A Quote by Rohit Shetty
I don't go for holidays or celebrate my success because I know nothing is permanent. I don't let it get to me - like I am India's top director with too many hits. If that happens, I might lose the connect with my audience. The day I go wrong, they will run away from me. I want to be like an assistant director all my life.
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With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
It's more enjoyable for me to know that life is finite. Knowing that, I would like to go to a party. When you get to the holidays, if you think that the holidays will be forever, you just take it for granted. But, if you know that you have just three days at the beach, you will be so happy to be there every day.
I'm probably one of the worst actors as far as preparation goes, because I actually don't prepare. I find it easier to read the script and whatever hits me in my stomach, like deep down, I just go with it. And the director kind of molds me whether to go right or left with it.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
I look sad because I don't have the courage to escape from you. And I think I don't want to understand the truth: for you, I am nothing but a dream. You like to play with life, you're not afraid of anything, not even of me. But I want you to know that I am not an object or a doll: I don't change faces on command, I like to sit down every day in the same place, on my own chair, and I know that you, you like to leave, to go to a new place every day.
I didn't want to be around anybody because it was just too much for my brain. But, as an actress, you hope you get those meaty roles that push you into the extremities of that psychology. I like doing independent films because there's more room for you to be creative, and the director allowed me to just go wherever I needed to go. It was emotional. I had to cry a lot.
If you stay, I'll do whatever you want. I'll quit the band, go with you to New York. But if you need me to go away, I'll do that, too. I was talking to Liz and she said maybe coming back to your old life would be too painful, that maybe it'd be easier for you to erase us. And that would suck, but I'd do it. I can lose you like that if I don't lose you today. I'll let you go. If you stay.
I've never like had a system or a program, I always think that I don't know how to act. I'll adapt to any director because I don't really have a set way that I do things. If a director hires me and says, "I want you to get started right now and do this research, this research, this research and I want you to have every line memorized before you ever show up for the first day," then that's what I'll do.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
Hong Kong people, they treat me more like a director, like a producer, like a filmmaker. If they recognize me, they treat me as a producer more than a star. And also, I make one movie in three years. I think they already forget who I am, because I've been away too long!
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
I am proud to say I'm a director's composer. People do method acting, I do method composing. I like to get into the skin of the character and go deep into the director's vision.
This is many, many years ago. It was shortly after "Starman" I think. I don't know how close I was to getting the part. I met with [director] Penny Marshall and that's one that I knew would be a hit. It just felt hit-ish. But it's like you go to a store and you see a jacket and you go "I love that jacket" and you try it on and it's too big or too small for you and it's the only one they have. For some reason that part just didn't fit me.
Show me one director who does not get angry on their assistant for something that has gone wrong. But it is done out of my love. It's just fun when I tell them to face a wall and stand or kneel down in a corner. It's not like I want to punish them harshly. It's not to humiliate; it is to teach.
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