A Quote by Kunal Khemu
I learnt a lot as a child actor. Since I had been before the camera, I knew how it would be to be on a set or on a shoot. That way it was easy for me when I re-entered the industry as the main lead.
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It's been an extraordinary journey. I have learned so much along the way. I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.
I learnt a lot about how to negotiate the camera: everyone had told me an actor doesn't really need to do anything on screen, but I realised that wasn't true. If you do nothing, it's boring.
It was an accident, although I've been involved in some kind of theatrical function or other since I was a child - in school, music, athletics. To me, acting is the most logical way for people's neuroses to manifest themselves, in this great need we all have to express ourselves. To my way of thinking, an actor's course is set even before he's out of the cradle.
I didn't have a huge amount of on-camera experience before 'Fleabag.' It has definitely changed me as an actor. I remember the actor I was before; I felt stifled by the industry and the boxes people tried to put me in.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
I entered the modeling industry as a business person already. I always knew I belonged on the other side of the camera.
Doing 'All Good Things' really felt like I was acting for myself rather than anyone else. It gave me a freedom I'd never had before, or knew I had, to do whatever I want to, and to argue my opinions and not just feel like the cute girl on set or the girl in a boy's club. I figured out how I could be both. And it's been different ever since.
A lot of people have doubted me because of my size. They think someone like me doesn't deserve to be in the main event, but I think if they knew me, and knew what I've been through in my career, they would respect me.
I don't want to take shots at professional actors, because obviously the great ones are great. But I do think that given the kind of stories I've been telling in my films, it's hard for me to imagine how professional actors would have done better. And it's easy for me to imagine how they would have done worse. Because I think a lot of what an actor is trained to do and a lot of what an actor's instincts point toward is clarification, is always making it clear what's happening in the story, how the character fits into the scene, what the character wants.
What helped me a lot was that I chose an American lead protagonist, because that liberated a lot from my own knowledge. If I had approached it from the perspective of an Indian main character, I think I would have assumed a lot of knowledge and I would have resented the presence of the author.
I entered this glam world by luck. I wanted to join dancing classes since I was a child, but my parents never gave me the permission to do so, as no one in our family had ever chosen this path. Fortunately, I got my first break in a reality show easily due to my dance skills, so that way I have been lucky.
I always wanted to be an actor. I was one of those lucky kids - or cursed kids - who always knew what he wanted to do. My wife too. She's a ballet dancer, and she's known what she wanted to do since she was 5. My mother used to tell this story about how our TV set had been taken to be repaired, and back then, they took the set out of the console. So there was this empty console with an empty TV screen in it, and I would climb inside and be like, "I'm on TV!"
I'm so excited about 'Shattered;' it's something I've really enjoyed working in, and it's very different from anything I've done before. I've always been a character actor and done a lot of support work. I've never really been the lead actor, so I'll try and use what I've learned along the way from the other projects.
Another argument of hope may be drawn from this-that some of the inventions already known are such as before they were discovered it could hardly have entered any man's head to think of; they would have been simply set aside as impossible. For in conjecturing what may be men set before them the example of what has been, and divine of the new with an imagination preoccupied and colored by the old; which way of forming opinions is very fallacious, for streams that are drawn from the springheads of nature do not always run in the old channels.
Ram Gopal Varma had signed me for 'Satya' and two days before the shoot, I was dropped out of the film. He didn't even have the decency to call me or my manager and inform me about the reality. I learnt from the press that he had begun shooting without me.
Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. 'Ah, you worked with Werner - how was it? How did he direct you?' I was Fassbinder's actor.
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