A Quote by Nawazuddin Siddiqui
My experience has offered me the sensibility that encourages me to try newer characters.
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I was offered more work after the Oscar. When I was younger, I would take whatever I was offered because it was money and work and experience. In a way, choosing is the hard part. I know that's a luxury problem, but it's true. I try to go where passion takes me.
I have been fortunate enough to be offered characters and projects that challenge me and that are different from the characters that I have played.
The idea that we should write towards the unknown aspects of our experience was totally groundbreaking for me. It gave me the license I needed to try to write outside myself. This attitude has deeply informed my approach to fiction, emboldening me to write characters with voices or situations that are vastly different from my own.
Calvin and Hobbes are the only two characters from my childhood reading that I return to with any regularity, and they have grown with me, yielding newer and deeper meaning.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.
People often ask me if I feel discriminated against as a black female director. I don't. I'm actually offered a ton of stuff. But I only want to direct what I write. And I prefer to focus on black female characters. What's most important to me is to put characters up onscreen who are not perfect, but who are human and flawed.
Seeing your music, how it actually affects people, it just encourages me to stay true to myself and write stories that I relate to and that are real to me, an experience that I've had.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me.
There are always great deals of humanity in the characters that have been offered to me.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
My M.O. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that.
Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.
He offered to stop the tide for me once. He offered to build me a palace at the bottom of the sea.
I try to pick the best from what is offered to me, and then with roles, also, I try to add something new. There is a constant conflict to not become repetitive.
I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
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