Radhika Pandit Quotes

I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.

I am open to working with new directors as long as the script excites me.

I spent almost 3 months with Bergman, four hours every afternoon. We sat and went through the whole script. To be honest, most of the time we talked about life and other different things. It was really a wonderful time.

I've certainly worked with really great directors who haven't acted.

All the filmmakers I've worked with have taken my desire to educate myself very seriously.

I worked with Steven Spielberg on Amistad... he seemed so very secure in himself that he let me do things.

Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.

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.

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

I would love to just keep working with really great directors who really inspire me.

In cinema, I would not really rate my costar and I would not pick a project because of the costar. I would pick a project because of the director. And the script.

Working with Subhash Ghai is always a different experience. Subhashji is my mentor. I'm always glad to work with him.

I am a director's actress in general - I depend a lot on them.

My biggest inspiration is to work with interesting filmmakers and learn from them in any way that I can.

Actors have their own processes, and if you want to be respectful of their process, you've got to communicate with them in the language of their process, and keeping that all straight is a little bit of a head-scratcher.

I never think of myself as a big star. Getting good scripts is all I think about. I don't have a godfather or anyone to take care of me. To move forward, I have to be very careful in choosing the right scripts, the right director, and the right technicians.

Many directors are approaching me with good scripts. I will concentrate on production and music.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

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.

I have the most respect for Rick. You're always going to see a Shameik Moore and Rick Famuyiwa film.

Acting's fine if the script's written by Paddy Chayefsky and Martin Scorsese directs it, but unless you have something like that, I don't really enjoy acting.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

I've been able to work with great directors in Israel.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

Tim Story is a fantastic director, and I'm so excited to get to work with him.