A Quote by Shefali Shah

A role is a role where I play someone else, but when it comes to paintings, it is me. It is unadulterated Shefali and there is no control and I can let go. I am unabashedly unapologetic about it. That is what is interesting about my paintings.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I am not supposed to reveal much about my role in 'Thiruppangal.' But I can say that I am playing a journalist. It is a beautiful story, and I have got a meaty role to play. Sharadha Narayanan is shaping up the movie in an interesting manner.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
You have to listen to what someone is doing and help them get to where they want to go, musically speaking. I play a supporting role if someone else is soloing, and a guitarist will do the same for me while I am soloing.
In Germany, we often hear the absurd complaint that museums don't have the money to buy paintings. Of course, I'm not talking about me and my paintings. There are, after all, more popular painters in this country.
I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
When someone has to do work for me, I lose my mind. I can't help it, I'm a bit of a control freak. I've always wanted something that would depict slow-moving paintings, stunning artwork that also incorporates movement. It was hard letting someone else create that vision for me, but I love it.
The cool thing about being in drag, just like getting to play a role in a play, is that you get to play a fantasy and you get to play someone else that you're not used to.
In my journey, I got amazing characters to play which were as interesting as a lead role. In 'Commando,' my role was so good. I feel no actor have rejected that kind of a role.
What's interesting about playing Maura is that I get to use more of Jeffrey that I've ever used in any role, and I think that's the remarkable part about it and truly the most surprising part about doing this role.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
It's difficult to say no sometimes. I often hear, "They'll really take care of you," or "Someone else is going to take the role if you don't play it." Some of the best advice I ever received was to always ask myself: Am I going to kill myself if somebody else takes this role? The answer is almost always no.
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