A Quote by Delhi Ganesh

Once I sign up for a film, I just go by the director's instructions. — © Delhi Ganesh
Once I sign up for a film, I just go by the director's instructions.
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.
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.
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
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.
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
One of the things I write about a bit in my Madam Secretary memoir is on Rwanda, where I was an instructed ambassador at the U.N., and my instructions were to not vote for increased forces there, and I didn't like my instructions. So I got up and called Washington and said, "Change my instructions," and they didn't.
It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.
I wish I'd known that apologizing is a sign of strength. I had the impression that if you apologize, it's a sign of weakness. I kind of picked up the message from my father, 'Real men don't apologize. You just do your best, and if you happen to hurt some people, that's their fault. You just go on. Don't apologize. That's a sign of weakness.'
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
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.
It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.
When you sign up to a film, you sign up to everything that's in the script. I really believe in that.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
When you go into a film, you read it, and something clicks for you, and you like it, and you sign on for it; you go for it. You know that this is going to be a good film, and that is your best hope. Past that, it's a crap shoot - you roll the dice.
Once I started working as an assistant director, I just realized very quickly that working on a film set was just a perfect fit for me.
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