A Quote by Katie Cassidy
The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research.
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Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.
I remember my dad working with me on breaking down my script and writing out a back story for my character and all that stuff.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
Many people have their reputations as reporters and analysts because they are on television, batting around conventional wisdom. A lot of these people have never reported a story.
When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.
I was waiting for a right script and then I got a script which I could write and tell the story the way I want to. And that film is 'Antim.'
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.
I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
In 'Burrraah,' I play a teacher whose aim is to reform a bunch of rowdy boys. My character is very interesting and I chose this film for a Punjabi debut because of its story, script, screenplay and director, Sagar Sharma. I love the way he narrates a story.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
Shiddat' is a beautiful story of love and the strong bonds between people. It is pure and intense and also very relatable. I am usually not a love story kind of person, but when I heard the script, it moved me a lot.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.
I think it's very valuable as an actor to throw yourself back into having that direct connection with an audience on-stage and work that muscle. It is a very different type of work and equally fascinating. I mean, I've very much in love with filmmaking because I really love the way you can tell stories with a camera and how music and everything contributes to the story in a very direct way. But I also think it's very valuable to come back to theatre, so if the right script came along I would love to come back to London and do some more.
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