A Quote by Prosenjit Chatterjee
We lack good film scriptwriters. People like Anjan Chowdhury who could develop scripts of pure entertainers are quite difficult to find now. There are obviously some exceptions like Padmanabha Dasgupta. But how many scripts can one single Padmanabha Dasgupta churn out!
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I have done a film like 'Kaalpurush' by Buddhadeb Dasgupta and then I also have movies like 'Musafir,' where I am an out-and-out glam doll. So I do all kinds of cinema.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.
I don't get that many scripts. Back in Australia, I've pretty much done my own shows and really no work outside of that. It's only now that I'm starting to read some Hollywood film scripts, and I've read some really great ones.
I write scripts, I read scripts, I meet people who chat about their scripts. So honestly, I don't feel bad if I don't act in a film, as long as people are making great films.
I tell [scriptwriters] I think [their scripts] has too many stereotypes, that even the way they come in and out of Spanish doesn't really make sense, it feels forced.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
I see so few scripts just because, for whatever reason, there just aren't that many good scripts with a young, teenaged girl. So it's always been sporadic. People don't know what to do when writing a story with teens that takes place now - they think you have to make a bunch of references to Facebook.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
I was really surprised to see how critical the Malayali audiences are. It is really overwhelming that people genuinely want good scripts and do not miss a chance to applaud good scripts.
Today, most big stars want scripts to be written in a particular way, show them in a certain light. They want people to like them for various reasons. It's all about how much people will like me in this film than about whether it's a good film or not.
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
I want to aspire to something like what Denzel Washington does, which is try to find scripts written for white actors - or Jodie Foster, who reads scripts for male actors.
It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.
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