A Quote by Sayani Gupta
Axone', of course, was on racism, but it was also a kind of representation that hadn't happened ever before of the Northeast and the people from there. It was a nicely-written script; it was funny.
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North-east films are still not on a national level. But 'Axone' is a mainstream film. I found the script very authentic and also very funny.
From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.
I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.
A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.
I don't think I've ever written a poem whose intention was just to be funny. I've written poems that start out funny and often shift into something more serious.
"On Script" is one of my favorite songs I've ever written. I'd just been jamming on it one day, and again I was struggling with lyrics. I'm still figuring out what it's about. I've seen a couple of reviews that are like, "It's about the monotony of playing the same songs every night," because I say, "On script every night/Like a well-rehearsed stage show." It's not about that at all, but I find that funny, how people project what they think about me, or songwriters in general.
This satire business, that was one of the worst things that ever happened to me. I was certified funny. From then on, I had to be funny - people expected it. Twice the work for the same pay.
They were nicely written and nicely directed episodes [Star Trek: Enterprise]. I enjoyed working with Scott [Bakula]. So it was good to do, and, as you said, it did serve to enhance the Soong legacy.
In 'W,' I did not change a word in the script. I have never spoken this much in other series. I just stick to whatever is written. I always carry the script with me and read it before I sleep.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
My most favourite gigs that ever happened were solo, before The Monkees ever happened.
Man, I had a good time working on 'Grown Ups 2.' First of all, when I read the script, it is hands-down the funniest script I've ever read. It's laugh-out-loud funny.
Something may have happened before, and yet this thing that happened just after may be so important that you don't even know about the thing that happened before and when you tell your story to yourself, or to someone else, it's going to be told not on the basis necessarily of the time course, but rather on the basis of how it was valued by you.
Nothing's new since Genesis. And so everybody in their life thinks history began when they were born. Most people's historical perspective happened when they were born in the sense that nothing has ever been this bad. "We've never gone before this before," and of course we have. Things have been worse in many ways in the country.
The Cable Guy was underbudgeted, so it was always a debate about whether we could have more days or certain things that we needed, because the budget was determined before the script was written. So that made it a hard production on everybody. But it's also a funny thing, because it's one of those movies that cost $40 million to make and made $100 million around the world, but at the time, it seemed like a disaster that it didn't make hundreds of millions of dollars, because Jim was on such a tear. But it was actually a successful movie.
I'm a believer that we should support various forms of representation because they clearly resonate with unheard groups of people, and for such a huge project like 'Riverdale,' this kind of representation is fundamentally important.
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