Theatre Directors

"My people. Children of our fathers. Sickness is like rain. Does the rain fall on one roof alone? No. Does it fall on one body and not on another? No. Whoever the rain sees, on him it rains. Does it not? It is the same with sickness."

"It is sickness that man can cure, not death"

"By trying often, the monkey learns to jump from tree to tree without falling."

"The horns cannot be too heavy for the head of the cow that must bear them."

"The hyena flirts with the hen, the hen is happy, not knowing that her death has come."

"The director in the theatre: one who disturbs the rehearsals. (Pino Caruso)"

"In a theatrical performance, the focal point – and the goal at all times – is to deprive the actor of dependence on his director, because the director is useless once the curtain rises. (Sydney Pollack)"

"Shakespeare used the soliloquy to give oral expression to thoughts. Since then the soliloquy had become obsolete. But it was a wonderful device: so I wanted to use a close-up of Sylvia Sidney, alone, in prison, and superimpose over it all her impressions and recollections. Again, everybody insisted it was impossible and that the audience would never understand what was going on. I argued that in the silent cinema they had used – and the audience had accepted – stylisation: simile, visual poetry. So why not in sound? That’s what I wanted to do with sound and, later, with colour. Now, of course, this use of audible thoughts over a silent close-up has become a convention."

"[In 1927] Porgy made me overnight. In it I tried all my ideas of a dramatic integration of many elements ... At this time I felt it should be possible, in a stage production, to take a snapshot of the stage picture at any moment, and record an artistic composition. So each movement and grouping was minutely rehearsed. The actors were often required to adopt poses which were neither comfortable nor natural, but which looked right on the stage. That's stage truth."

"To accompany the transformations I wanted a completely unrealistic sound. First I tried rhythmic beats, like a heartbeat. We tried every sort of drum, but they all sounded like drums. Then I recorded my own heart beating, and it was perfect, marvellous. Then we recorded a gong, took off the actual impact noise, and reversed the reverberations. Finally we painted on the sound track; and I think that was the first time anyone had used synthetic sound like that, working from light to sound."

"Garbo asked me: "What do I play in this scene?" Remember she is standing there for 150 feet of film – 90 feet of them in close-up. I said: "Have you heard of tabula rasa? I want your face to be a blank sheet of paper. I want the writing to be done by every member of the audience. I'd like it if you could avoid even blinking your eyes, so that you're nothing but a beautiful mask." So in fact there is nothing on her face: but everyone who has seen the film will tell you what she is thinking and feeling. And always it's something different. Each one writes his own ending to the film; and it's interesting that this is the scene everyone remembers most clearly."

"As soon as you use an element on the screen it becomes subject to dramatic laws. This is as true of colour as of everything else. So I wanted to shoot everything from the start. I took four or five weeks to prepare my plans. My idea was to build up the colour dramatically. I wanted to start with black, white, grey; then ooze into colour. And I wanted the dramatic climax of the film to coincide with the colour climax, which would be predominantly red, because that is the nature of red."

"Colour cinematography tends to brighten and cheapen natural colour. The problem was to counteract that. I realised that colour in films is nearer to painting than to the stage. Now if you look, for instance, at a crimson cloak painted by El Greco, you’ll find that what first appears as a mass of colour is in fact a subtle blending of all sorts of shades, with patches of pink and blue and purple and green. So I treated the colour the way a painter would."

"There was a blue lamp on the table. Mr Mamoulian placed an orange against it for contrast. He shoved a green chair in front of a red curtain. He made caustic remarks about the visitor's tie, pointed out that it wouldn't look well against a yellow drape. He spoke of mosaics and color progression; of red for excitement, dark blue for dignity and rosemary for remembrance. "If blood was green it wouldn't be exciting," he said."

"[Mamoulian] "[T]he majority of the films in the future will be done in color. Perhaps not immediately. Perhaps it will take three years or five years. But there must be progress and development in the cinema. Color will enrich it. It is part of that progress."

