A Quote by Sonu Sood
It's challenging to play a real-life character because you know that it existed in the history and you have certain parameters to follow and stay within.
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When you're writing for newspapers you have all these parameters. You can't swear, you have to use short paragraphs, all that. If you stay within those parameters, you have lots of freedom because you're writing for the next day.
Yeah, it's more like playing what you think is appropriate for the moment. It's not about trying to force any particular style within the parameters - and the parameters we play in are pretty large!
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.
There is a sense of responsibility when you play a real-life character because there are people who will see your work, make comparisons, and judge you. They have all the rights to do that because they know the real person. They might have seen that person also.
In real life, you don't know what's going to happen to you, so why would your character know? It's liberating to play the emotion your character is feeling at the time and not know what's coming up. I like it.
I think, first of all, every time you want to play somebody who is real is always challenging and always scary, because you are given a responsibility of someone's real life.
I know where TNT's sweet spot is, and when I read 'Perception,' I thought, 'This is a chance to play a fascinating, fun, challenging character but still within the realm of something that will sit very well with 'The Closer' and 'Major Crimes' and the other shows there.'
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
Some deeply untrusting actors - the kind that need to know exactly what's what and are completely insecure - might be quite good within the parameters of a certain sort of acting.
The philosophical underpinnings of my approach to acting are that there are universal human qualities, and that every character is actually available within each one of us, that if we tap down into that universal humanness, we can find whatever character it is that we need to play already there within ourselves, and it's just a matter of peeling apart the onion that is you and finding that character within you, because of this universal human quality.
Real Madrid is like Manchester United or Liverpool or Bayern Munich. There is so much history, and you need to play and win against that history. It's difficult to play against them because you fight against everything - the history, the players - but because of that, the motivation is always so high.
Portraying a real-life character can be quiet challenging.
If you don't question you're stuck within a pre-existing parameters of knowledge. Questions are what take you outside of those parameters.
I start out giving characters archetypes and parameters. Once I know the basics and have a rudimentary model, it's easier to carve unique curves and edges. It's quite easy to guess how a character is going to react if you know their background, and at a certain point, you realize you understand them personally.
I think having a healthy distrust of authority is a good thing, within certain parameters, obviously.
People buy a game because they like the game and they want to play the game. And there are certain characters in games that people like, obviously. I don't know if a certain character's voice or lack of a certain character's voice can cause somebody to buy or not buy a game.
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