A Quote by Persis Khambatta

I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.
Generally, nowadays, I'm using my own accent because casting directors want it; they like that.
I owe a lot to my time on 'House of Cards' because, up until I booked that show, I had been working consistently for 12 years, but I wasn't working on anything that mattered in the way 'House of Cards' did to its audience, to casting directors, to directors and producers. The show hit this sweet spot.
Because I'm Irish, I've always done an accent. Not doing an accent is off-putting because I sound like me. I love doing an accent. Doing the accent from West Virginia was great, and we had to get specific with it.
I used to play a lot of foreign women in my youth because I was prettier then. I would go for interviews, and directors would look at these sultry, exotic looks, hear this clipped accent and think the two don't go together. So they would give me a foreign accent.
I thought I was clever by greeting casting agents in my Australian accent and then switching to an American one during the performance. But the Australian accent seemed to put them off. Now it's the opposite; they love Australians. And with my thick Californian accent I now have a problem convincing them I'm Australian.
I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.
An accent like mine and a face like mine, I think a lot of the time it's easy for casting directors to just stick me in as a bad boy, but 'Being Human' took a risk on me - bless 'em - and I'm not that bad boy no more.
I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
It's funny because when I'm outside Australia, I never get to do my Australian accent in anything. It's always a Danish accent or an English accent or an American accent.
I have had people come up to me in the street - one woman actually told me she hated my accent, she can't believe I'm on the telly and my accent is so annoying. I ended up laughing because I thought, 'this person doesn't know me but she felt she could come up and slate my accent.'
I think I've grown up in an era where character acting on film has become less desirable for the producers and directors and therefore the audience. They have got used to the people that those actors really are.
I guess the most interesting thing that people think is I'm English. They think that I live in England and have a British accent. When they talk to me, at first they go, "Man, you have a great American accent," and I go, "No, no, no, this is my accent. I don't do accents." And then they're really disappointed, and they try to punch me.
I know Asian actors out there won't even audition for a role that have an accent. But for me, I was the kid with an accent. I still have an accent to some degree.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
I love to play with the notion of who the protagonist is - who is the audience supposed to root for? I did it in 'Sicario' and feel it was the strength of the script - guiding the audience's allegiance toward the villain because they think he's the hero, until it's revealed that he's the villain.
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