A Quote by Padmapriya Janakiraman

There is a certain fictional element that goes in playing a common person. — © Padmapriya Janakiraman
There is a certain fictional element that goes in playing a common person.
If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.
It's more difficult playing a real-life person than a fictional character - you can go easy on yourself with a fictional character.
When you're training as an actor, a lot of the big work you're learning is to treat fictional characters like real people. You don't have the problem of discovering a backstory with real people, but there's always a mystery which is common to both fictional and factual characters. They are never quite the person you think they are.
If there's a role you're playing and there's a great deal of material to explore because the person was real then it's a completely different preparation time and message to playing someone fictional.
It goes without saying that all of the people, living, dead, and otherwise, in this story are fictional or used in a fictional context. Only the gods are real.
Over the years, humans have managed to incorporate nearly every element, light and weighty, common and obscure, into our daily lives. And given how small atoms are and how many of them there are all around us, it's almost certain that your body has at least brushed against an atom of every single natural element on the periodic table.
When you play a real person, you feel a sense of responsibility that obviously you don't feel when you're playing a fictional character.
As with real families, my fictional family on 'Life Goes On' had its ups and downs, and as part of the fictional downers, the actors were often called to cry on cue. This absolutely terrified me, because I was a pretty happy kid who didn't have much to cry about.
Thus, in a dialogue each person does not attempt to make common certain ideas or items of information that are already known to him. Rather, it can be said that collectively they are making something in common
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
When you're playing a real person there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
A certain kind of shittiness, a certain kind of stagnation, a certain kind of darkness, goes on propagating itself by its own power in its own self-contained cycle. And once it passes a certain point, no one can stop it-even if the person himself wants to stop it.
A lot of the characters I end up playing have a certain degree of glamour or sexiness, but I like it when you can have some other element that makes it much more interesting.
Beyond the element of giving, the active characteristic of love becomes evident in the fact that it always implies certain basic elements, common to all forms of love. These are care, responsability, respect and knowledge
I think that battle that you have almost never goes away. You're always questioning and hoping that stuff goes a certain way, that you get a certain reaction.
Turning the other cheek is not always the answer. In a certain situation on a certain day for a certain person, it's correct. Sometimes a good roundhouse kick on a certain day in a certain situation for a certain person is correct.
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