A Quote by Nag Ashwin
In a normal film there would be 25 to 30 main speaking characters.
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All of my main characters have been under 30.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
One of the main reasons I went to Stanford was to run in a pro-style offense and show I can run between the tackles 25 to 30 times consistently.
For me, the score is one of the main characters of a film.
On radio, you're in your own little world. Every time I'd be doing a possible no-hitter - I think I've done something like 25 no-hitters and a couple of perfect games - I would always put the date on the tape. Not for me, but for the player, so that 25 or 30 years later when he's playing it for his kids or grandkids, you have that date.
I would say any film can be called feminist that has female characters who have agency in their life, that are in charge of their fate or do important things or take up half the space. I would consider a film feminist, I don't care what it's about, but if the cast was gender balanced, where it would be just as likely that the boss or the best friend or whoever was female. It's really as simple as showing women being in charge of their destiny and giving female characters a voice.
I would love to write a script where the main character is a woman. I know I can direct a film where the main character is a woman. I cannot write that film.
In Hollywood, the guy who plays Batman and Spiderman also plays normal characters. The biggest stars in the world want to play different characters. We can't give the excuse that because an actor played a superhero in his previous film, his next one won't work.
In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.
I had always done broader characters, but going to UCB and speaking to my own voice was important for auditioning for TV and film.
To be honest, I don't think of any of my characters as minor characters - they're all the main characters in a story that I don't necessarily get to tell.
Make sure your characters are worth spending ten hours with. That’s how long it takes to read a book. Reading a book is like being trapped in a room for ten hours with those characters. Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling. If not, your reader will be bored and leave.
Since I knew I was going to make a film that was purely about emotions, and I knew that I ran the risk of being accused of amnesia relating to the social film, to prevent this I decided it would be good to have characters who were on the margins of society. These are characters for whom love is really the only way to know that they're alive.
The main thing is, you just want to have your place in history. You hope that people will look back on it in 15, 20, 30 and beyond years, and say, "That was an exciting film."
Had I been older - maybe 25 or 30 - I would have never tried half the things I did because I would have rationalized everything and never did it.
I believe that every character I create is in their own film, that happens to overlap with the main film. There are complete and real characters, even though we only spend only a little time with them. In the approach to what those entities are, that always appeals to an actor. What are they, since they are going to embody this character?
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