A Quote by Salman Khan
I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.
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I would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.
If there's a good screenplay, there's a chance that something good is going to happen. If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere.
I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
I am happy film stars are singing in their films. I hope to work as a music director for a film where actors will sing all the songs.
In five days, you can turn the page on policies that put greed and irresponsibility on Wall Street before the hard work and sacrifice of folks on Main Street. In five days, you can choose policies that invest in our middle class, and create new jobs, and grow this economy, so that everyone has a chance to succeed, not just the CEO, but the secretary and janitor, not just the factory owner, but the men and women on the factory floor.
We should never present flesh as somehow morally distinguishable from dairy. To the extent it is morally wrong to eat flesh, it is as morally wrong - and possibly more morally wrong - to consume dairy
You shouldn't marry unless the both of you are on the same page on a lot of things. Life is going to deal you blows, and you have to be together. Your values and priorities have to be on the same page; otherwise, it won't work.
You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through. Studios no longer do this for a large percentage of films. The odds that your film will get a major campaign are dim these days. So you must find and nurture your own audience and make sure your film has a life.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.
A singer can quit once he or she has made ten great songs; a director can finish once he or she has made five amazing films; a writer just needs to write three great books.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
If we can get that realistic feminine morality working for us, if we can trust ourselves and so let women think and feel that an unwanted child or an oversize family is wrong -- not ethically wrong, not against the rules, but morally wrong, all wrong, wrong like a thalidomide birth, wrong like taking a wrong step that will break your neck -- if we can get feminine and human morality out from under the yoke of a dead ethic, then maybe we'll begin to get somewhere on the road that leads to survival.
If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.
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