Parvathy Quotes

My only criteria while selecting roles is that it should be a lead part in an interesting story where the character has depth and layers.

I have not done any film where my role didn't make sense.

Be it in Malayalam or Tamil, I got to play characters who had plenty to do in the storyline and not just be a prop.

There's no particular role that comes to mind that I'd like to take on, but for me, it's about playing interesting characters and not just two-dimensional ones.

I'd never thought much about a series, because I liked the idea of picking a script I liked with a character I thought I could sustain for an hour. In a series, you live with one character day in and day out - and you only hope it will be one that will not drive you crazy.

Whenever you're blessed and given a second season, you can really let the characters evolve. That first season, you're setting everything up. It's background, where they're coming from, what they want to do. And then you get to marinate in it that second season.

In 'The Grandmaster,' I had a supporting role, but my character in 'The Crossing' is much more central to the plot.

My earlier film 'Punda' did not give people a glimpse of what I could do as my role was that of a typical glamour doll that required me to run around trees.

I do not care about the length of my role. But it should make a difference to the story.

What makes an audience watch something and care about the characters is the emotional life of the characters.

I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

It's very unusual for scenes to be added for a character.

I like my characters to be ones I think about long after I've finished reading the script.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.

The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'

The characters are always the focal point of a book for me, whether I'm writing or reading. I may enjoy a book that has an intriguing mystery or a good plot, but to become one of my real favorites, it has to have great characters.

If you're playing a lead, you're shaping the movie. When you're playing a supporting role, you've got only a moment to make it count.

I've always wanted my characters to have more dimension and realistic cores than the ingenue material often provides. It's been a challenge.

If you give a character room to breathe, they come alive.