Images, music, sounds and non verbal communication put together is cinema. Its a vision beyond eyes encapsulating an entire organic osmosis as well as transformation on a personal level. There is a natural visualization in an actor. Every actor visualizes and searches for an interest which can make him go for that film, even if the character is not close to him on a personal level, Yet every actor tries to relate to the character. . In that process you develop or find an objective. Every actor or performer is schizophrenic that way. The reason is maximum optimisation. It has a lot to do with your individual inner self. Hence your objective, as an actor or even assistant director can never be the same as the director. Your objective can be in contrast to the director's, yet it shouldn't be contradictory. The overall objective cannot be forsaken. A Synchronization is necessary.
Aamir Khan always wished to be a director ,but destiny had different plans. He could fulfill his dream after spending more than a decade as actor. Understanding objectives as actor as well as director put many directors and actors before and behind the camera. Ranbir and Sonam Kapoor worked as Bhansali's assistants. Ranbir, if it is to be believed wanted to be a director as well. This third eye vision develops as the creative journey proceeds. A creative journey which is a part of every artist. It develops with the number of flicks one does. Its a creative transformation which is quite different from biological journey. It is kind of a third eye vision, its like growing up as an actor and adding the fourth dimension. Living characters is not about putting a new mask, a new face. Is acting about putting on a mask ? no it isn't. Its an abrasion , unplanned peel off process rather than brushing it with a new colour or putting on a new mask. A very few people will understand this, however acting is not putting on a mask but it is an obsession and a peel off process which follows each other. Obsessions are not meant forever, though ! Putting on a new mask is not a part of yours. Its an inside out , not an outside in process. Its about an obsession , Its about forgetting yourself to discover yourself which you live day in and day out, and some day you shed it and move on.
Objective is different from methods, methods are deployed to attain the objective of your individuality. Methods have more to do with execution. Objective is neither methods nor results. May be, This entire free flowing process fitting in the scheme of things with different objectives yet not contradictory, is the source of a legendary charm of the legends . In that process you stumble across various sides , you can't say aren't yours. Its your schizophrenic side at work, which is not deliberately put in. A self seduction process where you try seducing yourself as an actor. I don't know how would it feel playing a role, where you gotta hate yourself. The interest and objective is an innate bit of your own personality, what falsetto is for A.R Rehman, a free spirited soul touch for Pritam , intensity for SRK, non judgemental straight forward portrayal for Prakash Jha.
What you ask from yourself is what you cherish the most as an actor ? Can there be an innocence and honesty, while performing a role, a childlike passion, sheer love for that journey and an obsession for the portrayal of the unprecedented not to be done again. The course changes, destination changes but on the path of the same journey, introducing a new you to yourself. You can't really react to all the experiences on the way. May be, this belief as an actor keeps you going that you will be able to express and portray it someday. After lights, camera, action are done....some reactions can really be a mystery, and it is mystic in both senses.
Sunday, June 6, 2010
Wednesday, December 17, 2008
Start to FI-niche
Right from the primitive years until the transitional phase of shaping up as the biggest money spinner industry of the country Bollywood has seen several peel-offs of modus operandi .
Whether it is a towel shredding Ranbir Kapoor's bare chest look in "Saawariya" or a sexagenarian's calf-love in "Nishabd" ; whether it is Glam expunged and figurative "Taare zameen par " or " Kabhi Alvida na kehna ".
All of the flicks mentioned above are from different school of thoughts and vouch for the paradigm of shift, en masse ! They apparently follow different genres in terms of filmmaking. Today's Dostana has changed a lot from out of vogue 'Kuch kuch hota hai' effect. Big B's cameos in Nishabd and Cheeni kum triggering a mercurial but ephemeral exposé for mass living in 'Ivory Tower' is not considered aberrant for "Life in a Metro". Yesterday's taboo gay topic can make audience laugh out their heart today. A movie can be named 'Kameena' without any nerve wracking thoughts. All Courtesy ! 360° pliability !
A quick flashback of the decade of 90's when Bollywood was asphyxiating due to disastrous fiascos. A handful 11% of movies turned out to be a deal of profit for the fraternity which has tolled upto 23% which is twice to what was bagged in the last decade. All this while a myriad of shilly-shally movies were piled up using the same well-worn plots inasmuch that eventually audience didn't intend to spend money to watch they knew they are going to. Phew ! Thanks to piracy which did the rest ! 'Potluck' was no more a trend. This mishmash and in the wake of draught can also be attributed to the money invested by the underworld. The underworld , allegedly ! started calling shots on every bit right from the script to the starcast of a movie. Apparently! Filmmaking was presumably rather difficult than to operate an AK-47. Bollywood liberating on financial grounds with Banks making their foray into film-financing has indubitably helped. Karan Johar, Aditya Chopra, Mohit Suri and Anurag Basu got the industry back to the drawing board with something to drool-over. You need to be a good actor to be a good director but the vice versa is necessarily not true. Promising and crafty flicks like
DDLJ, Kuch-kuch hota hai, K3G and Mohabbatein khan-firmed that audience's Hazarron khwashein aisi do not go to the drainage.
