Aparshakti Khurana Quotes

I do not use any set methods, not even The Method. The character after all is in the lines.

I like to have something to base a role on.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

When I find those actors who are going to work that hard and collaborate that deeply, my role is to make sure there's a whole lot there for them to work with.

In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.

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.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

Basically, the way you get into any role is just doing research on the type of character you're playing.

The least amount of info actors get, the better. Actors are always like, 'What is my motivation for this?' You didn't write it. Just say the lines.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

It's part of the actor's job to show up with a head full of steam, to have their own take on this. So that way, you're not relying on, 'OK, tell me how to do it.'

As an actor, you create a character from your understanding of what you have heard and your observations. Eventually, every film is an extension of the images that I have seen or what I have heard or read somewhere.

I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity.

My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.

It's always a mystery when you're going into a role - 'Here's your wife of 40 years and... action!' How do you create ease or chemistry or whatever is supposed to exist?

I'm a technician. I don't go for the get-into-the-role stuff. I read the lines and play the scenes.

As a filmmaker I find it much more rewarding to work with actors who are classically trained. It's about the work and only the work.

In acting class, teachers talk about how the 'givens' of a situation help define a character.

I'm not the kind of actor that would know what my character had for breakfast last Tuesday.

When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.

As an actor, one's role is very much to respond and react to the situation within the context of the character and his world.

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.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

I don't really prepare for each role the same way.

The happiest moments for me, creatively, are doing readings of a play around a table where there's no audience.