A Quote by Haley Joel Osment
With my dad coming from a theatre tradition, there was a lot of preparation before auditions. Not just in terms of saying the lines correctly but a process of entering into what it was all about.
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My performances in auditions were so inept that I hardly got any jobs in film or TV. I just could not learn the lines and the thought of doing theatre terrified me. What if I forgot my lines in the middle of a scene with an entire audience watching?
I suppose there's a particular kind of efficiency about coming from a theatre tradition. You don't make a fuss, and you're cheap.
When I was entering high school, my dad had me going around to different high schools, playing open gyms. A lot of coaches thought I was coming to their schools. If I would have done it over, I would have just stayed at one particular school just to play pickup basketball in the summertime.
I believe you have to learn how to win. And that just doesn't come from going out on the basketball court and playing. That comes from hours and hours of preparation, preparation before that game, preparation for the other team you are playing, mental preparation.
Neurologically, people have a need to feel oriented, to know where they are, not just in terms of a compass and not just in terms of geography, but in terms of their culture and history. To be informed about where they're coming from and to have some glimpse towards a hopeful future.
I started to view theatre like a spiritual experience. You're on stage saying somebody else's lines, but you're saying them with full commitment of being that person.
In terms of how the music developed, it was my normal process, which I would say is really a hybrid process of sketching on bits of paper, playing the piano, playing synthesisers, using the computer, staring out of the window, finding things I'd forgotten about, happy accidents, failed plans, best intentions, equipment failures. It is a multidimensional process incorporating a lot of planning and intention and a lot of randomness. Ultimately I just follow the material where it wants to go a lot of the time.
There's something about doing theatre in London - it sinks a little bit deeper into your soul as an actor. It's something about the tradition of theatre, about performing on the West End stage.
In these early games you're focused on your performance. Just coming out and playing hard. There's not a lot you can do in terms of preparing and in terms of scouting.
Well, the hard part about doing auditions is that the person reading you the lines, they're not really into it. They're just going, 'Oh really, so why do you think that?' And they're just looking at a piece of paper.
Certainly, nothing would stop me coming home for Christmas, if I can. But I've worked a lot in theatre, and in theatre in New York, we work Christmas Day a lot of the time as well.
You go through a process of refinement and getting rid of the excesses of your early youth in terms of your excitement about what theatre can do.
In terms of preparation, if there's some historical context that's needed, I do like to read a lot. Working on Joe Kennedy for 'Boardwalk,' I read a couple of biographies on him. It's nice to have a broader context of the man outside of where the show is coming from.
As you know, before entering the glamorous world of Bollywood, I was into theatre, where I played varied roles, from a lover boy to a servant.
In this respect a program is like a poem: you cannot write a poem without writing it. Yet people talk about programming as if it were a production process and measure "programmer productivity" in terms of "number of lines of code produced". In so doing they book that number on the wrong side of the ledger: we should always refer to "the number of lines of code spent".
Asim has done English theatre with Naseeruddin Shah and his group, Hindi theatre with Makarand Deshpande, and Marathi theatre with me. He is a hardworking actor - I am not saying this just because he is my son but as an actor and spectator.
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