A Quote by Tia Carrere
Having the Stitch character, the villain that becomes a hero, coming from outer space, it took a very difficult and complex story and put it into a simpler, kinder time.
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People either think Hodor is a very easy character to play or a very difficult one; there's no in between. But it's a lot of fun having to completely switch personalities inside four seconds, with no words. That's a joy for an actor to get to show all that complex emotion in such a short space of time.
You don't encounter anyone who is not hero or villain of their own story. If it's man vs. self, you have to explore the ways each character is villainous and heroic.
If you have not been a villain at a certain point in time, you will never be a hero. And the day you are a hero, you may become a villain the next day.
We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.
A lot of the time, a moral compass is all that separates a hero from being a villain; otherwise, the two are very much the same. Both are generally the richest and most complex characters, and they get to have all the fun. I guess it's those types of roles that I ultimately gravitate towards.
My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
In Shoojit's films, there is no hero and villain. Every character has its own space and there is a social message in all of his films whether it is 'Vicky Donor' or 'Madras Cafe.'
You can't watch 'Daredevil' or 'Jessica Jones' or the Marvel films and not be aware that the villain has to be awesome. I've always wanted to have more space. And the scope, morally, is more broad for the villain than the hero.
Character artist, villain, comedian, comedy villain, hero - he has been perfect in them all. That's Mohan Babu. His dialogue delivery is perfect.
Everybody has a hero and a villain within themselves. So it depends upon you to be a hero or a villain. If you show humanity, it will give you satisfaction.
In any story, the villain is the catalyst. The hero's not a person who will bend the rules or show the cracks in his armor. He's one-dimensional intentionally, but the villain is the person who owns up to what he is and stands by it.
At a certain point in my career, I was probably having a difficult time 'holding space.' So you get a character that has to be commanding in order for him to resonate and make sense.
The first time you find yourself having a conversation about moss stitch with a group of people who aren't desperately trying to escape you ... it's like coming home.
When you start loving, your character becomes like the positive side of a magnet and the one you love becomes negative, that pulls people close to you in union, and becomes very difficult to separate.
If I got the option of going into outer space and hanging out there for a day and then coming back home and dying the next day, or just waiting around to see if there's any opportunity for the technology to develop so that I might experience outer space sometime in the future, I would probably take the ride today and die tomorrow.
For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.
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