"I lifted the sound-proofed camera off its feet and set it in motion on pneumatic tires. Scenes moved out of one room and into others without halt. I tried to introduce what I call counterpoint of [a]ction and dialogue. The camera flew, jerked, floated and rolled, discarding its stubborn tripod-legs for a set odfwired wheels that raced over the studio floors. "The camera here becomes descriuptive in a new sort of way. Where a break in the ordinary film to allow for a close-up has been the modus-operandi, I now guide my lens along a strraight and continuous line, without breaks in continuity, without needless exolanatory speeches and also sans the printed subtitle."

"In this unhappy, fragmented world of ours, overflowing with mutual suspicions, hostilities, violence, and destruction, we need a constructive force. Politics, economics, religions seem to fail. I think our best hope is in the arts. Today, the most powerful and universal and powerful medium of art and communication is in the film. In the last few years I've done a great deal of traveling to many countries, and I've been amazed at the impact of films on both the individuals and the societies of different nations. The influence is enormous. So we must all strive to elevate the quality of motion pictures. We must affirm and insist that the ultimate goal of a film, no matter what subject matter it deals with, is to add to the beauty and goodness of life, to the dignity of human beings and to our faith in a better future."

"Relevance itself is wealth, it's a quality and a value. Time buys you relevance, time buys you greatness, time buys you money. So you must stay in the vision and with time, you would reap the benefits."

"Even though your family and friends discourage you, and you know where you're going, keep your focus and surround yourself with positive minds."

"You're bound to meet a lot of stumbling blocks, and you’re bound to fail at certain things, but the number of times you fail is not the issue, it is the number of times you pick yourself up, dust yourself and continue your journey."

"So in directing over the past 10 years, I understand how to make a connection with people. This is because what’s often lacking in a lot of productions is the ability to connect. So, once the emotions are not there and people can’t feel what you are saying, you have lost the audience."

"I'm a woman of faith, but what I found in Nigeria is that a lot of people have increasingly been driven into this crazy love for worshipping men instead of God."

"And a lot of men are turning this spiritual institution into commerce and they are using it for personal gains."

"“Finding my passion has really helped me, I go to work not thinking I am working”."

"I am a student of literature and history. I believe that art is a powerful tool for us in our society to use, to depict all the things that are going on, and a possible escape for some of us who are traumatized by the things we see in Nigeria."

"“Money is not an end, Value is the end. Focus on adding value to the society and money will follow”."

"“I followed my passion”."

"The resources we have as a Nation is not what is critical, what is critical is the development of the human mind. The creative mind is the most important resource tool in any nation."

"There is no laziness in any business, that wants to succeed."

"I set out to assist two amazing filmmakers Sai Paranjpye and Kalpana Lajmi, both torchbearers of qualitative cinema. Through them I had a solid foundation to understand cinema and its intricacies. With Sai Paranjpye I learnt to use everyday humour, and with Kalpana Lajmi I learnt how to envisage a grand mise-en-scène. (After completing a course in film appreciation at FTII Pune)"

"I guess I was born with a grin, I have this attitude or aptitude to look on the bright side. Pollyanna always looked on the bright side too. Somewhere, this must have had an unknown effect on me. We Indians tend to take life too seriously. We constantly pontificate and get philosophical about every little thing. Having fun is frowned upon, it’s almost sinful. I have done serious things, but I will not let go of that thread that keeps me bubbling along and happy and merry."

"I used my imagination to make up for what I lacked in physical swiftness"

"Women actually have a fantastic sense of humour, better than men. Men tend to have crass and predictable humour. Women see human foibles and minute details, and they can laugh at eccentricities and peculiarities. They are also more understanding. Go ahead and quote me and let me make some enemies."

