A Quote by Divya Dutta
I primarily look at how a role is laid out by the director. I take into consideration my co-stars, before signing a role.
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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.
If I feel the role is not going to demand anything out of me, I don't do it. Either it has to be a terrific role, or the director has to be someone I am dying to work with. Or the costar has to be someone I really look up to.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Honestly, I look at the project and I look at the people attached and I look at the director. If it's a role that I feel will help me, as an actor, then I'll definitely take it.
How can you, as a small business owner, figure out what you are and, from there, begin to take action? Simple - you have to understand what part of the job you are doing and, if it isn't fulfilling the role of the entrepreneur in your business, you must make the decision to take on that role.
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'm always playing a role, whether it's the role of the mayor, the role of a news anchor, or a role of a crazy talk-show host. But there was a specific function. 'On Dancing With The Stars', I had nothing to do but be me, schlepping around the floor. And when I host 'America's Got Talent', that's really me just talking to regular folks.
Earlier, I used to take up any role that came my way. But now I feel that I should take time and consider the role before taking it up.
I take every role seriously. Personally, I never look at any role as Michael White. I've done that my entire life.
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."
I look at my role and how important it is for the film. For instance, my role in 'Sarrainodu' was very much appreciated.
I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.
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.
First there's my role just as an executive being responsible for advertising, regardless of gender. I think that's a position that I take seriously. That's the first role. But I think for my role as a woman at Google, you try to set a good example and be a role model for the other women in the organization.
Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.
Some people cannot understand why I insist on knowing about my role in a film before signing it.
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