A Quote by Aishwarya Lekshmi
I don't know how much I have improved as an actor. I think that is a constant process that should happen subconsciously.
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I trained as a dancer when I was much younger, for a large amount of time, like 6 or 7 years. Not to be a ballet dancer, actually, but I thought it was a complement for an actor. I thought that actors should know how to move, should know how to juggle, should know how to do acrobatics.
I know that in Bollywood, there is this constant talk on which actor's film is minting how much money, but we are living in a time where the focus is shifting from 'actor's responsibility' to the result of a great team work. I believe filmmaking is about that.
I think my brain is full of collisions and that's how I like to read and process information. I'm always comparing things and I think I do that subconsciously when I'm reading books of poetry.
I really focus on process as much as anything else: process for how we evaluate players, process for how we make decisions, process even for how we hire people internally, process for how we go about integrating our scouting reports with guys watching tape in the office.
I think what should happen is companies should calculate how much money they're getting from people who are celebrating Christmas and provide exactly that much amount of Merry Christmas, because that is exactly how I would want any type of religious holiday to be celebrated.
And my father, being a good Swiss puritan, always really insisted that if I was going to be an actor, I shouldn't just be an actor, I should know about the whole process.
Let me give up the need to know why things happen as they do. I will never know and constant wondering is constant suffering.
I think caring too much about the economics starts affecting the creative aspect of the film. That is a dangerous process for a filmmaker. He should make his film without having to worry about how much it has cost or how much it will be sold for.
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
Writing is always a process of discovery—I never know the end, or even the events on the next page, until they happen. There’s a constant interplay between the imagining and shaping of the story.
I have an argument that to master any field, it's simple: it's a function of time. How much you devote yourself to the process, how much experience you get, how much you're willing to expand your limits, how willing you are to develop your own style. If you're willing to put 10,000 hours, something amazing is going to happen.
I should say, a piece of advice that was given to me very early on by the principle of RADA (Royal Academy of Dramatic Art) which is where I went. When he auditioned me, he said, "Your speech, monologue, is fine. It's good. Yeah, I think you have ability but you're making it happen. Don't make it happen, let it happen." And that's a sort of subtle shift I think, as an actor.
If I'm writing a story and you're reading it, or vice versa, you took time out of your day to pick up my book. I think the one thing that will kill that relationship is if you feel me condescending to you in the process. And how does that happen? Well, it happens when I know more than you do, and when I know that I know more than you do, and I'm holding it back from you. So that I can then manipulate you at the end. You know, you think about like in a dating situation how terrible that would be, it's the same thing with a book.
In my experience, writing a novel tends to create its own structure, its own demands, its own language, its own ending. So for much of the period in which I'm writing, I'm waiting to understand what's going to happen next, and how and where it's going to happen. In some cases, fairly early in the process, I do know how a book will end. But most of the time, not at all, and in this particular case, many questions are still unanswered, even though I've been working for months.
Conversation would be vastly improved by the constant use of four simple words: I do not know.
When I went on to the team on 'Korero Mai,' I realized how much I didn't know and how much I wanted to know in terms of sound, lighting and editing which is a process you don't go through in fast turnaround TV.
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