Jay Chandrasekhar Quotes
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Filmmaking, at the end of the day, is really - in addition to the story and all of the equipment and the actors, it's really about time management. And so the smartest filmmakers are the ones who sort of pre-visualize the film in their head and are literally shooting the shots they need to cut the story together.
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People always ask us, 'Hey, is there going to be a 'Beerfest 2'?' I don't know if I have another beer joke in me.
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Often, when you're in some of these writing rooms for... and the most restrictive is network television, right? They say, 'Wow, that's a great joke, but we can't do that. Okay, let's try the second joke. Oh, you can't do that one. But the third joke you can do,' and hopefully it will be great, but it will remind people of what the joke really was.
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We write and write and write until we think, 'If we have to shoot this script, we'll be happy, and it's going to be a great movie.' I meet with all the actors two weeks before, and I ask them, 'What lines don't work? What is uncomfortable for you? What jokes do you think aren't good? If you're not getting it, here's what the joke is.' You fix it.
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What I've found is that humans do laugh at the same things everywhere.
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The funny thing about any cop uniform is that people will do what you say when you're wearing a cop uniform.
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I have used the name Jambulingam while editing films such as 'Super Troopers' and 'Puddle Cruiser.' I like the look and sound of it.
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A lot of comedy films, there's the opinion, 'Well, if it's funny, put it in.' But I think you have to be more disciplined than that.
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We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
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Like hitting a baseball, comedy is very much about timing. To some degree, you either 'got it or you don't.'
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'48 Hrs.' is very tough and funny.
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Occasionally, we would shoot something and think, 'This is it; we are over the line.' But the test audiences didn't have a problem with it.
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Showbiz works well when you give the audience what they want.
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Every time you jump to another format in the 'picture business,' meaning film, television, commercials, the people in the other format go, 'Ah, yeah, you made a lot of features, but you don't know how to do TV' or the commercial people go, 'Oh, you can't do 30 seconds.'
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I don't like soft villains in comedy films.
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The reality about shooting films is that you can shoot many jokes and decide later which one works. So it's not worth fighting about jokes.
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The reality of show business - and I suppose a lot of businesses, but specifically show business - is that it is this business of 'no's.' It's mostly 'no's.'
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I have always felt a comedy's story is undercut if you have a villain who is not really menacing.
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To me, I grew up in the suburbs of Chicago, and my identity is of a suburban Chicago person. It's not like, 'Oh, I'm Indian.' I'm not. I'm American.
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One of my random skills is I have a very strong memory for dialogue and moments, and I don't know why.
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If you hang around people from L.A., they're, like, used to having their city being maligned.
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Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
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I think romantic comedies in general are marketed towards women, and I think men are half the romance, so why not have some that are truly from a male point of view.
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Look at the opening sequence of 'The Blues Brothers,' which starts at the prison. The way it was filmed, it does not look like a comedy. I thought that was great.