A Quote by Y. G. Mahendran

Even when I have a vintage play, I draw in elements from current scenarios, so that modern audiences can empathize with the characters. — © Y. G. Mahendran
Even when I have a vintage play, I draw in elements from current scenarios, so that modern audiences can empathize with the characters.
Audiences want to feel represented, want to be able to empathize with the characters and the stories they are seeing on the screen.
I'm a self trained, autodidactic artist, so all I was ever trying to do was to draw as realistically as possible - but that's what comes out, because I don't really know how to draw! I think when I draw characters, I'm able to reduce them down to little marks that capture the most distinct elements of them.
Daydreaming allows you to play out scenarios where you miraculously save the day. You play out scenarios in your head that are kind of crazy, and then you personally, heroically resolve them.
In a play, a few actors perform a few characters, and they need to perform those characters with a certain level of believability so that audiences can actually understand and see them as those characters.
Before I was a cosplayer, I was a fan artist. I would draw my favorite characters and sell the pieces at art auctions. But once I discovered cosplay, it was like, 'I don't have to draw my favorite characters, I can become my favorite characters.'
I have a lot of real life experience that I can draw on. And I think that shows in the characters that I play because I'm always trying to find somebody - or find characters to play that I can identify with on a personal level or relate to. And I think it makes for a little bit more of an honest portrayal.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
I love vintage shopping in flea markets, vintage stores and even Ebay.
Iago is one of the most liked characters in Shakespeare's canon, and he's the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in - and yet audiences adore that character.
One thing I think is really important is chemistry, and if actors have chemistry, audiences will pick up on that. Audiences will root for characters that don't even exist as a couple because the actors' chemistry is so strong.
I'm extremely excited about working with Troika on 'The Hive.' This script has two elements I always look for in a thriller - strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.
Ironically, heavier comedians, actors, and the characters they play are actually more sympathetic, and easier for audiences to identify with, than the svelte.
It is a fact that governments tend to put in place policies and strategies in response to current scenarios.
Even while I'm really interested in playing female characters that are varied and interesting and dynamic, I'm not of the mind that you always want to play strong female characters. I think I just want to play characters that are interesting, and not all people are 'strong.'
Part of the responsibility of being a modern storyteller is understanding modern audiences and trusting what they can handle. It's not just settling into what we think they want.
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