A Quote by Shamna Kasim

If I am part of a movie, the character I handle should make sense to me at first and should also be convincing to the audiences, in terms of casting. — © Shamna Kasim
If I am part of a movie, the character I handle should make sense to me at first and should also be convincing to the audiences, in terms of casting.
American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
In one way they make the movie something you can handle because it's character driven and it's slightly off center. That's what's attractive, but it also has the potential of being cutesy and sappy. I am so uninterested in that.
I still have that South Indian accent. But I am working on it. Hindi audiences should feel that I am speaking like them and should relate to me.
Food was supposed to be a slightly bigger part of 'Heartburn,' and it actually didn't turn out to be because of me. I just didn't find a way to make it a bigger part of the movie as I should have, and we cut several scenes in which food was a major character.
My casting in 'Halo' produced by Steven Spielberg, which I am doing, is just color-blind casting; Asians have been questioning why best roles should not come to them and I am so happy about this color-blind casting. I am going to be just what I am in that film.
Every tomorrow has two handles. We can take hold of it with the handle of anxiety or the handle of faith. We should live for the future, and yet should find our life in the fidelities of the present; the last is only the method of the first.
The bottom line in managing your emotions is that you should put others – not yourself – first in how you handle and process them. Whether you delay or display your emotions should not be for your own gratification. You should ask yourself, What does the team need? Not, What will make me feel better?
I tell everybody on the first day of making a movie that if anyone's here to further their career, they should leave. I'm gonna make the movie in such a way that we won't have a career when this movie comes out. Because the people who hold the moneybags are not going to want to share any of that money with us to make the next movie!
During the season, your team should be led with exuberance and excitement. You should live the journey. You should live it right. You should live it together. You should live it shared. You should try to make one another better. You should get on one another if somebody's not doing their part. You should hug one another when they are. You should be disappointed in a loss and exhilarated in a win. It's all about the journey.
Stars are a part of our emotional psyche, but audiences should also support a good indie film which may not have a big star.
Africa should not just wait to be exploited or influenced. No. We should be part of the conversation. We should raise ourselves to a level where there are certain terms we dictate in the conversation because we have a lot to offer.
Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.
It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.
Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.
One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].
I don't want to be a nobody in a film. It's okay if it is not a lead character, but it should be a central character and it should make an impact.
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