Nana Patekar Quotes

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

I try to look at the whole thing and say 'yes' to the projects that I cannot stop thinking about. If I read a script and the subject stays with me - then that's when I want to go to work.

It's never a script that makes me decide to accept a film or not.

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 do finish reading a script and say, Why are they making it and what are they talking about? I like to try and be responsible in my choices in that way.

It's hard for me to judge my own films as an artist sometimes. But as an artist, I did feel a fulfillment working on them, you know?

For me it's a very organic process. I read the script/hear a narration and pretty much know instantly if it's something I want to be a part of or not. It's really as simple as that.

To be able to make decisions and see them come to fruition and feel the excitement around them, what it generates within the company, how the artists get motivated - that's the most rewarding part; feeling I can be a catalyst for an artistic experience for our artists and for the public.

I watched a couple of films I was in and thought, 'Those are pretty close to what we wanted them to be. I feel actually weirdly OK with it all. I can still see flaws in what I'm doing, but I think I delivered. I think I improved the film with my presence.'

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

Actors make choices for different reasons.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.

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

I admit, I do a lot of projects, but it's because I'm in a position now where I'm reading a lot more scripts and plays and things, and I'm really listening to offers and trying to think what I want to do at any given time.

I made some very forgettable films, but I liked them all when I was doing them.

People think that I have some idea about how I choose my films. I make sure that I am doing the kind of films that I want to watch. You hear so many stories, and one of them will stand out and connect to you somewhere.

Everyone wants to do only those films which they find interesting. That is the way the industry works.

Post 'Pink,' I don't have any film which I can pick out from my filmography and say 'It would have been better if I hadn't done this film.'

I make sure that whatever film I do, I enjoy my role.

I always tell clients you have to be able to remember why you chose to do a movie: to always be able to look at a movie and know, whether it's good or bad, why you chose to do it.

I look for scripts that give me a gut feeling that this is going to work.

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.

Finding one good script is a huge challenge. So I do a film whose script comes and grabs me. Once I finish that, I look forward to the next movie.

The landscape is one of the kinds that I think, at least this body of work is the least selfish of the stuff that I've done. It's all selfish. It is making images of things that I want to see, that turn me on, that make me happy, that satisfy me.