Fawad Khan Quotes

I love drama. Drama is, like, my thing. I want a movie that will move something inside me, that's going to shift something and keep me thinking.

I knew, the second I read 'Humans,' that no matter how successful the show was, the script was superb and like nothing else I'd ever seen.

I see a lot of scripts, and very few of them leap off the page at you.

Writing a screenplay's not rocket science, but I was in a bar, and the bartender came up to me and said, 'I saw 'Night at the Museum,' and the thing about him and his kid brought me and my kid together.' Something like that... it's like, 'Oh, right. That's why we're doing it.'

I have always wanted to work with Steven R. Monroe, and when I read his script, I was blown away! I think 'Complacent' hits a nerve that people try so desperately to avoid, which is what I love about Steven's work.

In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.

I want to make a movie that can grab people by the heartstrings.

'King of California' was just, I thought, a really great, fresh, original kind of script. I loved the tone, the mix of tragedy, comedy, and drama, and that it was a good part.

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.

I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.

If you get a script and it's really well written, that's always exciting.

You can't mess around with young readers - you have to cut straight to the heart of the story. The character can be complex, the plot can have some surprises, but the emotions have to be clear.

My favorite films are the ones that I walk away from and I know I saw a story.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'

Serial novels have an unexpected effect; they hook the writer as well as the reader.

Give me a good script, and I'll be a hundred times better as a director.

The only thing approaching art in a movie is the script.

When I went to the 'Rush' audition, I was blown away by the script. I thought it was fantastic.

That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.

Hallmark makes beautiful films that feel as if they should be watched in a theater. The Hall family knows the power of stories, and they give us unforgettable movies with heart and depth and the resonance of classics.

All you can do is focus on telling the best story you can with compelling characters. If you do it right, it will endure. If you do it wrong, it won't.

I believe in anything that will engage the audience and make the story more effective.

I just want people to get lost in the story and at the end kind of sag and say, 'That was fun.' It's hardly my desire for them to sit and think, 'What a great literary image.'

A good story should make you laugh, and a moment later break your heart.