A Quote by Deepti Naval
I am not a trained actor, and for me, getting under the skin of a character, living their lives, is important, or the audience will catch my lie.
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As an actor, it's important to feel for the character, as you will be watched by audience, and when you start feeling your character, you share a sense of happiness and achievement.
I am neither a method actor nor a trained one. So, I don't generally prepare for any role. Becoming the character and being in that moment are most important.
Since I am not a trained actor, and I act spontaneously, I thought getting some training in acting will definitely help me take my performance up a couple of notches.
I am trained in theatre, and so I take time to study and get into the skin of a character.
I certainly don't like to play a bad guy. There are no bad people. It's only shades of grey. Also, I am not a great actor who can transform completely into a totally different character for a movie. I am not a trained actor.
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.
I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.
Whether or not I am a 'character actor' or any other kind of actor, I really don't know. When people call me a 'character actor,' I fail to understand what it means.
To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.
That's what he was saying, the civil rights movement - judge me for my character, not how black my skin is, not how yellow my skin is, how short I am, how tall or fat or thin; It's by my character.
When an audience is affected in a way that I've seen with some people, it's so inspiring to me an actor. You know that you're on the right track and you're doing work that can affect people. When that goes hand-in-hand with important issues that we're still living with, and we will be for a long time, sadly, it's so confirming of everything.
I'm Irish and very proud of being Irish, but as an actor, your extraction should be secondary, really. You should be able to embody whatever character it is, wherever the character comes from. That's always been important, for me. I'm an actor who's Irish, not an Irish actor.
Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor
When I first heard the script of 'Brishti Brishti,' I was really excited. The film will require me to break away from the typical Ravi Kishan mould. Getting under the skin of my character will be a big challenge.
It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.
I'm very clear about my priorities - quality and credibility is important to me. A film and a character that lives beyond my years is important to me. People's love is important to me.
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