A Quote by Nani

If someone comes with an interesting script where the negative role suits me, I will definitely take it up. — © Nani
If someone comes with an interesting script where the negative role suits me, I will definitely take it up.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
It doesn't matter what people think about me on screen. I will take up and do role which excite me and are interesting.
When someone new takes over a role, the company doesn't change anything from the script, but they do lay it all out there and let people take from it what they take from it.
The industry is big, and if I get an interesting role, I will take it up.
If someone offered me a movie, I will take your script.
I prefer doing strong roles irrespective of duration, and it is almost impossible for me to take up a role that has nothing much to contribute to the script.
hen Baillie [Walsh, writer and director] wrote the movie for me I wasn't doing what I'm doing today, so when we actually came to make the movie it seemed silly to change it. But who knows? That's the way things go. What was interesting for me - and what was always interesting in the script - was that you've got someone who appears to have everything, or at least has the opportunity to have everything, and he's f**ked it up, or lost it.
When The Walking Dead officially got greenlit, Frank Darabont called me up and said, "My passion project just got off the ground. There's a role I think you're perfect for. Would you consider the role of Andrea?" And I was like, "Wow, I'd love to take a look at it." So, I read the pilot script and was knocked out.
The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
If I am offered a character that demands me to go bald, I would definitely give it a thought. I love my hair, but if the script is that brilliant I would take up such roles.
If the entire script feels formulaic, then you know that the film will be like that. But if it's a really interesting script, and the character happens to be formulaic, then maybe there's a way of making them more interesting.
I usually go to secondhand stores and find what I can. I like finding interesting things: vests, blazers. I tell the band, 'We got to look good when we're up there.' I learned it from Miles Davis. I read about his suits in his biography. Suits mean you're getting paid, and I like the idea that he looked good in his suits.
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.
Think of negative speech as verbal pollution. And that's what I've been doing: visualizing insults and gossip as a dark cloud, maybe one with some sulfur dioxide. Once you've belched it out, you can't take it back. As grandma said, if you don't have anything nice to say, don't say anything at all. The interesting this is, the less often I vocalize my negative thoughts, the fewer negative thoughts I cook up in the first place.
If I feel the role is not going to demand anything out of me, I don't do it. Either it has to be a terrific role, or the director has to be someone I am dying to work with. Or the costar has to be someone I really look up to.
I definitely will take the role on being in leadership.
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