Emoting on screen is not easy. Even consummate actors need to get the vision of the director right before they can excel in their individual capacity. Up-and-coming actors and those aspiring to make it big in the tinsel town would do well to understand that technology can to some extent complement the requirements of a director. But nothing can replace the skills committed actors hone assiduously by getting involved in every role that comes their way, be it small or big, for performance on stage or on screen. Amartya Smaran takes a close look at what goes into the making of a good actor.
The craft of acting is the first thing that the audience notices while watching a film. Soon after the screening, atypical moviegoer begins to analyse the dramatic performances of various actors in the film. Technical aspects are rarely considered. We often hear comments like, ‘He was so natural’; ‘She really got into the skin of the character’; ‘Oh! That actor’s body language was so stiff’; ‘If only he wasn’t so artificial while doing that one scene’.
The great American comedian George Burns once said: “The most important thing about acting is honesty. If you can fake that, you’ve got it made.”
Emotions are universal. Everybody on the planet earth smiles, laughs, cries, smirks, gets angry, and feels jealous. The job of an actor, I posit, is to transport the audience into the emotional space of the particular character he/she dons. Irrespective of the language, humans can quite easily resonate with emotion. Filmmakers can play with the range of human emotions using skilled actors by deploying various film techniques.
Usually, it all boils down to ‘natural’ vs ‘artificial’ acting. Acting has also evolved over the years. From the early slapstick humour to talkies, acting has come a long way in films. While early cinema relied heavily on actors performing with their bodies, modern cinema is largely about close-ups. Film theorist David Bordwell called the practice of breaking a scene into tight close-ups, ‘intensified continuity’. Directors use this method to emphasise the intensity of an actor’s emotion through close-ups.
What some feel is natural acting may not resonate with others. All in all, it depends on the perception of the viewer. Some might have felt Vijay Deverakonda’s conception of Arjun Reddy’s character a bit over-the-top. Fair enough! But a majority of the audience bought the idea primarily because of his own acting to essay the part. Somewhere they could relate to the overall emotion carried out by the actor.
Putting forward his idea of modern-day acting, Michael Caine, arguably one of the greatest actors in the world, in his book Acting in Film (p.6), said, “The modern film actor knows that real people in real life struggle not to show their feelings. It is more truthful, and more potent, to fight against the tears, only yielding after all those defense mechanisms are exhausted.”
During our interaction with Gautam Vasudev Menon (GVM) right before the release of Vendu Thanindhathu Kaadhu aka Life of Muthu in Telugu, we asked him at what moment he knew the film was falling in place. His reply will help you all understand the importance of what actors can do in order to make or break a film.
“On the very first day, when I was shooting with Simbu, Radhika ma’am and the actor playing Simbu’s sister, as they spoke the lines and the dialect they used, that is when I felt the film was falling in place. Then, there was tremendous consistency with Simbu’s performances. I can go to any length to say that this is one of his best. Later, when I sat with Rahman Sir for the recording, that was one of those moments I felt like, ‘We have the film’.” Here, the actor’s ability to speak the lines with conviction, and the lead’s (Simbu) consistency helped translate GVM’s vision to the screen.
In an exclusive interview, Avasarala Srinivas told us that he attempted a docu-Indie style of filmmaking with his last outing, Phalana Abbayi Phalana Ammayi (PAPA). This means, PAPA was far away from the traditional tropes of commercial Telugu cinema. Avasarala had to rely completely on the spontaneity of his actors-Naga Shaurya, and Malvika Nair.
“When I watch a film, the first thing that comes to my mind is the actor’s performance,” shares Avasarala Srinivas. “That’s what draws you to a film and what Shaurya has contributed to my films, be it Oohalu Gusagusalade or Jyo Achyutananda or PAPA is something that I’m really proud of. If somebody asks me, “Hey! Name one good thing in your film?”. The first thing that comes to my mind is Shaurya’s performance. Now that we had trouble getting visas, we were shooting in the UK with a limited 10-member crew. As a result, there are things that go wrong everyday but one thing that I was sure that would not go wrong was Shaurya’s performance that day. He really put his heart into this film and I thank him for that.” That mirrors how much filmmakers rely on actors.
No matter how great the story is, a filmmaker can’t possibly bring the world he intends to create to life without the support of his/her actors. Therefore, actors can be looked at as a connecting bridge between the audience and a filmmaker’s vision.
Washington Post’s Chief film critic, Ann Hornaday, in her book Talking Pictures: How to watch Movies (p.69) remarked: “Good acting is simply telling the truth, without the benefit of clumsy “indicating” or mugging, through the control of voice, body, facial expressions, emotion, and some deep-seated, inexplicable intuition.”
Most aspiring actors feel auditioning is this dreary process. ‘Oh God! They are testing me for my skills. What if I go wrong, and don’t get the part?’ Think of auditioning like this, “Someone wants to make a movie. How will they make it without actors? I’ve got something to offer. If they like what I have to offer, they might as well take it. I have complete faith in my ability as an actor. Let me go give it a shot.”
