A Quote by Paresh Rawal

No actor can rise above the script of the film. — © Paresh Rawal
No actor can rise above the script of the film.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
As an actor, you want to do your best but not overshine the film. No actor is above the film.
It is important for the film industry to rise above ageism.
I come from theater, so I'm used to the hierarchy of an actor is just on the ladder, and above that is a director, and above that is a producer, and above that is a writer. But on a television show or film, the whole call sheet thing and being No. 1 on a call sheet, people look to you and almost expect you to exercise this power for good or bad.
There are always things that you see that are pretty tough, sure. But what keeps you going is when you see people rise above toughness and rise above really hard conditions, and make something of it.
In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
I suppose I can do more for a script as an actor than as a writer - in the film sense.
My fiction is almost always inspired by a character's need or desire to rise above him- or herself. No one is perfect and some of us have much adversity in our lives; it is those people who struggle to rise above their nature or background that I find the most interesting and heroic.
Just as it is true that a stream cannot rise above its source, so it is true that a national literature cannot rise above the moral level of the social conditions of the people from whom it derives its inspiration.
To make a great film you need three things - the script, the script and the script.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.
When you're making an independent film, it's like this actor plus this actor equals this funding, this financing. Pull this actor out, this actor is still here but this money's gone. It's this frightening puzzle mosaic that is the world of independent film.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.
The planes of light give you the power to rise above circumstance, the power to rise above your desires and your aversions.
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