It does not matter to me how many dialogues I have in the film or the screen time. It is all about story and characters for me.
More than the length, it's the meat of the character that is more important. It does not matter if you are on screen, standing in the corner for the whole film, as opposed to doing something that stands out in two scenes.
For me, it's about the impact that the role has in the film overall. Less or more screen time, whether I get to romance the hero, is not the yardstick I go by. If my part is strong enough, then why not?
In 'Puthran', a film by Jayabarathi of 'Kudisai' fame, I had shared the screen space with veteran Y Gee Mahendra. It is a very challenging role which demanded a lot from me.
It doesn't matter about the length of the role. I don't do films for the number of scenes. I go for the quality of my character in the film and the impact that I will have.
There is no such thing as a Bollywood hero or Hollywood hero. All you see on the screen is the lead actor's interpretation of the role that has been conceived by the writer.
"Good guy" or "bad guy", hero or anti hero; doesn't matter to me, what role I play, only the character have something magical.
Good guy' or 'bad guy', hero or anti hero; doesn't matter to me, what role I play, only the character have something magical.
I prefer to take up films where I have a substantial role and screen space, though there's nothing like a conscious decision of doing one film a year because I haven't reached that stage yet.
When you develop an entire feature length film from scratch the challenge is developing an entire feature length film from scratch! - the world and all of it's characters need to be created. There is no story/plot - all you have is a blank sheet of paper.
My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.
I know my fans want me on the screen. But I think hero-worship should not be allowed to corrupt the plot and narrative of a film.
It is all about playing a challenging role, and whether a film is a commercial one or not does not really matter.
Really, the arc for the first season of 'Luke Cage' is 'hero.' How does one become a hero? What does one feel about being a hero? How does one live their life and eventually go through the Elizabeth Kubler-Ross stages of grief until the acceptance is, 'Fine, I'm a hero.' This is what it is.
If the director has a story, he will go directly to the hero. If I have a big hero in hand today, any big banner or corporate will come to me. But if I say I have a good story, they will ask if I have a hero.
It doesn't matter what people think about me on screen. I will take up and do role which excite me and are interesting.