A Quote by Rajkumar Hirani
I'm absolutely open to scripts written by someone else.
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I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.
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.
I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
I never felt like a happy-go-lucky ingenue to begin with. And parts are written better when you're older. When you're young, you're written to be an ingenue, and you're written to be a quality. You're actually not written to be a person, you're written for your youth to inspire someone else, usually a man. So I find it just much more liberating.
Isn't it curious how one has only to open a book of verse to realise immediately that it was written by a very fine poet, or else that it was written by someone who is not a poet at all. In the case of the former, the lines, the images, though they are inherent in each other, leap up and give one this shock of delight. In the case of the latter, they lie flat on the page, never having lived.
Lots of scripts are written and not made, even scripts that people want to make.
I love bouncing my words off of someone else's, and the fact that writing a story with someone else guarantees you'll get something you never, ever would have written on your own.
A lot of scripts are written with an eye on what will be popular or what will titillate or what this actor can do well. I don't think those kinds of scripts ever work.
I look at 'Love Child' and it's as if it was written by someone else - someone who knew what they were doing.
There are a lot of producers and people in the music industry who take credit for the work of others when it's not actually their work. Especially big producers - they have a song that's written by one guy with a produced mix by someone else and then it's sung by someone else.
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.
In 1990 there were about 300 scripts being written demanding the release of Nelson Mandela. And suddenly we watched Mandela walking out of prison. So those scripts had to be destroyed.
You have to fire yourself as the writer when you direct something you've written. You have to fire yourself, or else you get precious about what you've written. You've got to open up and let the actors in, and re-conceive a lot of things.
That's because you've never been one. You haven't spent years wearing someone else's clothes, taking someone else's name, living in someone else's houses, and working someone else's job to fit in. And if you don't sell out, then you run away... proving you're the Gypsy they said you were all along.
For years I was doing the excruciating weightlifting of writing scripts - but then I stayed thin and someone else got all the muscles.
People are always pleased to indulge their religiosity when it allows them to stand in judgment of someone else, licenses them to feel superior to someone else, tells them they are more righteous than someone else. They are less enthusiastic when religiosity demands that they be compassionate to someone else. That they show charity, service and mercy to everyone else.
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