A Quote by Catherine Tresa
I look at my role and how important it is for the film. For instance, my role in 'Sarrainodu' was very much appreciated.
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Typically, when you look for role models, you want someone who has your interests and came from the same background. Well, look how restricting that is. What people should do is take role models a la carte. If there's someone whose character you appreciated, you respect that trait.
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.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring.' It just happens it's a co-starring role.
I judge the importance of my character by seeing how much the movie will be affected if you take my role out. If it does affect the film, then my character is important and if it isn't then I wouldn't do the film.
It has happened with me that I get a role of a cop for a film. Few directors typecast you if you do that particular role well. But, it is the actor who has to decide whether he fits in that role or not.
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 cop in 'Dhruva' had to be much more agile, far more fit and alert than any role I had played so far. I built the body that the role required. If it's been appreciated, I am glad.
I primarily look at how a role is laid out by the director. I take into consideration my co-stars, before signing a role.
The choosing of a role is so difficult for me. That's the real challenge: to choose the role, not to do the role. Once you've chosen them, the process is much easier.
It was not easy to get even a small role in a film although my father was a very big name in the industry. Finally, I got a very small role as Simran's brother in 'Seema Simham,' starring Balakrishna.
I think that every enduring story that has expressions over multiple periods, that role of being the keeper of the integrity of the vision is a very important role.
And then there is the universal role of adult. When you play that role, you take yourself and life very seriously. Spontaneity, lightheartedness, and joy are not part of that role.
I take my role as an ambassador for the sport, and as a role model for boys, girls, mommies, daddies - whoever it is - very, very seriously. I know the impact my role models have had in my life, and I'm in a really beautiful position to be able to be that for others.
I have realised that it's important to dedicate time to a film and role, no matter how big or small it is.
I was a glamorous actress in Mumbai. I had done Sanjay Gupta's 'Musafir.' I wanted to know how Buddhada thought of me in the role of Supriya, Rahul Bose's unhappy wife in 'Kaalpurush.' It needs a visionary film-maker to see an actor in a role that seems very removed from her real personality or on-screen image.
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