A Quote by Soni Razdan
In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.
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There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
First person allows deeper insight into the protagonist's character. It allows the reader to identify more fully with the protagonist and to share her world quite intimately. So it suits a story focused on one character's personal journey. However, first person shuts out insights into other characters.
I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.
Joe and I always say that our guide through action is always story and character. We're always driving right at the character beats, or else the action beat doesn't work.
The centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.
I think playing a negative character is more difficult and challenging, since you have a lot to work on, and you have to put a lot of efforts.
A conventional ‘success’ story is one where, with each next, the protagonist has more money, more respect, and more possessions. I’d like to suggest an alternative ‘success’ story – one where, with each next, the protagonist is closer to finding that spot where he’s no longer held back by his heart, and he explodes with talent, and his character blossoms, and the gift he has to offer the world is apparent.
When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.
I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.
I dont have a favorite genre. I love to work and live vicariously through every character. Its all about trying to bring the character to life and get the story across in a way that resonates with the audience. Its always interesting and challenging in a gratifying and unique way.
The responsibility of being a lead is the most challenging part playing the character enjoyable is what I live for. But it's just being the liaison through, you know, the middle of so many departments. I'm connected to so many departments and you have to deal with so many people day in and day out. And the dialogue and the scripts it's the work. The work is the most challenging part.
You are playing a character obviously, and everything you are saying is filtered through that person. It is not you that is saying it. It is filtered through a character that doesn’t have your own set of values - so it is not really odd. Inevitably we help each other with a lot of line-learning. Plus there is a familiarity which is quite nice. We have done TV together before.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
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