A Quote by Atul Kulkarni

I believe in listening to a script as an audience more than an actor. — © Atul Kulkarni
I believe in listening to a script as an audience more than an actor.
I'm getting more selective, the more I do. As an actor, you want to do a variety of things, but first and foremost, it's the script, the quality of the script and the part. If the script is great and it's a part that I believe and I believe the world, that's rarer than you think.
The audience basically likes complex characters, and bringing out the complexities is the actor's job. The audience doesn't have the script, the actor does.
Even writing a script which will be funny is not easy. To make the script come to life and make the audience laugh, I will call myself more of an actor if I am able to do that.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
I suppose I can do more for a script as an actor than as a writer - in the film sense.
I still feel I belong to the theatre. There is nothing more challenging and exciting for an actor than performing before a live audience. The stage is the real testing ground for an actor.
A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.
Most people believe that their listening skills are where they need to be, even though they aren't. A study at Wright State University surveyed more than 8,000 people from different verticals, and almost all rated themselves as listening as well as or better than their co-workers. We know intuitively that many of them are wrong.
In the theater one must sit in such a way that one sees the audience as a dark mass. Then it cannot bother one more than it does an actor. Nothing is more disturbing than being able to distinguish individuals in the crowd.
As an actor, you should always keep your trump card hidden from your audience. I want the audience to keep expecting more and more from me. I want to do 'different' work - good and memorable roles - so that audience appreciate me more. That's why I love to surprise my audience with something they never expect me to do.
The secret lies in the actor's personal satisfaction. How can the audience be moved by a character the actor himself does not believe in?
I believe that classical music comes through listening and practice, and it can be fun both for the singer or performer and the listener or audience, as long as the performer is taught to recognise the pulse of the audience.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
When an actor comes to you and starts working with the script, the image of his character that you had in your mind gets substituted with an image of that particular actor. And this is the right way to go. An actor has to be absolutely truthful - this is the only thing required of him, apart from talent of course. It's very easy to understand: you need to absolutely believe in what you see.
In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.
The more the audience and the society trusts an actor, the more the responsibility increases for the actor.
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