Kriti Kharbanda Quotes

I don't run after successful directors. I give importance to the content of the film.

I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.

Bob Harras' personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.

You can't trust an artist that just makes good records.

I like films to be complete in their written form.

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.

Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.

For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.

I'm very opinionated, and when you're put in a position where you're getting the storylines that are not necessarily what's cranking at the back of your mind, or digging at the potential of your character and you have to sit on your hands, that's frustrating.

When I sit down to write, I don't think, 'OK, what is the next David O. Russell film I can write, or what is Harvey Weinstein going to want to buy?' Or even, 'What are filmgoers going to want.' I try to think, tell a good story. Just do what you do.

I always feel that if you put me in a room with a director and a writer and let me talk about the script, I can give a good account of myself.

I'm not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.

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.

The filmmaker's got to make it his story and the actors have got to make it their story.

Yes, I'm happy with Alan Ball's production of my novels.

Hats off to Julian and Johnny, the producers, for sticking to their guns with the five-season story arc of 'Merlin'. It would have been too easy to give in to demand and stretch the show on beyond their original plan because of its incredible success.

It's good to please the network, but you really just have to tell the stories you want to tell, and if you try to please other people, it ends up starting to water stuff down. Those decisions we have to make are hard, but we usually just err on the side of 'What would we want to see?'

Since childhood, I'd dreamed of making a film, but producers in France and Germany wanted to make commercial films with chinoiserie. I refused.

I'm not going to take something based on budget and do something just for the sake of it. I want to make good films.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

Filmmaking is a language where you empathise with human situations. Unless you have empathy for characters, you shouldn't be a filmmaker.

The Duffer Brothers are so attentive to story and detail while being wildly respectful of me and what I bring to the process.

Great direction, great acting partner, great character backstory - these are all rare luxuries to have in the room.

I know my fans want me on the screen. But I think hero-worship should not be allowed to corrupt the plot and narrative of a film.