Surabhi Santhosh, actor and acting trainer, director- Curtain Call Theatre, shared his insights into the often misunderstood auditioning process. “One thing that I keep telling my students is, ‘There are thousands of actors, and why should anyone pick you out of the huge pool?’ One must find their specialisation. I urge people not to deliver cinema dialogues in an audition, because casting directors will not consider you for the part.”
Speaking of the importance of creating an acting portfolio, Surabhi Santhosh says, “If one thinks he/she can bag roles without a proper portfolio, it’s not going to be easy. In the 60s, 70s, and 80s, directors would go watch plays and pick their actors. Although some directors still do it today, it’s really rare. Times have changed.
Portfolio is nothing but a collection of your previous works. Something that makes it clear what kind of an actor you are. That can be created only when you put in the work, and explore the passion in you as an actor.”
“I keep seeing a lot of actors giving auditions, but 80% of the actors walk in with a lack of experience. Again, film dialogues are a strict no. And another thing is I urge people not to attend random auditions,” suggests Santhosh. By random auditions, he means, the ones where casting directors ask actors to perform anything they like. As an actor himself, he avoids attending these “random auditions’. He usually asks for a scene paper, and if the casting director denies, he stays out of it.
He further continues: “People behind the camera should first assess if the actor in front of the camera looks the part. How does he/she function in front of the lens? Do they have spontaneity? Actors should adapt themselves to different scenarios. That’s crucial. Even if one decides to go for a random audition, I suggest actors prepare themselves to emote two to three emotions, and find out about the production house. What’s the genre of the film? One may not get all the information at all times, but you must try.”
Here, he takes the example of two directors: Anil Ravipudi (F2, and F3), and Boyapati Srinu (Legend, and Akhanda). Anil Ravipudi is known for his trademark slapstick comedy, and punch-laced dialogues. Whereas, Boyapati Srinu is known for making mass-commercial flicks. Now, as an actor, it is you who needs to pick your spot. When you walk into that audition room of either of these directors, if you really understand the director’s taste and requirement, chances are that you will walk out thinking you’ve done the right thing. You still can go and prove your mettle as an actor by putting out a dramatic performance for an Anil Ravipudi production, but what are the odds considering his taste in films? So, pick your spots right, and invest in the right characters.
Another kind of audition is when the casting directors are sure about what they want. “When you send your solid portfolio to the casting director, based on how apt you look for the character they’re looking for, the casting director will give you a scene paper, and ask you to perform the scene with a certain emotion,” shares Santhosh.
To make it a lot more clear to our readers, we asked actor Naresh Vijaya Krishna (Jamba Lakidi Pamba, Ante Sundaraniki) to share some audition tips. He shares, “It’s a fact that only a minority can crack it. That’s the reason why out of a large population of actors, only a mere hundred are busy. However, platforms have opened up and thereare ample opportunities. Compared to our generation, the youth are a lot more educated when it comes to filmmaking. Our generation had a chance to give flops and get away, but the present generation has a very tight chance. All told, I am certain that the younger generation is better equipped.”
Going further, he advises, “Just look at yourself in the mirror, and perform for yourself. Be sure of yourself, and do not ape anybody. Perform for that one minute in a convincing way. Then you might succeed if you have the mettle. It’s a talent more than an education.”
R.P. Patnaik, a popular music director, director, and actor, spoke to us, and shared some interesting insights into the topic. “It’s all about carrying energy with you. It’s not about how good looking you are. It’s about how energetic you are. A lot of artistes walk in with low energy. When they go in like that, directors will reject them right away. If they walk in with good energy, that energy will take them forward. The moment you go there with low confidence levels, you’re out. So, maintain positive energy at all times to better your chances of being picked for roles. Actors must work on their confidence levels and be confident.”
During our interaction with actor Naga Shaurya (Phalana Abbayi Phalana Ammayi), he confirmed that he depends on recollecting memories to bring out the best, “Let’s say someone loses their mother; another person gets cheated on by his/her lover and lastly, he/she loses a friend. In all these situations, the common emotion is loss, but the way we cry and react to each of these situations changes. I feel, unknowingly we all experience and observe some of these scenarios. When the director narrates a scene with a certain emotion, my ability to recollect those moments from my life which are relevant to the scene is what makes me an actor and that’s what I believe acting is.”
One of the most underrated actors in Indian cinema, Vineeth Kumar Singh (Mukkabaaz, and Gangs of Wasseypur), shared the importance of staying disciplined to get in and out of characters. In an exclusive interview ahead of the release of Siya, he said: “See, I meditate, exercise and always mentally keep myself in a good space. Losing oneself in the character’s world happens during the preparation phase. People around me notice the teeny-tiny changes in my body language and speech. Early in my career it was difficult for me to get out of character, but nowadays, I can come out of character within a few days after wrapping up the shoot.”
More recently, a young actor called Pradeep Ranganathan took everyone by surprise with his performance in Love Today, which hit the screens in November, 2022.
