In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
In 'Badlapur,' my character's name is Jhumli. It's a special film for me because I got a chance to work with my favourite director, Sriram Raghavan. I'm a huge fan of him.
Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.
I think Mel Gibson could make 'Passion of the Christ' because he really believed in it and gave it his all.
I am impatient with directors who don't know what they want, and the way you don't know what they want is because they want to do one more. "Let's do one more." So, "What for?" I guarantee you there's not going to be a change.
A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.
Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.
My films, no one else will do.
I'm not so in a rush to direct just anything because I'm lucky that I can make a living so far as an actor and not have to worry about that as a director. And so I can be a little more choosy in things I direct.
When you sit down to write a film, you direct it in your head. If you are writing a scene, you are watching the scene. And maybe it's different when you are writing a novel because you are thinking of it in terms of being read. But films are only consumed one way - through the eyes and the ears.
Maybe at 55, I would like to direct. I will go the Angelina Jolie way.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.
There are so many elements that make a good film. You need a great director who's driving it.
I'd say that the director I had most involvement with was Alex Rockwell in 'In the Soup'. It was one of my earliest leading roles, and he gave me a lot of responsibility as an actor.
Ultimately, I want to direct a movie, so that's another thing, too, where I wonder what that will look like and how will I be able to manage.
I've seen what a difference a good director can make to an actor's performance.
With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.
'She's Gotta Have It' and 'School Daze,' I really didn't know what I was doing. And the biggest indicator of that was the acting. 'Do the Right Thing' was like the first film where I really felt comfortable working with actors.
A bonus: You don't have to diet to direct.
I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
