A Quote by Mrunal Thakur

It's only when I faced the camera that I realised how confident I was on screen! — © Mrunal Thakur
It's only when I faced the camera that I realised how confident I was on screen!
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.
I was a filmy kid. I was two when I faced the camera for the first time. My parents realised it pretty early, and I'm really thankful to them for their support and help.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
Some comedians you work with, they only turn on when the camera turn on, and they're like sad-faced clowns when the camera's off. And then, they come alive when the camera come on. And you be like, "Oh, damn. You're not a depressed ball of depression, but you are actually funny."
It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.
I constantly doubt myself. I only feel confident in front of the camera.
Just having the camera, being able to pull back from situations and be an observer, it saved my life... I realised I could find these intimate moments and that people trusted me. That, basically, my camera was magic.
The camera was kind to me. But I was never a screen personality like Gable or Flynn. The camera did something with their faces that was special.
I first faced the camera without even knowing there was a camera. I was in class 6 in Surat. It was a 'nritya-natika' covered by DD National and aired on DD Gujarati.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
Baby she look like a star, but only on camera, only on camera, only on camera.
I think it's hard to have a camera in your face every day. If you're not already confident about how you look, then you're going to want to do things to change it.
There's a screen direction in the script for the pilot where it says, 'Jim Harper, mid-20s, enters,' and it said something to the effect of: 'He's confident without being cocky. He has no idea that he could be considered attractive, because he saw All The President's Men when he was thirteen and never looked up.' It was just a great little gem of a screen direction, and I felt immediately from just that, that I had a good idea of how to play this guy.
Once I realised that my job as a model was to emote in front of the camera, I thought, 'Well now, I just have to add words, and I can do films.' But also, my success as a model made me more confident about becoming an actress because, just in case I failed, I thought, 'Well, you know, if I failed as an actress, I can do another job.'
The unchangeable can only be realised in silence. Once realised, it will deeply affect the changeable, itself remaining unaffected.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
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