A Quote by Vikrant Massey

I reach on the sets ready to be moulded by the director and give my best shot. — © Vikrant Massey
I reach on the sets ready to be moulded by the director and give my best shot.
Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
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.
Movie-making is serious business. The director and the crew are already under a lot of pressure to give their best to the audience. Therefore, the best part for me as an actor is to act well in the movies and make a jolly atmosphere with the co-stars on the sets.
You can't say what the outcome of a competition is going to be, so now I am ready to accept any result that comes my way, if I give my best shot.
Give me the third best technology. The second best won't be ready in time. The best will never be ready.
I never know which camera is on me when I'm dancing and the director picks the shot he likes but it usually isn't the best shot for showing the steps I want the audience to see.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
There's only one shot you have at a movie, and that's your best shot. If you can't give it that, don't go. They're paying you! You gotta do a job for them.
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
Being at NDSU and winning national championships, everyone's gunning for you. You got a big target on your back, and we had to be ready to go week in and week out. I think playing for a program like that, everyone's going to give you their best shot, and we embrace that.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
At any given day you have to be ready with everything. It can be that the director says "this one's done and I need a new one." And you're like, "oh my god! I only have two months, no way!" So your design approach is completely different. You develop, let's say six things at the same time, and try to be ready everyday to give it away.
I've always been one of the best players with the rest but I'd rather be able to reach the shot without it.
If you're not ready then you can play bad, and you only have one shot at the Australian Open each year, so you have to do the best you can.
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