A Quote by Nizhalgal Ravi

I wanted to be different and went in for roles with substance after my first film itself. — © Nizhalgal Ravi
I wanted to be different and went in for roles with substance after my first film itself.
After 'Champion,' I got like 20,000 psychopath roles! And they wanted me to strip and show my body in every film. But I have tried to balance my roles.
After the release of 'Ashta Chemm,' several producers and directors came with similar roles in their films. But I doesn't want to do stereo type roles and do something different for each film, and refused them.
The only requirement of a symbol is that it have substance underneath: The first thing to do is to try to establish the substance. The style comes after the substance. Only then can the style help the substance, and vice versa.
I think you're stereotyped after every film. Post 'Dev D,' I was only offered bold roles. Similarly, after 'Margarita With A Straw,' I was offered roles where I had to play differently-abled people. So, no matter what type of film you work in, people tend to slot you.
For me, after emotionally intense roles, I'd need to take a step back because then there's the promoting of the film which is another job in itself.
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
When I graduated from Brown after majoring in women's studies, I made my first PBS documentary, 'Women of Substance.' My first feature documentary was called 'American Hollow,' which I did for HBO and was at the Sundance Film Festival.
Therefore, criticism has to direct itself against itself, and against the mysterious Substance in which it has up to now hid itself. In this way criticism must resolve things such that the development of this Substance drives itself forward to the Universality and Certainty of the Idea of its actual existence, the Eternal Self-consciousness.
I look for roles that allow me to immerse in different worlds, immerse in worlds that are different from mine. Then, when you finish a film, you're a different person. I look for that. I look to be impacted, to be transformed, changed by my roles. That's why I do this.
After I played the mother in a few films, I was only offered mother roles. I just wanted to act; so I don't regret doing any film.
I signed my first film soon after I graduated from college. So, my real struggle started after my first film didn't do too well. But I believe failure only makes you stronger.
I was 16, I just wanted to do something in my life. I wanted to be healthy, I wanted to lose some weight and I went for my first training. In the beginning I didn't know what Muay Thai meant. You know? But I liked it so much, and after six months of training I had my first competition in Poland. I won, and after that I knew that I wanted to do it.
The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.
'Paris, Texas' is the first film that I've totally cared about, the first movie I totally wanted to do - and that after 27 years that I considered my prison term.
After 'Dor,' viewers showed the confidence that I could play serious roles too and so I was offered roles in films like 'Eight By Ten' and 'Wanted' and many other big movies.
I've always loved film and wanted to work in film. I just love working and creating new characters, and trying different genres and different things.
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