A Quote by Sajid Nadiadwala
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
Related Quotes
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.
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.
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.
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.
[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.
You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.
Even when 'Kaakha Kaakha' was released, there were people who gave it an average rating and said they couldn't figure out what was happening. Three days after its release, the producer called me and asked me to remove all of Jothika's scenes from the film. I told him; in that case, you can also remove my name from the director's slot.
I did a film called The Jesuit, which was an independent film. I did that shortly after Mistresses. I was still feeling soft and I was nursing, but it was a character I'd never played before. That was a Paul Schrader script, with an up-and-coming Mexican director, named Alfonso Ulloa. That has Tim Roth and Paz Vega in it, and I enjoyed that, as well.
I knew [Jesse Owens'] name, but I really didn't remember what it is he had done, so I felt like I had to get refreshed. So I read the script and I realized like, wow, this is an incredible human being. I told my manager, however I had to do it, let me see the director; I got to play him.
The third season of the Leftovers came along and Damon Lindelof sent me the script to Episode 3, and I called him up and thanked him for one of the greatest gifts I've been given. I had that script for almost two months, in the mountains in Idaho, before I even got on a plane and flew to Australia and went to the outback. He also told me to learn about the indigenous people in Australia and learn how to play a didgeridoo. It was just great. It was probably, in many ways, the best acting experience I've ever had.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
After watching 'Dangal,' I called my writer and told him that I wanted to do a sports film for Punjab because no sports movies have been ever made in Punjab.
I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.
What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.
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