A Quote by Biju Menon
The best thing about doing a realistic film is that you have the freedom to deliver your lines as natural as possible without sticking to the script.
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I remembered getting the script for the auditions [of Aladdin], I had asked someone there if improvs were allowed, and he said everyone is sticking to the script. I said to myself that they are either going to love me or hate me. I was crossing out lines and throwing in my own lines. I went into the room and started doing things. They were like, "This boy is nuts! We should keep him." That's how it all came about.
Following the script is one thing, but the unique way in which you deliver your lines is what makes them your own.
I auditioned for 'Moonlight' without knowing anything. I went in the room, and I didn't know the lines as well as I should have. I didn't know a thing about the script. I wasn't told anything. I heard it was a low-budget film, and my agent told me to do it. I was super-ignorant to it.
Expect the best from your people and they will usually deliver but your expectations must be realistic.
Most of the guys like sticking to the script and doing just what's written. If they're exploring, they're exploring ways of doing the script.
When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.
The best thing for me is, when I'm not working, is to be at home and to have a script or two scripts is better, and to be just walking around the house and just thinking about the lines.
When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Sitting opposite Steven Spielberg, while he turns the pages of your script and talks about each scene as he goes, is about the best film school you can get.
It's one thing to know your lines, another to be able to deliver them. The taste of the pudding is in the delivery.
It's much harder to act in a bad film than in a good one. A terrible script makes for very difficult acting. You can win an Academy Award for some of the easiest acting in your career, made possible by a brilliant script.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
Freedom is about a way of thinking. Freedom is about understanding that you can do anything that you want and freedom is about being able to take information and education and make it relevant to your own growth every single day. Freedom is not staying in the box. Freedom is not doing what other people want you to do.
Great acting is about listening to what they are saying ....not waiting to deliver your lines.
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