A Quote by Barun Sobti
For me, it is important to pick up characters which I can relate to. Or I recall an incident in my life or tap into my innermost emotions and try to bring that reality on to the screen.
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I make music for people to relate to and to connect with me. I want to tap into different emotions.
We're nothing if we're not loved. When you meet somebody who is more important to you than yourself, that has to be the most important thing in life, really. And I think we are all striving for it in different ways. I also believe very, very strongly that everybody is the hero/heroine of his/her own life. I try to make my characters kind of ordinary, somebody that anybody could be. Because we've all had loves, perhaps love and loss, people can relate to my characters
I wasn't able to relate to anyone on TV growing up, so I wanted to bring my own experiences to the screen.
It's really important to me that the actors bring a lot of elements of the characters to the process so they own it, so it's personal to them, so it's not just me saying, "You stand here, you say this, you do this, you feel this." No, you bring it up from in here and then let's work with that.
I try to pick characters that I find interesting and complex and that I feel I can bring something of myself to.
What I like about fairy tales is that they highlight the emotions within a story. The situations aren't real, with falling stars and pirates. But what you do relate to is the emotions that the characters feel.
It's funny because being comedic and happy and lighthearted is who I am as a person, so they're easier emotions for me to connect with. The challenge is accessing pain, angst, depression. . . It's more exciting because it gives me somewhere to go and allows me to tap into a part of myself that everyone can relate to.
I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.
If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.
I try to ground most of my characters in reality somehow. That's kind of what I bring to the table.
When you're watching from the bench, you can pick up on everything - where guys like to shoot the ball from, how teams defend the pick-and-roll, which big men are good at hedging the screen and so on.
I don't really compare any of the characters I play; I try to go into them being very open to what the characters can offer and what I can bring to them and then bring a being to life.
I must not fall asleep in the middle of my life. Out of the blankness that surrounds me I must pluck the incident after incident after incident whose little explosions keep me going.
The inexpressible depth of music, so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain… Music expresses only the quintessence of life and its events, never these themselves.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
I believe this: If an actor wants a role or wants to work with somebody, then you do everything within reason to try to get that role. If they want you to audition, you audition. If they want you to screen-test, you screen-test. If they want you to come and tap-dance in their hallway, you tap-dance in their hallway.
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