A Quote by Fahadh Faasil
The characters I portray are an extension of what I've seen, heard, or read, and so what you see in my films are how I understand life.
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As an actor, you create a character from your understanding of what you have heard and your observations. Eventually, every film is an extension of the images that I have seen or what I have heard or read somewhere.
Our job if I can see straight and hear clearly and understand ~ is to make advertising and run advertising that is seen and read and heard ~ and remembered ~ for its reasonable and compelling truth.
In 'Black Coffee' I am not the celluloid avatar of 'Meghe Dhaka Tara' director any more. How can you portray similar characters in two films?
You see we adults have learned how to disguise our terrible characters but a child... well, it's like a grotesque drawing of us. They should be neither seen nor heard. And no one must make another one.
I'm mostly interested in characters and how they manifest themselves in their relationships. I'm delighted that people relate to the characters in 'Bojack,' and hopefully they will too to the characters in 'Undone.' If they understand themselves or feel seen in a new way, I think that's a wonderful thing.
I've heard 'Uncle Tom's Cabin' read, and I tell you Mrs. Stowe's pen hasn't begun to paint what slavery is as I have seen it at the far South. I've seen de real thing, and I don't want to see it on no stage or in no theater.
When you watch films, there are so many different types of characters you want to portray.
I watch people, friends of mine, and see how they portray themselves online and I find interesting that it's kind of a hyper-real version of yourself, how you'd like to be seen, in a way.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
I've chosen all my films very carefully. I know that I've had better parts in some films than in others. But the films I do are the ones I want to see when I read the screenplays. I guess you can basically say that I've just done things I loved when I read them.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
The fact that I'm able to portray these complex, fully realized, queer Asian characters? I never thought it would be in this position. You just never see those types of characters and that type of representation.
A lot of the scripts I read and the characters I get are 'the girl' in romantic films, and I don't know how comfortable I am, or the world is, with me being that.
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