A Quote by Rajkummar Rao
Whenever I like a character or a script, I take up the project and leave the rest to the audience.
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I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
Whenever you're playing somebody who is, by all accounts, rotten, don't focus on the rotten stuff. That stuff will take care of itself. It's already in the script; the audience is already experiencing it without you having to add an extra feel of evil. Just play them like regular people.
I wrote the script to 'Lady Bird,' and it really came out of a desire to make a project about home - like, what the meaning of home is, and place. I knew Sacramento very well, obviously, growing up there, and I felt like the right way to tell a story of a place was through a person who's about to leave it.
Whenever I decide that I want to participate in a project, even reading the script keeps me excited.
I like when an audience doesn't know what's going to happen to a character, and I like when I don't know. I'm learning, too - I don't get the script, like, until the last day.
In some ways, what I learned is that you can take a character and breathe with them, and its up to the audience to interpret rather than you putting moral stamp on the character.
In some ways, what I learned is that you can take a character and breathe with them, and it's up to the audience to interpret rather than you putting moral stamp on the character.
There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.
I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.
A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.
I do not differentiate between a commercial and an indie project as long as there is a strong subject and the character in the script is relatable.
What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.
My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!
When the children were little, I'd fly into L.A. for a specific work project, but then I'd leave again, and when I was home, I wouldn't even read a script.
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