A Quote by Sharmila Tagore
When you come to the set, and are aware of the limitations of the script or the director, don't expect the pigs to fly.
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If pigs could fly, yes, of course I would vote for the Democratic Party, but pigs don't fly.
I have myself a poetical enthusiasm for pigs, and the paradise of my fancy is one where pigs have wings. But it is only men, especially wise men, who discuss whether pigs can fly; we have no particular proof that pigs ever discuss it.
I am aware that as an actor, I can blame others for the failure of a film, the director, the script, choice of co-stars, timing of the release and so on. But now, as the director, I will have to shoulder all the blame.
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.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
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.
As you move through the day, be aware of how you treat yourself. Be aware of what you do to and for yourself, because you set the standard for others. As you grow in your awareness of how you treat yourself, you will probably become aware of the example you have set for others. You may realize that the time has come to set a new example.
To go into more specifics regarding actors, whether they're from Korea or the U.S., all actors know if they are loved by the director. When they feel that love from the director, they respond by giving a great performance on camera. Also, everyone on set - the crew, the actors - they were aware of the film's message and its broad theme, so these big issues were never discussed on set.
The premise of Kiss has always been to not live within the confinements and boundaries other people set for themselves. We set our own limitations, and those are no limitations.
I know what its like to direct. You become a more considerate actor. After you have directed, you understand what is going on. You can't help but think of the material as a director. You do come up with suggestions. You come up with shortcuts that you weren't aware of before. You try to be helpful to the director if he has a lot on his hands.
Every time a film comes together, usually the studio executives come up for a day to the set. If you're out of town, they'll fly in or wherever you are - the cast, the director, the producers - all get together and have a big dinner and celebrate the fact that we're about to start shooting.
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.
You know, it actually can happen. I mean, the chances of it happening are very rare, but it can happen actually. Which is crazy. Not that it—the chances of it are, like, you know, it's like probably ‘pigs could fly.' Like, I don't think pigs could fly, but actually sharks could be stuck in tornados. There could be a sharknado.
It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
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