A Quote by Jisshu Sengupta
After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.
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What I think after reading the script and seeing where the story goes, I go with my instincts on the character. If my instincts are wrong the director and the producers will guide me in the right direction. That's just kind of how I take on any role, be it a fantasy movie or not.
I'm very superstitious about going on other people's sets. You have to ask permission of the director; you shouldn't just turn up and skulk about in the background. It's very rude. You have to ask them personally. It's like a vampire being invited into a house.
A director makes 100 decisions an hour. Students ask me how you know how to make the right decision, and I say to them, 'If you don't know how to make the right decision, you're not a director.'
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television.
And most importantly, ask more from yourself! This is the real key. Ask what you can do to help. Ask what you have to offer. Ask what you can contribute. Ask how you can serve. Ask yourself how you can do more. Ask your spouse how you could be more helpful, loving or kind.
When a director narrates a character, I find it normal to ask questions about the character's background, mood swings, eccentricities, behaviour... I do this to make my performance relatable. Directors who don't know their characters well find it difficult to answer these questions and, hence, find me annoying.
There may be lots of questions that anybody - an actor or a director or anybody - can ask about a character in a play of mine that are not answered in the play, but if it's a question that I don't think is relevant, I don't bother about it. There's no reason to ask it.
Let’s not ask Barbara Walters about how Muslim women feel. Let’s not ask Tom Brokaw how Muslim women feel. Let’s not ask CNN, ABC, FOX, The London Times, or the Australia Times. Let’s not ask non-Muslims how Muslim women feel, how they live, what are their principles, and what are their challenges. If you want to be fair, ask a Muslim woman. Ask my wife. Ask my mother. Ask a Muslim woman who knows her religion, who has a relationship with her Creator, who is stable in her society, understands her responsibilities. Ask her.
When you play a character that is so emotionally closed there are times when you ask yourself if you are doing enough and if it's reading. That is where you have a director, who is the barometer of what you are doing.
But things such as 'Harry Potter', all I can do is shape my character, seek the director's approval on that, and basically take it from there. Professor Flitwick in 'Harry Potter', I kind of defined how I saw him from reading the book, and luckily that matched up with the director's vision.
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.
As an actor, I just go off the director. I never ask how big the part is. I don't look at it from the perspective of, 'Is this going to be good for my career?' I just look for directors, and I think part of that is I knew I always wanted to be a director.
I'm looking for challenges, and as always, what matters is the script, the character and the director.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.
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