A Quote by Sobhita Dhulipala
Characters, like people, don't need to be right - only understood and, perhaps, accepted. We are all grey, lighter and darker, depending on our state of security.
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As an actor, I'm constantly striving to find the darkness in the lighter characters and the lightness in the darker characters.
I've experienced colorism in that way: where if you're lighter, then you'll potentially be accepted into society better than if you were darker-skinned.
I do like playing the darker side of life but as much as the lighter side as well. They all resonate out of the same place, which is that everyone has a story to tell. Depending on their upbringing and their history, it determines who they are as an adult. My job is to take the role from there.
Grey characters don't only mean broody characters. A totally smitten lover boy can be equally grey if written that way.
Wear a foundation one shade lighter than your skin tone - you can always make it darker, but not lighter, once it's on.
To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.
Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern. The country is grey and brown and white in trees, snows and skies of laughter always diminishing, less funny not just darker, not just grey. It may be the coldest day of the year, what does he think of that? I mean, what do I? And if I do, perhaps I am myself again.
Now, among the heresies that are spoken in this matter is the habit of calling a grey day a "colourless" day. Grey is a colour, and can be a very powerful and pleasing colour.... A grey clouded sky is indeed a canopy between us and the sun; so is a green tree, if it comes to that. But the grey umbrellas differ as much as the green in their style and shape, in their tint and tilt. One day may be grey like steel, and another grey like dove’s plumage. One may seem grey like the deathly frost, and another grey like the smoke of substantial kitchens.
I like pastels and lighter shades on darker skins. I feel like it lifts everything and accentuates being chocolate.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
I love grey. My mom told me that when I was younger, I would get mildly depressed when it was grey all the time. I'd be darker when it was dark out. But as an adult, I really love it.
I like characters who have faults. I'm drawn to darker people.
When you look at all of the male characters on television and in film, it's not like every one of them are the people doing the right thing that you can point to as your own moral compass. We need to have all kinds of characters represented.
The government's assertion that it must be unhindered in protecting our security can camouflage the desire to increase Executive power, while the press's cry of the public's right to know can mask a quest for competitive advantage or a hidden animus. Neither the need to protect our security nor the public's right to know is a blank check.
Depending on what state you live in, you may only have right-wing talk radio and FOX or CBN with MSNBC three hundred channels down the dial.
The thing is, I never see my characters as psychopaths. I see them as really crippled victims who just happen to do bad things. And I never see them as bad guys; I see them as darker characters. I never see anything as good or bad; it's more light or dark, and the in-between is the grey.
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