R. Madhavan Quotes

As an actor, there are many confusing factors that can make you take or not take a decision. It becomes difficult. Your first and last checkpoint should be the story. I always read a script as an audience.

You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.

If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.

I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.

It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.

One of my favorite parts of being an actress is being a detective.

With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It's always a good collaboration between the actor and the writer and the director to try stuff out during the process.

The first thing I look at with a project isn't who's directing, whether it's a big film; it's the character and whether I want to tell her story.

When you get scripts and you really enjoy reading them, you know it's a good project.

I am open to any good script and the character I can do justice to.

Every time I get a role, or the opportunity to explore a role, I look at it, and I think, 'What is the story we're trying to tell here?'

As an actor, one is constantly reading scripts and interacting with creative teams. Sometimes, things work and sometimes, they don't. It's never in an actor's hands.

I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.

Some actors are what I call more like mirror actors, which means that they do a performance at home in front of the mirror, and then they go deliver it. I'm not that type.

I was reading scripts, doing coverage, for CAA. Reading hundreds and hundreds of scripts across the board, from blind submissions to 'Brokeback Mountain'. It was not always a pleasant task but something, in hindsight, I'm glad I did.

I'm not really a guy who draws on things from my own past. I think if you're a competent actor with a good imagination, and if it's on the page, it makes your job a lot easier. If it's well written, it allows your imagination to run wild and draw inspiration from that.

With any role I play, I find out what the human problem is first.

I think what I look for in a script, it's the relatability quotient that matters the most.

The more I'm here in L.A. talking to people, the more I believe that what I've been doing is right, and that's the belief that you have to judge a role from the character, by the script.

During the inception of 'Zindagi Gulzar Hai,' we studied the characters and the script in depth so that we could imbibe the essence of it in our performance.

I worked in casting for about five years before I became a director, and that taught me a huge amount because you never actually will see the character walk through the door - and if you do, then you have to be slightly suspicious of that.

Every film is a human encounter. It's people trying to collaborate and create something together.

Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.

The first thing I do with any script is read it and try to visualize if I can play the character - if I can feel what the character's feeling.

I don't normally think of a specific actor. I concentrate on the character, and then when we get into pre-production, that's how names come up.