A Quote by Anushka Shetty
Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.
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The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
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.
I always believe that one can't interfere in another's work. Once I start work on any film, I surrender myself completely and blindly follow the director.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.
As an actor, we can only do what the director wants. Only the director has a vision of the entire film.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
Just trying to get to know what director Bill Condon wanted. He's a great director and knows exactly what he wants. He knew every lyric to every song; knew where a handicap was.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
My teachers believe that the creative producer's job is to service the vision of the director, to stay within schedule and budget, and to get the studio what they need, but you work for the director to get their vision on the screen. That's not how everyone approaches producing, but it is certainly how directors like you to approach producing. How I was brought up is that my job is to help you make the movie you want to make.
I follow the director's lead because they generally know more about the big picture, but I also trust that the director will give me enough freedom to play.
My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
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