A Quote by Shamna Kasim
The credit for the success of my films go to the director and the script.
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.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
Compared to my previous films, 'Kaasi' is special. All credit goes to the director.
In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
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.
Mainstream or budget films don't matter to me. What matters is the script, the director and the part, not necessarily in that order though.
I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
The truth of the matter is this - I never look for films specifically, because ultimately if the fundamentals of the character and the script and the director aren't there, it makes it a moot point.
In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.
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.
I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.
I would take a bad script and a good director any day against a good script and a bad director.
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