A Quote by Nivin Pauly
When I choose a role, I look for that spark that tells me it's going to work. Is the role fresh? What does it have for the actor in me? Those are the only things any actor should be concerned about, really.
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When an actor gets a role, especially in series television where he really is the part, the audience never thinks of another actor playing that role. If they accept you in the role, then they can't separate the actor from the character.
I have no problem having any actor from anywhere play a role. I'm excited for any actor that gets a job, I truly am. Even if it's a role that I'm up for and I don't get it, I never begrudge any actor having it work out for them.
As an actor, I feel, I should not choose a film just to help get great box office results but one that challenges me as an actor and gives me the pleasure of playing a certain role.
I think the challenge for me in this role is going to be, is there any heart in Negan? For me, I look at that as a challenge as an actor, and that's the kind of thing that I embrace and really look forward to.
[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring.' It just happens it's a co-starring role.
It has happened with me that I get a role of a cop for a film. Few directors typecast you if you do that particular role well. But, it is the actor who has to decide whether he fits in that role or not.
If a good actor wants a role, they'll do whatever it takes to get the part. Directors are the same. We do 'meetings', not auditions: that tells you a whole lot more about an actor, too.
People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
The attitude of the actor is his interpretation of what he reads, and the written word is what creates the role in the actor's mind, and I guess in reading the things that were given to me, I reacted as you guys saw me, you know.
'Quantum Leap' gave me a huge opportunity as an actor. The nature of the role and it's demands allowed people to perceive me as a versatile actor, and the wide success of the show around the planet gave me a certain notoriety that helped me get other work.
Any role that big is going to be a challenge for any actor, but for an actor of a young age, it's going to be even tougher.
If an actor commits properly to a role, they do a bit mad during a shoot. If they're going to do that, they should balance themselves by doing a role as a yoga teacher.
Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
According to me, when a filmmaker is writing a role, a certain actor comes to his mind. Now whether that actor resides in Mumbai or in the Malabar is hardly of any consequence.
As an actor, I look for the part itself. I look for the story and the role. If there's no money, but it's a good part in a good role, I'll still consider it. Basically, the worse the role is, the worse the story is, and the more they'll have to pay me. It's a simple correlation.
Going after a part in Hollywood is like being a gladiator in ancient Rome. When it comes down to getting a role, you don't have any friends, you're incredibly competitive and any actor who tells you different is lying.
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