A Quote by Thiagarajan Kumararaja
I go for actors who do precisely what is expected of them.
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It is one of those problems of human nature, which may be noted down, but not solved; - although Ralph felt no remorse at that moment for his conduct towards the innocent, true-hearted girl; although his libertine clients had done precisely what he had expected, precisely what he most wished, and precisely what would tend most to his advantage, still he hated them for doing it, from the very bottom of his soul.
A baby is expected. A trip is expected. News is expected. Forgetfulness is expected. An invitation is expected. Hope is expected. But memories are not expected. They just come.
Because I write the screenplay entirely and precisely, there is the danger that an actor might feel that this finite role is being imposed on them. I want the actors to feel that this is their own role, and that they can go back to point zero and develop this character.
When I go to the movies, I'm expected to identify with all of the characters, and most of them are white. But when you put a black character in there, somehow the white audience isn't expected to identify with them. That's a problem.
Actors want to act. I think a lot of times what happens is that they're expected to bring it all. Probably because I'm a writer, I'm not telling them what to do. I just provide them with as much as I can.
As a director, you have to know what actors are doing. You're the one telling them what to do. The actors' job is to come prepared to the set, but sometimes, if they're beginning actors or people who are non-actors, you have to teach them how to act.
I never hoped that both my children would become actors. I expected them to do something else.
We have learned that precision munitions go precisely where they're targeted to go. We've learned that the introduction of human beings in the equation, who can cause the precision munitions to go precisely where they should go, pays a huge dividend.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
All the actors I respect, especially old-Hollywood actors, the reason I think so many of them have had long careers is that there is a sort of mystery about them. You don't know what they do on Friday nights when they go home from work. You have no clue. You have this sort of fantasy about them.
So many actors and musicians seem to be only interested in what's expected of them, and they join the dots accordingly. I don't fit into any narrow categories as an actor or a singer.
When growth is slower-than-expected, stocks go down. When inflation is higher-than-expected, bonds go down. When inflation is lower-than-expected, bonds go up.
When growth is slower than expected, stocks go down. When inflation is higher than expected, bonds go down. When inflation's lower than expected, bonds go up.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children, you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be, and you let them go.
I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
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