A Quote by Nana Patekar
Whenever somebody comes to me with a script, I ask a question to myself - 'Why do I want to do the film?'
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I learned, when hit by loss, to ask the right question: "What next?" instead of "Why me?" . . . Whenever I am willing to ask "What is necessary next?" I have moved ahead. Whenever I have taken no for a final answer I have stalled and gotten stuck.
Somebody asked me a question. It was a defining question: 'What type of legacy do you want to leave?' We ask that question a lot later in life, but we need to start asking it to young people.
Whenever I'm offered a film, I think of a Friday and ask myself if I would go and watch that film or not.
And one day we must ask the question, "Why are there forty million poor people in America?" And when you begin to ask that question, you are raising questions about the economic system, about a broader distribution of wealth. When you ask that question, you begin to question the capitalistic economy.
Frankly speaking, it's only the script that matters to me the most. If I like the script, then I just commit to myself and go ahead with it. But I also look at the commitment and confidence of the director of the film because it's him who will shape the film.
Every time something bad happens to me, I don't ask the question, 'Why did it happen to me?' The question I ask is, 'Why did it happen for me?'
Most of the time I ask, "Why have I forsaken God?" I look at myself and ask that question when probably the better question is to say, "Where are you God, and I'll let you in." Instead of thinking that you've abandoned God, push yourself in the other direction like, "God, how can I get closer?"
I'm able to lead my life as well as make a film. My wife and my friends and people around me know that I do tend to distance myself a little bit during the making of a film, but I have to, it's a natural part of the process for me because you are indulging in the headspace of somebody else, you are investing in the psychology of somebody else and you are becoming somebody else, and so there isn't enough room for you and that somebody else.
Whenever somebody says they need an angle for their story I always fear that they've got an idea and they want me to fit into it or they want me to come up with an idea myself or I'm supposed to be more revealing than I've been, and to me it just sounds like something I don't want to do.
One day, someone said to me, 'Do you want to go jump out of an airplane?' I felt like I had nothing to lose anymore, so I said, 'Why not?' And every day since then, I ask myself that question.
Why is failure the first thing I think of when I find myself in this sort of situation? Why can't I just enjoy myself? But if you have to ask the question, then you know you're lost: self-consciousness is a man's worst enemy. Already I'm wondering whether she's as aware of my erection as I am.
As a coach, I want players to challenge me, to question me and ask why we're doing a certain thing, so they feel that they're taking ownership.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
I've never read a book or attended a class on screenwriting. I'm not opposed to the idea, but I like what I've got going on naturally and want to protect that. The one question I will ask myself as I'm re-reading a script for the 60th time is, 'Am I entertained? Still?' If the answer is 'yes,' I'll assume other people will be, too.
I write the script; nobody sees it, not the people that put the money in the picture. I cast who I want, and make the film. That's why I've always felt the only thing standing between me and greatness, is me. There's no excuse for me not to be great except that I'm not.
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?
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