A Quote by Sana Khan

When we sign a film, we agree to be part of the script. — © Sana Khan
When we sign a film, we agree to be part of the script.

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When you sign up to a film, you sign up to everything that's in the script. I really believe in that.
I don't agree with the way labels are set up. I don't agree that anyone should sign 360 deals or sign away their publishing or take most of the infrastructure that's included in a formal deal.
When I heard the script of 'Loukyam,' I was laughing, as it was such a laugh riot. So all this made me sign 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.
Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.
When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.
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.
The one mistake you must never make is to agree to make a film or sign on to film that you don't believe in. Most importantly because it's unfair on that. It's not about you; it's just not fair on that project because you're doing it a profound disservice because you're not serving it - you're uncommitted, ultimately.
Nowadays, in the contract that actors sign, you have to agree that you're going to do a certain amount of publicity-the hard part they don't pay you for.
To make a great film you need three things - the script, the script and the script.
I won't sign a film thinking, 'Oh my God! I don't have a film so I've got to sign one real quickly.'
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.
I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
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.
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