A Quote by Thiagarajan Kumararaja

Even if you come up with a conventional script, directors face several issues in convincing people to get on board. — © Thiagarajan Kumararaja
Even if you come up with a conventional script, directors face several issues in convincing people to get on board.
We served on the editorial board of a literary monthly called Face in 1968 and 1969. He was a young writer, and I was also interested in broad cultural issues. We agreed on all major issues and became friends.
I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.
It is an honor to serve as the Ad Council's next Chair of the Board of Directors. I am deeply committed to its mission of creating campaigns that improve everyday lives. I look forward to working with the Ad Council team and Board to continue to shine a light on the most important social issues of our day.
It is easier to produce a film on your own than convincing another person to come on board.
There always will naturally be some differences when you form the government with coalition parties. Even some single party governments also face several issues.
I think every responsible public board at every board meeting should be discussing succession. And, of course, Walmart has a very mature board: our chairman Rob Walton and other members. So succession is an ongoing. I think when I first joined the board of directors, it was discussed then. And it's discussed at every board meeting continually.
Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
Lots of entrepreneurs don't want to be hassled by a board of directors early on. The entrepreneurs want to control the company, don't want to be responsible to a board, or don't want to waste time communicating with board members. This is a classic error of thinking about the early stage board incorrectly.
Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.
I wrote a script - a script about a guy working on the automobile assembly line; I never could get money for that. I did a pilot about minimum wage workers for HBO that didn't get picked up; they thought it was depressing, even though it was a comedy.
A lot of people get Chicago wrong. I've developed this protective feeling about how we're portrayed, and at the same time, I'm acutely aware of the issues we face and the root causes of these issues.
At SGI board meetings... Jim Clark's face would get red and he'd start shouting that an investor and board member had cheated him and his engineers.
We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
Rule one of reading other people's stories is that whenever you say 'well that's not convincing' the author tells you that's the bit that wasn't made up. This is because real life is under no obligation to be convincing.
I'm not put off so much by first-time directors if the script is great. If the script isn't there, I'm not there.
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