Madhura Naik Quotes

I definitely think that typecasting is something that happens all the time.

Turns out typecasting is a real thing.

Getting typecast is a dangerous thing to do.

Typecasting is really rampant in Hollywood, and because I played a costumed character and did it successfully, it was a real stigma.

I had to tell people I was not born with a scarf because I came out Iran. People think you came out of your mother with a scarf; they can't imagine that the scarf is not stuck to your head.

I'd like to talk in my own accent, but then there's that thing about getting typecast as, 'The British guy.' The role that makes you, that's normally what you're cast as forever more. Like, if I did a huge film with my British accent, that would be that.

It's really hard to not get put in a box when you're acting and get typecast.

In Hollywood, what they last saw you in is what you are. It's hard to break away from that.

If you overdo something, you end up typecast. You always have to expand.

There are worse things than getting pigeonholed in Hollywood.

Casting is a convoluted kind of trip. No one likes to be typed - even if you're a cab driver, or whatever you do.

Crazy people are my people? Really? I think that's silly. That's another one of those pigeonhole things. Lay somebody on an ironing board and put a scalding hot iron on them, get that going real good: 'Oh, this is who Holly Hunter is.'

What I've run into more than anything is people who have a belief that they know who you are. Type-casting happens because people actually write you off. 'You are in this box. That's all you are; that's everything you are.' It's a very de-humanizing experience.

I used to be offended when people would compare me to Erykah Badu. Because I'm black, thick, and have large lips? There's nothing similar about us whatsoever, and I felt very disrespected by the fact that people needed to pigeonhole me. I wasn't even raised on Erykah Badu!

Everyone always says, 'We don't want to be pigeonholed.' But sometimes, your pigeonhole is a great place to be.

I wanted to explore expectations we have of people - what a woman should be, what a man should be. And if they don't meet our own interpretation of who they should be because of their gender, their background, their ethnic group, we then come to conclusions about them that are not accurate.

At some point along the way, I stopped being a writer, and I became a black writer. I never used to be a black writer. I used to write 'Spider-Man,' 'Green Lantern,' whatever was lying around. 'Thor,' 'Hulk,' whatever. Now, if the phone rings or when the phone rings, it's almost exclusively some project that has something to do with my ethnicity.

If you do an item song, then you're categorized as an item girl; if you focus on acting, you're categorized as an actor.

I would walk into an audition, and they'd say, 'Here comes Clinton Derricks-Carroll's brother.' They could never remember my name.

Early in my career, people wanted to pigeonhole me as the bad guy because I'm of Italian-American descent, which they often were when I started out. You have to fight against it. One of the things that helps is the ability to do comedy.

As an actor, you want people to see you as a whole person, not just a single facet of your emotional spectrum. And whether it's the audience or the industry, you end up getting pigeonholed as one thing. So for people to see I can be funny and stay in shape is a bit of a weight off my shoulders.

I didn't want to get stuck in pretty, public school roles, or I knew I'd end up as some sort of caricature.

There is a little bit of snobbery with casting, and unless you're a really successful comedian like Ruth Jones, you don't get to be in the drama side of things.

I realized that acting isn't necessarily what I love, but it's what I do. But I really do love filmmaking.

I hate being categorized.