A Quote by Sara Khan
If the audience feels that we influence the youth, I want them to be inspired by some of the positive characters we play.
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I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
I was inspired to shoot 'Look Back at It' in a high school because I'm like a voice of the youth. When the youth sees me in a classroom, I want them to be inspired to accomplish their dreams. I was just like them in a classroom at one point. It all starts in a classroom.
As actors, we have to take characters, and we have to feel for them and ultimately become them, and share that on screen so that audience feels that.
I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.
I want to be inspired by the characters that I play and excited by the projects that I do.
Your life is like a play with several acts. Some of the characters who enter have short roles to play, others, much larger. Some are villains and others are good guys. But all of them are necessary; otherwise, they wouldn't be in the play. Embrace them all, and move on to the next act.
With any project I work on - not just 'True Detective' - I don't feel the need just to play a strong woman. I don't want the audience to say, 'Oh, she was so strong.' I want to play characters that are flawed and interesting.
I'm drawn to projects where I play these really complicated characters, but also where I can have some type of influence on affecting what we see as societal norms.
With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.
I want the audience, when they leave, to think of the characters on the stage in three dimensions. I want them to have empathy. I also want them to think about engaging more with where we are culturally.
There are too many positive and goody male characters on TV, and they work, so its good for them. I feel each to their own. If it works for them, it's fine. I don't connect to such characters, so I won't do them.
I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.
But the general audience, if you want to grow your audience you need to tell stories, you need to have characters, and that's how you bring them in. That's my favorite part of the business.
If you want to move people, it has to be toward a vision that's positive for
them, that taps important values, that gets them something they desire and
it has to be presented in a compelling way so that they feel inspired to
follow.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
Some filmmakers don't want to just entertain, to play with the audience like a little ball and then dump them. They want you to be imaginative, and if you're intrigued, the work will grow on you and you're going to build your own interpretation.
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