Akshaye Khanna Quotes

I guess I gravitate towards stories that I like and directors that I want to work with, and I hope that it works out.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

I've worked with some really great directors, and I'm really choosy about them because they're telling the story at the end of the day.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

It's good to work with a writer-director.

That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.

I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.

Making a movie like 'Felony' is hard work because you're really putting your own ideas on the screen. You can't hide behind some other person's script; you're saying, 'This is my brain, and I want you to know what I think'.'

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

When you agree to work with a filmmaker, it's important that you accept their world. It's an adventure. I like that. I throw myself into the director's arms, into their universe.

You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

All the director wants is their idea of the movie to be believed in.

I'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

With directing, you always have three or four things constantly on the go. It's a tough industry and a tough time, particularly if you're doing things a little outside the box or independent features.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

Directing is really exciting. In the end, it's more fun to be the painter than the paint.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

First and foremost, I look for a great script. Then, the team that I am working with. Only then, we will be able to come up with a good film.

Part of what I love about producing is to get to work with writers.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

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.

I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.