Nawazuddin Siddiqui Quotes
I don't want my work to be heavy. The challenge is to make it interesting and engaging, keeping in mind the need for method acting. This is what I have learnt from Bharat Muni's 'Natya Shastra' and from the Russian theatre legend Stanislavsky.
Quotes to Explore
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'Heroes' really changed the game for me in a way that nothing before it had.
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The main objective of our cinema is to entertain. If you can pass on a message at the same time, that is fantastic, but if the audience does not feel they are going to be entertained by the film, they are not going to watch it. There are many examples of very responsible and great films that are being made, but nobody goes to watch them.
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I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.
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I approach these people from a standpoint of love. How were they loved? How do they love? What's going on in their heart? There's that that I think about with every role.
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The Bible may be the truth, but it is not the whole truth and nothing but the truth.
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If I had the choice between smoked salmon and tinned salmon, I'd have it tinned. With vinegar.
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The search for knowledge is a long and difficult task.
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My mother is the sort of woman who not only can raise a chicken and roast it to moist perfection but, as she proved to my openmouthed sister and me on a family holiday to Morocco when we were very young, can barter for one in a market, kill it, pluck it, and then cook it to perfection.
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Throughout my life I have always been amazed that people couldn't listen to other people, that they couldn't hear their best intent, that there seemed to be an enormous need to demonize.
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To die for an idea; it is unquestionably noble. But how much nobler it would be if men died for ideas that were true!
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The lack of a consistent policy from major economies is the main source of volatility.
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We are all hungry and thirsty for concrete images. Abstract art will have been good for one thing: to restore its exact virginity to figurative art.
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It is in fact agreed that I am the plague, the cholera of the benevolent and generous men who are interested in art and that, when I show myself with my plasters, even the Emperor of the Sahara would flee.
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I let characters be human and flawed and relatable. When we do things that aren't that great, we can understand it.
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Do not consider it proof just because it is written in books, for a liar who will deceive with his tongue will not hesitate to do the same with his pen.
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We cannot rest until we make sure that our families can afford to live and raise their kids here, that our seniors can remain in their homes and afford their health and pharmaceutical costs.
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Never relinquish clothing to a hotel valet without first specifically telling him that you want it back.
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But I knew if I ran I'd never be able to sing, so I had to take my punishment.
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I don't want people to think that someone gives me something to wear, and I'll put it on.
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Is there any of me, or of any of us, that isn’t just consequence?I think, and I’ve thought it over a lot, that everything that ever happened keeps on happening, extending tendrils of itself endlessly into the moving present tense of time, porducing its echoes, and explosions and extinctions forever.
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In fact, my face has shrunk in the meantime, but it won't be particularly noticeable because it's covered up with hair. So I hope I'm not alarmed if I ever do sit through the five movies.
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I watch 'Entourage.' I aspire the good life that they live and lead. Honestly, I am just trying to be me by trying to do good films, have fun at it and trying to work with good directors, and, of course, I am a bit of a silent party boy, also. I have my share of fun sometime, too.
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I want to do roles that take women a step farther. I don't want to be slotted into anything. But if I get a brilliant role which requires me to be a mother, then I will do it. But I want people to see that a woman could be anything at whatever age, even if she is married or has two kids.
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I don't want my work to be heavy. The challenge is to make it interesting and engaging, keeping in mind the need for method acting. This is what I have learnt from Bharat Muni's 'Natya Shastra' and from the Russian theatre legend Stanislavsky.
