A Quote by Catherine Tresa
In the film 'Paisa' my character can't be called glamorous. It's more performance oriented.
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I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.
In TV, it is important to get everything on film as fast as possible. You rehearse every day of the week, and each day, the performance may be changed. The process is more result-oriented than in the movies. It's more about working quickly.
I think I'm a story-based artiste. So I would opt for the performance-oriented role. I usually go by intuition while choosing a script. Also, I do not analyse my performance, nor do I bother about how my film has been performing at the box office. I personally love challenges and am game for taking up things which I haven't attempted before.
No one watches 'Taxi Driver' and says, 'Oh, it's a male-oriented film.' No one looks at nine-tenths of the films out there that are headlined by men and say, 'It's a male-oriented film.'
I'm hoping to do more performance-oriented roles.
I always give weightage to performance more than the length of my character. That has always been my criteria for signing a film.
In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.
My priority will always be my performance more than anything associated with a film. I always look forward to give my best to the character I play on screen.
It's wrong to say that there is no performance in a glamorous role. Even a glam role takes in a lot of effort. There is a fine line between being glamorous and being vulgar; you have to feel comfortable in what you wear.
I find if my character is more glamorous, I become more conscious of what I look like.
There are no hero-heroine films any more. They are more character-oriented.
Any actor can be glamorous, but not everybody can be a performer. That's why I'm focusing more on the performance side. I feel that's what even people want from me.
Marriage was created not to be a background but to need one. Mine is going to be outstanding. It can't, shan't be the setting - it's going to be the performance, the lively, lovely, glamorous performance, and the world shall be the scenery.
I think opera has gained a kind of glamorous appeal. It's a live performance that aligns all of the arts, and when it is represented in the media, in film in particular, it is presented as something that is really a special event, whether it's a great date or something that's just hugely romantic.
The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.
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