A Quote by Vijay Antony
The scripts that I take should be solid in terms of content; only then will my inability as an actor not show up on the screen.
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Actors matter only if you have great content. There are so many actors who work only with good content, either the films will not work or they will get audience for a day or two if they are not backed by solid script.
Glass is a thing in disguise, an actor, is not solid at all, but a liquid?an old sheet of glass will not only take on a royal and purplish tinge but will reveal its true liquid nature by having grown fatter at the bottom and thinner at thetop, and? It isinvisible, solid, in short a joyous and paradoxical thing, asgood a material as any tobuild a life from.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
A lot of scripts are written with an eye on what will be popular or what will titillate or what this actor can do well. I don't think those kinds of scripts ever work.
The only thing we don't do together is get in front of an actor and show any indecision at all about what we think. We don't always agree, so we meet privately, then one or the other will approach the actor.
You know, you should start to be in plays and things like that. Write some scripts. If you're an artist and you truly don't believe what you're spittin' then you need to really seriously be an actor then.
The cable operators are paying to show content. The most important content you have is the broadcast stations. They take the position that over the air is free to people, so it should be free to them.
Only when we try to love God will we see our utter inability to do so. And only when we understand that inability, will we begin to be in awe of His great love toward us.
In my opinion, it would be a lot better for the culture - meaning the culture of America - if there was more diversity in terms of storyline. In terms of the kind of content that you see about Americans of African descent on the screen.
I would love to work with Shilpa again. But it would have to be for 'Dill Mill Gayye (DMG)' - that's the only fiction show I'll take up on small screen. I'm extremely faithful to that show. That apart, I'm not likely to do anymore fiction on TV for the time being.
While control is needed, and perfectly warranted, our bias should be clear up front: Monopolies are not justified by theory; they should be permitted only when justified by facts. If there is no solid basis for extending a certain monopoly protection, then we should not extend that protection.
If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.
Being on TV sucks. It's a lot of work. You memorize scripts and then you show up and they change everything. I'm a control freak. When I'm doing stand-up, I say what I want and then I get instant feedback.
An actor's off-screen persona should never overshadow his on-screen characters.
In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.
I can never plan out what direction my poems will take in terms of either form or content. I wish I could but it doesn't work that way for me. If I try to write something, I'd probably end up doing the opposite.
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