A Quote by Aditi Rao Hydari
The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.
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I definitely have to know every detail of a script and analyse its potential before I think further because if the director is the captain, then the script is the ship.
There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director. In the end, you as a director, of course, are the captain on the ship.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
What's been fascinating about shooting my series 'American Woman' is the ubiquity of a woman's experience - and no matter who you are: a rockstar, film director, mom - we all are celebrating this movement of female empowerment, but we also realize we have a long way to go.
David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.
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.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.
Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.
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.
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.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
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.
You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
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