A Quote by Mohanlal
We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.
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An actor's performance can be improved or shaped - or ruined - by what takes you use, how long you are on the actor's face, what line you put on the other actor's face, and when do you use close-ups or wide shots or two shots.
The actor has to have some degree of craft, along with the talent. No one tries to laugh except bad actors. No one tries to cry except bad actors. How a character hides his feelings tells us who he is. Most people don't know that, and most actors don't do that. Therefore, there are a lot of actors who put me to sleep, that are considered good actors, but they're predictable and boring. I know how the scene is going to end before it ends.
The visual stuff just lives inside of you. As far as really being able to take care of an actor on a set, how to talk to an actor, and how to get what you need out of a scene is probably where I might know a thing or two. Although, in TV, the actors are pretty much left alone. It's really the writer's medium more than anything.
I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.
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.
I love Kimberly Peirce. Incredibly intense is a good way of describing her. Brutally honest. Really sharp. She's a director for actors. That's what she's best at, sitting down with an actor and just getting to the heart of what a scene is. And getting to the heart of not just what the scene is and the character is, but what you are, and how to build that bridge between the "me" and the character, and those emotions.
I am not getting many offers in Mollywood, which is not the case in other film industries. And of the roles that are offered to me, I choose only the best.
It's so not sexy and intimate. There are 40 people in the room. There's a guy with his belly hanging out, with a boom in your face. It's really very technical. I think doing a love scene is tougher than doing a fight scene. It's so staged and you can't put light on her face and you have to hit the mark.
I thought I was okay in my first film, and then I was really, really bad in some films. I really cringe when I see some of my scenes. There's a scene in one film where a dog is biting me; the expressions I have made should be qualified as the most over-acted scene in the history of the cinema. The dog's expressions were more real than mine.
I think it is quite remarkable actually that Pope Benedict has a sense of the variety of ways in which it is possible to be a Catholic. I think he is more comfortable with a plurality of expressions of Catholicism in different rites, traditions than many of us are.
It was only after I had been out of the art school that I actually copied a small Seurat, and I copied it in order to follow his thought, because if you do copy an artist, and you have a close feeling for him, in fact that you need to know more about his work, there is no better way than actually to copy, because you get very close indeed to how somebody thinks.
“I'm not going anywhere.” Gently, he stroked her back, cradled her head. Was there anything more astounding or more frightening to a man, he wondered, than a strong woman in tears? “I've been right here all along. I love you, Eve, almost more than I can stand.” “I need you. I can't help it. I don't want to.” “I know. He eased back, tucking a hand under her chin to lift her face to his. “We’re going to have to deal with it.” He kissed one wet cheek, then the other. “I really can’t do without you.“
It is a bit more challenging for the simple fact that now the stories I am writing are relying more on my imagination than on facts, more on research than on memory; so it is basically a slower writing process, more reading, more exploring. On the other hand, this approach is a little bit relieving too, since many times while writing [How the Soldieer Repairs the Gramophone] I felt too close and equal to my character.
Priyadarshan has directed over 84 films and more than 150 ad films. With every film, he is growing. He knows his job well; he is thorough. His way of making a film and song or choreographing a scene is entirely different from other directors. He knows how to use an actor's talent and how to handle an actor.
As an actor, I've been all over the map, but since I've moved to Hollywood, people tend to cast me in these more imposing characters, which is actually really fun for me. I've always been way more attracted to playing that than the hero.
No proceeding is better than that which you have concealed from the enemy until the time you have executed it. To know how to recognize an opportunity in war, and take it, benefits you more than anything else. Nature creates few men brave, industry and training makes many. Discipline in war counts more than fury.
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