A Quote by Emilia Fox
I didn't realise my upbringing was unusual until my teens. As the child of two actors, I presumed that visiting film sets and being surrounded by colourful characters was normal.
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I think I spent my entire childhood on film sets, surrounded by film-makers and actors and people with magnetic energies who make movies.
I had what I would consider a normal upbringing and, which to me, a normal American up - upbringing for an American male child almost gears you towards going into the military.
In film, movies' schedules are based on three things: actors' availabilities, when are sets being built, when you can rent the place you're going to film in.
In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.
I like to take these unusual characters and then make them as normal as possible, because we all know that the tragedy and the abnormal always hides itself behind the normal.
I was spending a lot of time in trailers, you know, on film sets surrounded by film people.
It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.
By the grace of God, my parents were fantastic. We were a very normal family, and we have had a very middle-class Indian upbringing. We were never made to realise who we were or that my father and mother were huge stars - it was a very normal house, and I'd like my daughter to have the same thing.
What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.
You fight for certain roles, and you realise they're being filled by television and film actors, because theatre is constantly fighting for survival and they need names and faces and ticket sales.
The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
One of the things that I really love about doing a film is working with actors and the whole casting process. I feel I'm not looking for actors. I feel I'm looking for characters. If the characters come from Bollywood, fine. If they come from Indian theater, perfect.
When I was in Baltimore, I played in several different bands, doing four sets a night, two sets of originals, two sets of covers, that kind of thing.
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
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