Shahrukh and Aamir have equally garnered applaud from all and sundry possessing their individual panache. The comparisons between the Twain incessantly popped up giving room to more drawing room debates. While SRK was making it to a bigger league with more and more Blockbusters, AK doing less number of films given his fixation for perfection was climbing up the ladder with less number of but gigantic steps. Both of them have their own ways. Sense of visual arts and acting is about getting closer to what you intend to do. A sync between thoughts and actions is what sense of visuality is ! Performing live on "Pichle saat dinon" is not possible without following the increasingly blaring note of guitar and drums cause this is where connection with the audience gets dis/connected. Blinking eyes in slow motion can be profusely utilized on the focal title note of 'Boulevard of broken dreams' while making a video or you may also see a cargo-clad boy looking for a lift on a highway , however performing live is where you need to establish a connection. Audience craves for that madness phenomena. That's why group performances like linkin park come off so magnificently. A mere feeling of leading the audience doesn't help. Audience is least interested to know how you do it ? You are the entertainer. You gotta have it in you, et al !
While SRK's uncanny knack of getting into the skin of the character given to him by the director is his forte, AK is capable of creating one. Refer to Taare zameen par !
Barring a few films , films have become less histrionic. Film fraternity's predilection for realistic and exiguous budget films like "Khosla ka Ghosla" have paid off. They have come out of the shadows of macrocosm. De facto ! Jaane tu ya jaane na !
The exfoliation of exemplar is what the new non conformist crop finds nous in. Piece dê rêsîstance of this simple projection is the obfuscated methodology. Ask a few people ! What else can be esoteric and more complicated than simplicity ?
Whether it is a towel shredding Ranbir Kapoor's bare chest look in "Saawariya" or a sexagenarian's calf-love in "Nishabd" ; whether it is Glam expunged and figurative "Taare zameen par " or " Kabhi Alvida na kehna ".
All of the flicks mentioned above are from different school of thoughts and vouch for the paradigm of shift, en masse ! They apparently follow different genres in terms of filmmaking. Today's Dostana has changed a lot from out of vogue 'Kuch kuch hota hai' effect. Big B's cameos in Nishabd and Cheeni kum triggering a mercurial but ephemeral exposé for mass living in 'Ivory Tower' is not considered aberrant for "Life in a Metro". Yesterday's taboo gay topic can make audience laugh out their heart today. A movie can be named 'Kameena' without any nerve wracking thoughts. All Courtesy ! 360° pliability !
A quick flashback of the decade of 90's when Bollywood was asphyxiating due to disastrous fiascos. A handful 11% of movies turned out to be a deal of profit for the fraternity which has tolled upto 23% which is twice to what was bagged in the last decade. All this while a myriad of shilly-shally movies were piled up using the same well-worn plots inasmuch that eventually audience didn't intend to spend money to watch they knew they are going to. Phew ! Thanks to piracy which did the rest ! 'Potluck' was no more a trend. This mishmash and in the wake of draught can also be attributed to the money invested by the underworld. The underworld , allegedly ! started calling shots on every bit right from the script to the starcast of a movie. Apparently! Filmmaking was presumably rather difficult than to operate an AK-47. Bollywood liberating on financial grounds with Banks making their foray into film-financing has indubitably helped. Karan Johar, Aditya Chopra, Mohit Suri and Anurag Basu got the industry back to the drawing board with something to drool-over. You need to be a good actor to be a good director but the vice versa is necessarily not true. Promising and crafty flicks like
DDLJ, Kuch-kuch hota hai, K3G and Mohabbatein khan-firmed that audience's Hazarron khwashein aisi do not go to the drainage.
Shahrukh and Aamir have equally garnered applaud from all and sundry possessing their individual panache. The comparisons between the Twain incessantly popped up giving room to more drawing room debates. While SRK was making it to a bigger league with more and more Blockbusters, AK doing less number of films given his fixation for perfection was climbing up the ladder with less number of but gigantic steps. Both of them have their own ways. Sense of visual arts and acting is about getting closer to what you intend to do. A sync between thoughts and actions is what sense of visuality is ! Performing live on "Pichle saat dinon" is not possible without following the increasingly blaring note of guitar and drums cause this is where connection with the audience gets dis/connected. Blinking eyes in slow motion can be profusely utilized on the focal title note of 'Boulevard of broken dreams' while making a video or you may also see a cargo-clad boy looking for a lift on a highway , however performing live is where you need to establish a connection. Audience craves for that madness phenomena. That's why group performances like linkin park come off so magnificently. A mere feeling of leading the audience doesn't help. Audience is least interested to know how you do it ? You are the entertainer. You gotta have it in you, et al !
While SRK's uncanny knack of getting into the skin of the character given to him by the director is his forte, AK is capable of creating one. Refer to Taare zameen par !
Barring a few films , films have become less histrionic. Film fraternity's predilection for realistic and exiguous budget films like "Khosla ka Ghosla" have paid off. They have come out of the shadows of macrocosm. De facto ! Jaane tu ya jaane na !
The exfoliation of exemplar is what the new non conformist crop finds nous in. Piece dê rêsîstance of this simple projection is the obfuscated methodology. Ask a few people ! What else can be esoteric and more complicated than simplicity ?
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