"Many filmmakers. In Malayalam, I love the films of Bharathan, Padmarajan and Sathyan Anthikkad, among others. Then, there are films of Balu Mahendra, and of many directors in Tamil. In Bollywood, Mukul Anand is an all-time favourite. I keep watching his films. I love films of Manmohan Desai, Hrishikesh Mukherjee and of course, Sai Paranjpe. Once on Twitter, there was a question – ‘which filmmaker’s universe would you like to live in?’ – for me, it would be Sai Paranjpe’s. (as an answer to who are some of his favourite directors)"

"I was shocked by the response to my adaptation of Neil Simon’s Last of the Red Hot Lovers, about a 50yish man who resolves to have flings with women. The audience roared with laughter but after the show, several people whose opinion I counted on, said, ‘This was not expected of you Sai. How can you bring up the topic of adulterous affairs?’"

"I always like to maintain that I am a writer first and then a director. But unfortunately, I am not known as much as a writer. I am a first-class writer and a second-class director."

"I am sure I speak for all my sisters when I say that we prefer to be known as directors, not just as women directors. To the eternal question that I am plagued with — what is the main disadvantage of being a woman director — my answer is: being endlessly harangued with this very question"

"Wit, warmth and wisdom define Sai as a person and her writing is unfailingly pithy, perceptive and pulls no punches. (as a comment about Sai Paranjpye and her English Autobiography - A Patchwork Quilt: A Collage of My Creative Life)"

"I was very fat then, and Alkazi would scold me about my chubbiness. ‘An actor must look trim,’ he would tell me. ‘You will never get good roles if you don’t watch your weight!’ I was least interested in good roles. Writing and directing were my passions. But I did not tell him that. I kept nodding my head and agreed with him. I did not lose any weight, though. (sarcastic remark about her time training at the National School of Drama in Delhi, in the years 1962/63)"

"When you write a project your imagination just flows! You usually have some idea about budget and schedule but still try to write freely and honestly. Then when you get the budget and you do have to compromise, but this is part of the process."

"Right now, there are more people on Facebook than there were on the planet 200 years ago. Humanity’s greatest desire is to belong and connect, and now, we see each other. We hear each other. We share what we love. And this connection is changing the way the world works."

"After a treacherous journey we finally arrived in Sudan, on top of the Nuba Mountains, and with it came a shocking 130° degree [fahrenheit, 54° celsius] heat — and right from the start, we could tell, this was not the adventure we had expected. There wasn't much to do."

"I did something particularly heinous that allowed me to wake up. I had to lose something. Sometimes you have to lose something that is worth more to you than your drinking."

"[quoting Charles Bronson] "Tom, what I'm trying to say is, right? What I'm trying to say is, son... Is sometimes, yeah, you've gotta cut a little piece of yourself off, yeah? No matter how much it hurts, in order to grow, yeah? In order to move on. D'you know what I mean? What are you having for your tea?""

"I like television because I like the pace of it, having to make quick decisions, I get off on that, I really love it. The fast pace lends itself to wonderful things lying dormant, ready to be tapped. Film is pretty slow, the theater is still interesting and exciting, and the success has much more to do with the ensemble you’re working with, I think."

"We need to be reminded that life is not to do with stinking politicians. And it's not to do with aggressive countries somewhere else or building walls. Has nothing to do with that. It has to do with people loving each other and finding a way, as family."

"If you work enough in the theater, your skills are going to expand enormously. Say you do a play every four months or something, you’ve got to completely submerge yourself in the history of the play. I learned more about history, and I still do, just by doing plays, and that’s always kept me interested."

"There is a huge crossover within these science-fiction fantasy areas. So I feel very comfortable in that area, very fortunate in a sense to have that stable base out there of people that I know enjoy it and find it fascinating."

"The people demand of you that you be equal to these great historical times, that you sacrifice all other considerations, that you offer your utmost abilities, that you act at this time as men who are independent, who have no personal ties and obligations, men of supreme moral and national consciousness."

"The program of our nation is given by its history and by its racial individuality, by its modern political life and by its rights and by all that which gave rise to these rights and solemnly guaranteed them."