offbeat. — © Mukul Dev
I like to write on anything that is intriguing, unheard of - something that is offbeat.
'Ratboy' is an offbeat film with a lot of comments to make about human values. But, because it's offbeat, it doesn't have an obvious market.
I can't write anything for myself. I can write when I hear like [John] Coltrane play something; I used to write chords and stuff for him to play in one bar. I can write for other people, but I don't never write for myself.
I was always more of a Lydia Deeds than a Disney Princess, so anything offbeat like that, I would love to be a part of.
There is something about the Australian psyche that seems to like films that are slightly offbeat.
I like playing characters that are complex, that are intriguing, that come from left field, that do things that are unexpected. I don't like people who just follow one line and that's it - that's why I could never be in a sitcom, I don't think. They're not intriguing enough for me.
It's just I hate reading the description 'offbeat' about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on 'offbeat.'
Anne Boleyn is an intriguing character. She seems to appeal to modern-day women in a very potent way. Because she was such an independently opinionated and spirited young woman, which at the time was unheard of.
I try to write about small insignificant things. I try to find out if it’s possible to say anything about them. And I almost always do if I sit down and write about something. There is something in that thing that I can write about. It’s very much like a rehearsal. An exercise, in a way.
I love movies like '500 Days of Summer' and 'Juno.' Something offbeat without the glamour and the makeup and the clothing.
I'm pretty instinctual when I write, and I really like to get to a point where I'm writing where I don't know what's going to happen next. Usually when I get to that point, something will happen that I find intriguing or interesting, or that will push the fiction in a way that I really like.
The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
I'm not a huge fan of romantic comedies - my taste goes much more to the offbeat and dark. I'd love to sink my teeth into something like Fargo.
Sometimes I try to concentrate on the story I would like to write, and I realize that what interests me is something else entirely, or, rather, not anything precise but everything that does not fit in what I ought to write.
Unheard-of combinations of circumstances demand unheard-of rules.
When I started out on 'Min Kamp', I was so extremely frustrated over my life and my writing. I wanted to write something majestic and grand, something like 'Hamlet' or 'Moby Dick,' but found myself with this small life - looking after kids, changing diapers, quarreling with my wife, unable to write anything, really.
I couldn't draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn't faint dead away.
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