A Quote by Vijay Sethupathi
I'll give the director what he wants, but please explain the requirement. If it reaches me, then there's communication.
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Rahman is very very director friendly. He is ever ready to go whichever the director wants, the story wants, depending on the kind of movie or the music you want, and within that he finds his niche. It is a constantly complementary process. At the end of the day he is not pleasing you, he has to please himself.
Ah, it is the fault of our science that it wants to explain all; and if it explain not, then it says there is nothing to explain.
I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.
There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.
I am completely a director's actor. If the director gives me the liberty and freedom, then I give my inputs. Otherwise, I just follow instructions.
When I was first writing, my little prayers were, 'Please, please, please. Let something be published someday.' Then it went to, 'Please, please, please. Let somebody read this.'
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
As an actress I find the most enjoyable part of acting is really just to please the director. I just want to please my director.
"Please... don't ask me to go with you, because if you do, I'll go. Please don't ask me to tell Frank about us, because I'll do that, too. Please don't ask me to give up my responsibilities or break up my family"... "I love you, and if you love me, too, then you just can't ask me to do these things. Because I don't trust myself enough to say no."
Nobody wants to hear about process. They want to hear about results. They want to be inspired. They want to aspire to something. And so often in our communication, we will explain why - sorry, we will explain how but not why.
A lot of the music editing job is communication and working out what a director really wants the music to be.
The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I'm a better director when I'm more a channeler than a dictator.
He gave me a copy of The Declaration of Independence, then he got a tattoo that says Give Me Liberty Or Give Me Death. I think my boyfriend wants his freedom.
There's a stage where you're desperate to get a job, and you're waving your hands in a sea of nothingness, going, 'Please, please, please! I'm over here - give me a job!'
Man wants two contradictory things together: he wants peace and he is ambitious. It is impossible. If you are ambitious, then your mind is bound to remain restless. If you want peace, then the first requirement is to drop all ambition. Unless you drop ambition you cannot be at ease, at peace, you cannot be relaxed.
There's a wonderful old Italian joke about a poor man who goes to church every day and prays before the statue of a great saint,'Dear saint-please, please, please...give me the grace to win the lottery.' This lament goes on for months. Finally the exasperated statue come to life, looks down at the begging man and says in weary disgust,'My son-please, please, please...buy a ticket.
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