A Quote by Saqib Saleem

One needs to have a comfort level with the director. — © Saqib Saleem
One needs to have a comfort level with the director.

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For me, my level of comfort is the prime factor. I'd never compromise on my comfort, no matter how much a script needs it.
It is tough to make people laugh, but when there is comfort level with co-stars and director it all works well.
We want to take ourselves out of our comfort zones; when you're in your comfort zone for so long, you only play to a certain level.
In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.
The main thing the composer needs to do is it needs to remember that the director is there to cheer you on. The director wants you to succeed because if you succeed, you'll be helping the film. And they are truly your conscience. And they're truly your guide.
When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
Every moment each human being is doing the best we know at that moment to meet our needs. We never do anything that is not in the service of a need, there is no conflict on our planet at the level of needs. We all have the same needs. The problem is in strategies for meeting the needs.
Getting into Sundance is a certain sort of passport to a level of anxiety I've never experienced, even having had a baby in the NICU for a week. For about ten minutes, you're a world-class director. Then you become an entry-level, harried, low level concierge with absolutely no juice.
Society and government at all levels - the state level, the local level and, of course, the federal level - really needs to redouble its efforts if we're really going to make a difference in combating autism.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
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."
Love is counting someone else’s needs and interests as more important than your own needs or interests or comfort.
I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
It's interesting in seeing when I'm talking to men in particular and telling them I'm an actress versus a director and the different turn the conversation will take when I say I'm a director. The level of respect is very interesting.
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