A Quote by Supriya Pathak

I said yes to a Gujarati film because I loved the script. — © Supriya Pathak
I said yes to a Gujarati film because I loved the script.

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Superstar,' my first Gujarati film is a game changer for the Gujarati film industry. When I saw it on the big screen, I had goosebumps.
In 2012, I got my first Gujarati film. After that, a lot of things changed for me and for the Gujarati film industry. I did my early films by taking leave from my engineering job.
What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.
I don't mind acting in a Gujarati film at all. I would love to. In fact, since I love the Gujarati food, I would want to spend some more time working and eating here.
When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.
It's funny because I was offered film parts the first week after 'The Office' went out. I was sent a script, and I said, 'Who's the lead?' They said, 'We want you to be.' And I said: 'Well, who's going to go and see that? You want John Cusack.'
Everything was a lot more challenging for me because of who my brother was. If I were in the film, someone would had said that I got the part because Eddie's in the film. If I wrote a script, folks would say that I didn't really write that: that Eddie did and I threw my name on it.
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
I prepared the script of 'Pataas', when working for 'Kandireega'. When I approached Kalyan Ram with the script, he liked it and said that he will produce the film with a big hero.
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.
They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.
Jacques Doillon wanted me to be in his film, 'La Fille Prodigue,' and there I was, expecting, for some reason, this great bearded man, when a splendid looking red-Indian style man appeared at my door. I said no to his film because I knew that if I said yes, I would run off with him.
I have a tendency to say 'yes' to a script or no to a script. Not 'yes' based on a rewrite.
I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.
Gujarati is a very sweet language and I have always used elements from Gujarati songs in my music.
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