A Quote by Atul Kulkarni
I chose those films which I would like as a spectator. Then, I also look at the character and decide whether I will enjoy playing it as an actor.
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The only thing that I know how to do as an actor, as a trained actor, is you can't villainize the character you're playing. Whether it's a fictional character or a real character. Because then you operate from that sort of negative point of view, and you can't humanize him.
None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.
As an actor playing a character, you look for all of those avenues to see if there's any sense of vulnerability or love that you can bring to a character, and decide how that's portrayed and how that's going to be a struggle with the other characters. It's your job to take that on and challenge yourself, and meet that head on and see what happens with it.
I didn't really look like a character actor, yet those were the roles I loved to play. If you were a character actor who didn't necessarily look like a character actor, you had to play bad guys.
The only thing that I have to be assured of is that the character must be negative for a sensible reason. She should not be behind everyone's life just for fun, which is the case in many serials. Moreover, it will also test my potential as an actor, so playing a negative character would be an interesting challenge for me.
If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
I think every person should be able to enjoy life. Try to decide what you most enjoy doing, and then look around to see if there is a job for which you could prepare yourself that would enable you to continue having this sort of joy.
TV and film both attract me equally. In both, you do search for a role that would be enjoyable to do, that has a great storyline and then, secondly, you look at the cast and the crew - are they respectable? How I look at it is my character - has the character got enough substance? It can't just be a one faced character, which is there to fill a gap. He has to have a purpose, so if it ticks all of those boxes then generally it's a good choice.
I like to watch films with my wife and friends. That's how films should be watched. Only then can you enjoy the movies. Then whether it is raunchy or not, hardly matters.
Because my faith is important to me and then they wrote it in that my character I would be playing would also be a Christian, many people would often assume now that I'm playing myself on television. And I'm not.
I don't just look at things as an actor. I've also written several films, so I look at it as a storyteller and I know if something worked and should have been in there for the benefit of the story and the benefit of the character.
So far, yes, I have been doing only commercial films because those are the kind of films that came my way. Those are the kind of films that I liked, but definitely I'm open to doing other kinds of cinema as well, and if something comes along - if I like a character - then I would definitely do something off-beat or edgy.
What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.
As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.
In ten years, or certainly before then, I'd like to not only be continuously busy as an actor playing tormented, playful characters in film and television but also have gotten a few of my own films made.
If someone's lying to us, then it's rare that we know that they're lying to us. It's only in bad films that you recognize immediately that an actor's playing in such a way that you can see that he's lying, and that's simply dumb. But to reach that, it requires that you make a film in such a way that a spectator feels compelled to find his own explanation. You want to lead the spectator to find his own interpretation. To ask questions rather than provide all of the answers. Doing that leads to open endings and open dramaturgy.
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