A Quote by Y. G. Mahendran

I believe that actors should get into the soul of the characters, even if it is just for one scene. — © Y. G. Mahendran
I believe that actors should get into the soul of the characters, even if it is just for one scene.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.
It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.
I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
Just like how male actors get to play varied characters, I would also like to play characters that people don't normally see female characters portraying on screen.
Actors are the most important. Performance is what matters. Nothing matters more than the actors; they have to perform. No one else can give life to the characters. Audiences must believe the characters as real and the moments as real.
Honestly, I understand that as an actor I should be comfortable with playing different characters. I am also not degrading those actors who are part of stories that require intimate scenes, but as an actress, I wouldn't be doing any scene that requires smooching and making out.
I've always felt toward the slightest scene, even if all I had to do in a scene was just to come in and say, 'Hi,' that the people ought to get their money's worth and that this is an obligation of mine, to give them the best you can get from me.
You know how they do that effect in movies, where they make it look like you have a twin, but it's really just the same actor playing both characters in the scene? I knew this would be the best route, but I just wasn't comfortable dressing as a woman, so I had to hire other actors.
In TV, sometimes you get lost in the fog of the scene, and when you're working with such good actors, they can bring you into the scene.
Casting is so important, with any film you do. You have to get actors that you believe will fulfill the promise of the characters that are on the page.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
I'm fortunate in that I'm what you call a utility player, in that I can take a scene, if there's five or six minor characters in a scene, that need voice and personality [and] I can supply those characters.
Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.
There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.
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