A Quote by Anushka Shetty
I never see how meaty my role is. If I like the script in its entirety, the director, or if my co-star is someone I greatly admire, I sign up. You learn so much being part of a great team.
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I judge my film choices based on the director, and then I see how much the story has affected me when I read it or when I hear it in the narration. Then comes how important my role is in it, but primarily director, script, and then role.
When I can see things through the lens of the director, it's like being able to see the whole puzzle - it's not just about my role, but the whole script.
I don't see how it's a risky thing to take a great part with a great director and a great script. That, to me, is not really a dangerous, risky proposition. It's actually a really good choice.
Composition is what's similar between being photographer and director. As a photographer, you're sort of doing everything - you're directing the lights and you're framing and you're moving around. The hardest thing to learn as a director is how cameras have to move. You have to have patience, you have to learn how to look through the lens and then you have to learn to combine all of the compartments into one great image.
As an author, I don't really think too much about being a celebrity. It's not like being a movie star or a TV star. It's not as if people recognize me when I walk down the street. That hardly ever happens, and it's just as well. But it is great when people know my books, when I walk through an airport and see them in the bookstore, or when I see someone reading a book on a plane or on a train, and it's something I've written. That's a wonderful feeling.
I don't apply [being a role model] to the choices I make. I feel like a role model is not necessarily someone you want to imitate, just someone you admire.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
Whenever I read a script or sign a film, I don't see whether he is a bad guy or a good guy. I see how much the character is contributing to the story? How much is the importance of the character in taking the story forward? And what new I would be able to learn and what new I would be able to try in that?
Many times people will say, you know, you're such a great role model. Well, that's great, but at the end of the day, you have to learn to be your own best role model and learn what makes you happy, not necessarily what society thinks you're supposed to be or women that you look up to, what they're doing. I look at that as being a symbol in a blueprint, but never forget that who you are is what's most important.
It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
The best part about being a Blazer is the fans. The fans here are so loyal it feels like a college team with how close the fans and players are. They have such a great passion for the team that it makes it fun to be a part of and makes you want to work harder to make the team successful.
Growing up, I didn't have older sisters or many strong female role models to look up to. Being an adult now and looking back, I realize how much I wanted someone like that.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.
I know the pressures of being the daughter of a great actress. But it's inspiring. You learn so much that other people don't get to learn until later on. My father being a director, I learnt a real work ethic.
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