Mithila Palkar Quotes

Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.

My wife says that stage acting is like being on a tightrope with no net, and being in the movies, there is a net - because you stop and go over it again. It's very technical and mechanical. On stage you're on your own.

In theater, the wellspring of the character comes from the doing of it, like a trial by fire, but in front of an audience.

When I was starting out, doing guest spots on TV, and even commercials, I would go in with a whole crazy wardrobe and some terrible accent. Obviously, I was doing too much. If you bring too much flavor to it, it's absurd. There's something to just being spontaneous.

Talking to actors is the same as talking to any other artists; it's getting into the moment for them, and making sure they can lose themselves in the performance!

I like to learn the lines and not get any precontrived things in my head about the part. Just get on stage and see what the other actors are doing, and respond to them as honestly as I can.

I learn the techniques and then take what I need. I have the Essie Davis technique of acting. I'm an instinctive actress.

I don't prepare for my characters.

I think my concerns are the same as every actor. Can I find this character and make it come to life properly?

We get the scripts before the table read, but I don't look at them until we go into the table read. I don't want to know, when I'm playing a moment in the current episode, what's going to happen because it might change how I'm playing that.

Actors put ourselves in awkward positions all the time.

An emotional performance is usually more instinctive to an actor.

There are two schools of thought: There are those actors who explain to you that they know exactly how they're going to do the part... And then there is the other method, which is to have no method at all. This is mine.

As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.

My acting coach I've got here, Richard Lawson, he's been doing good, just telling me to calm down sometimes and just be me.

I wanted really to make it moment to moment, partly because I'm an actor and that's how I operate - actors are all about creating the moment.

I actually think acting is a form of self-hypnosis. You have to be hyper, hyper aware of what's going on around you. You have to know where the lens is, what the shot is, and where you're moving. And then you have to trick yourself into an emotional state where you believe this stuff is actually happening.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

I definitely think it exercises an interesting muscle, auditioning for bad parts and trying to figure out how to make it real. I don't know what I'm talking about now.

One was never taught how to begin at drama school. But all it required was one intake of breath.

My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.

I started to see acting as a real science. That really helped me grow as an actor.

One of my main techniques for acting is I try to know almost nothing beyond the words that I have to say, because that's my zone of control.

The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.

When I rehearse, it ends up doing more harm than good. I think I work a little bit better when it's right off the bat. Mostly, I try to wrap my head around a role as much as I can without rehearsing and then kind of make it as fresh as possible on the day.