A Quote by Nazriya Nazim

But, for me, the character lives between action and cut. — © Nazriya Nazim
But, for me, the character lives between action and cut.

Quote Author

The life of a character doesn't just exist between action and cut.
I live every character between 'action' and 'cut' and do not take them home or live with them for 70 days while shooting. That is my process.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
What happens between action and cut for me is a blur, I go almost into a whiteout, and then I see the film and I'm like, "Oh that's what I did? Cool!"
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
You take the job very seriously and between action and cut, that's where your focus should be. And then there's a lot of levity in between and a lot of good fun.
Acting between action and cut is temporary. The result is permanent.
Character is developed one positive action at a time. Therefore nothing is actually trivial in our lives. To grow in character development, pay attention to seemingly trivial matters. Someone who grows from each minor life event will eventually reach high levels of character perfection.
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
That's the thing about acting - it does have the feeling of downhill skiing. When it's really all going right, you know your lines, you know what's important to your character, you pick the strongest reactions possible to elements in the story. But then you let it all go and you're in the moment and stuff happens. It surprises you and it's super strong; it's like you're living life in a slightly heightened way in the time between "action" and "cut."
People often believe that character causes action, but when it comes to producing moral children, we need to remember that action also shapes character.
Ultraconservatism is, to me, so illogical. Everywhere you go, conservatives want to cut, cut, cut, cut - cut money for powerless people. So, that's the biggest problem I have with them.
I have learned to take the part of me that is very fearful and work on that. There is space for that in my life. I have learned to give myself a bit more freedom between 'action' and 'cut.' I come by all that fear honestly, like most humans have. I can't bring it with me to work, so in that way, the work feels quite liberating.
Whenever I am acting, it's everything, you know. If I'm researching a role, I'm completely consumed in that and, between action and cut, I live in this suspended time.
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