I don't think you can ever completely transform yourself on film, but if you do your job well, you can make people believe that you're the character you're trying to be.
I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.
In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.
I did a lot of terrible TV shows and was really terrible in them, and I've done terrible films I was terrible in, but nobody really noticed.
Following 'Urumi,' I did get a lot of offers from Malayalam, but frankly, managing films in several industries can become a little hectic. So I decided not to take them up.
First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.
Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.
Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less.
Yes, I'm always - I'm always surprised when you make a film and you live with it a while and you put it out, you never dream that anybody is ever going to want to really see it.
Sometimes being an actor is being a song in someone else's mixtape, so I really understand why more and more actors are making films of their own.
As soon as anybody puts anything on film, it automatically has a point of view, and it's somebody else's point of view, and it's impossible for it to be yours.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.
A lot of times, as an actor, especially a TV or film actor, you don't get a lot of interaction, or you don't get the feeling you are actually touching someone, or someone actually cares about what you do.
I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.
When I was filming 'The Haunting Hour', my co-stars Emily Osment, Brittany Curran and I paid a visit to a haunted house - all dressed up as vampires! We really confused the workers.
I'm sort of one of those weird actors who whenever I do a play, I think, 'Oh, we should film this,' as opposed to have to belt it out of ourselves in a theater auditorium.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
Film is just a different version of what we did round the campfire when we were Neanderthals. We tell stories so people can learn things and relativise things.
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
