Sushant Singh Rajput Quotes

It always helps me connect with characters, to think about what music they respond to.

As actors, you don't actually need to know the future of the character. You just need to know the backgrounds.

I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.

I like my characters to be ones I think about long after I've finished reading the script.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

The process of creation goes on all the time. When I get through, I feel I know what the character will do in every situation. But the building up of the part is not mechanical or deliberate. It grows out of the text.

I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

I create a playlist for each and every character that I play.

Never argue with your characters; they know themselves better than you do.

Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.

I try to begin with a strong grasp of my characters. Even if it's schematic, I need it clear in my head who these people are.

I wanted more in depth ideas about the character and it never came.

I am good when there is something central about the character. There is always a human theme I attach myself to. I am really looking for something that is moving or enlightening or something with depth as an actor. I look for these kinds of roles.

As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.

I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.

As an actor, you want to be able to move your character forward into new ground, but also it's really interesting to go backwards and unpeel those layers and the interesting elements of what your character is and what informs the decisions that you make so that you can have as much meat to work with.

If you can find a way your character moves, you know more about your character than you'd ever dream.

You can't understand a character intellectually, you have to become one with its emotional core.

I honestly feel it is important for a director to get obsessed with the characters.

When you're doing a series, you're really in a zone. You're thinking about those characters and their situations in a free-floating way all the time. They live with you all the time. So it's just as natural as breathing to be having ideas and thinking about what they're thinking about.

It's always incredible though when you feel like the writer knows the character intimately and can see their life sprawling away outside of the show.

I think you've got to understand your character and where they're coming from.

I separate myself from my characters as much as possible, but I have these books that I create which are interactive diaries/timelines/memory books/pictures of the character's entire world.

Every character, for me, is a new discovery.

I try to approach all episodic work the same. No matter the content. I look for a dramatic or emotional spine to the story I'm telling, something that stands out to me thematically about the episode and its relationship to the rest of the season/series.