Karthi Quotes

Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

Sometimes I read a really good script, and I just know that it's not a good fit.

My parameter of judging a script has not changed over the years. I still go for a script where the story interests me. Yes, there are times where I might go wrong; say, out of five scripts, I might go wrong on one.

The approach I take in selecting a script is based on what I fancy from the the scripts I'm offered.

Some of the material out there - I don't want to say that it's all bad - but there's a lot of bad stuff out there. You just continue reading scripts, and eventually you find something you connect with.

It doesn't help anybody to put out a bad script.

When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.

I find that when you read a script, or rewrite something, or look at something that's been gone over, you can tell, like rings on a tree, by how bad it is, how long it's been in development.

Oftentimes you read scripts, and you get to one and you think, 'OK, is this good, or is this just better than all the other ones that I have been reading?'

Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'

I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.

Good scripts have always been, I think, hard to find. Good storytelling, good writing - it's just not easy. I have made it a point that - if I'm going to put the energy into doing this work - I will wait until I find something I'm really happy with.

You would not believe some of the scripts I have seen. I have read something like 160 that I've rejected, and I keep them all, for posterity.

For all the hundreds of scripts that are out there, there's not that many that are amazing.

I'm just after the best script I can get.

I have a lot of scripts that come my way, and some of them take a bit longer to read than others. There are a lot of things that I have to pass on because I'm just not into it, and sometimes the story is slightly forced.

I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.

My choice of script is governed by two factors - either I've to like the people associated with the project or the storyline should be interesting. I focus more on the vibe and the type of energy I get from them.

I just take every script as it comes along and take it from there.

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

If a script is good, you are 10 steps into the part just reading it. But my choices are not all down to my taste. It is about people you have worked with before.

I've received some English-speaking scripts, but I was not interested in them.

My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.