One of the reasons why Love Today worked so well is because of how relatable the story is. The fan wars, trust issues, college romance, and of course, the chaotic social media drama. All these put together, the film makes for an amazing watch. Talking about one particular scene where the character takes refuge in his mother’s lap in the later half of the movie, the thespian explained, “I think people could relate to me so much because I behaved naturally in the film. Now that I know the film in and out, I never really had to specially prepare. If there is something really intense, I practise in front of the mirror before I perform. I didnot want to show any amount of sophistication in any way. A person keeps all the inhibitions at bay and turns into a child when they break down in front of his/her mother. So, I exactly wanted to turn into a child while I was enacting that scene. All these things, maybe helped me to be a lot more relevant and perhaps it struck a chord with the public.”
Dearth of local actors in Tollywood:
iRWIN, new age screenwriter, filmmaker, and founder of tedyCINEMAsaloon (a multifarious film community and cinema organisation) is of the opinion that we (Tollywood) give more importance to an actor’s appearance than talent when compared to other industries. More so in the case of women. His argument is that a handful of Telugu- speaking heroines in the present day would’ve been stars by now had they been in the Tamil industry.
The filmmaker also raised an interesting point that a majority of the creators here don’t really appreciate theatre enough unlike Tamil creators. He says that a lot of upcoming filmmakers, for example, go watch Koothu-P-Pattarai plays, and cast their actors.
“We don’t have that culture here,” says iRWIN. “Theatre is a platform where you’ll find real acting talent. That’s the place where actors evolve. Sankalp Reddy, is one filmmaker who mainly cast a lot of actors with a theatre background in his film, Ghazi (2017). We need to see more of that to find local talent. I wouldn’t just blame the filmmakers here. When I suggest actors go do some theatre, they say, ‘iRWIN! Tell us about something that makes us money, and not something that burns our pockets’. They already think they’re star performers! That attitude needs to change, and top directors, and producers must attend plays and encourage talent.”
He took the example of some of the popular actresses in other industries-Kollywood, Mollywood, et al-openly admitting to taking up roles in Tollywood only because the makers offered a handsome remuneration. Those actresses, he says, often received parts that offered them a window of opportunity to shine in dramatic parts on home turf.
Tollywood soon became a place for other industry actors to come and make a great deal of money. This is not to say that they don’t perform well, but the general perception is that local talent goes unnoticed because of their presence. Even today, every Friday, one can spot quite a lot of other industry actors/stars on the big screen in substantial parts. We especially have a tendency to rope in leading ladies, and antagonists from, let’s say, Bollywood, Kollywood, etc.
For instance, filmmaker Srikanth Odela spent eight long months searching for the perfect Telugu-speaking leading lady for his debut film titled, Dasara, in vain. Finally, he zeroed in on Keerthy Suresh for the role of Vennela. Asked about it ahead of the film’s release in March, 2023, Srikanth said, “There is a problem! I don’t know what the reason could be. Seriously speaking, after eight long months of searching for the perfect lead, I simply ran out of time to even crack what the problem could possibly be.”
In RRR, for example, S.S. Rajamouli cast big names from Bollywood: Ajay Devgn and Alia Bhatt. This was his way of letting the word out in the northern regions of India where people were not really aware of stars like Ram Charan and NTR Jr., before the film was released. This casting choice most certainly might have stemmed from marketing the film as truly pan-Indian. Directors cast actors from other industries in order to promote their film in an effective manner, away from home.
On the other hand, one of the biggest blockbusters of 2023, Dasara, doesn’t have a single Bollywood star. The makers still promoted the film in Bollywood only because of their faith in the content. In the aforementioned scenario of RRR, we can be rest assured that the choice of casting was nothing more than a business decision.
Sure! Alia Bhatt is a good actress in her own capacity, but can you think of a replacement? Perhaps, yes!
The curse of casting couch and what genuine creators seek
“Yes! Casting couch is a real thing,” says iRWIN. “The job of an AD (assistant director) is to discover actors in their own capacity and suggest them to directors. I won’t say all, but there are quite a lot of ADs who look at it in terms of ‘I will give you this character.
Provided, you entertain me. If you entertain me, I’ll give you a big role. If you don’t, I will give you a small role’. I know someone who switched careers from acting to filmmaking/writing only to get away from this filth. Industry is supposed to be a safe place for cinema, but because of a few big names, and people who indulge in such line of work, cinema has turned out to be an unsafe space for many people, especially for women.”
One fine day, after iRWIN took the audition of an upcoming actress, he got a call from her, and she asked him, “How many people should I cooperate with? Are you the only one, or do I have to cooperate with all the other ADs?” The creator was shocked hearing such a question from a young actress.
“I mean, they’ve decided that something like this has to be done to get a role. I politely told her, all this is not required. We will call you if we like your performance. There are directors with bad intentions, and there are directors with good intentions. Maybe the ratio is a little less, but don’t leave those directors. Follow up with them, and try being a part of the creation of these handful of good directors. Good and bad are always there everywhere. Try to go behind the good. Good people are here also. Stay away from people with bad ideas and intentions,” reiterated iRWIN.
As a director, he shares with us what genuine creators seek, and distinguishes between the qualities of a good and bad casting director: “I don’t for anybody’s personal character, and I don’t for Emantivi Emantivi (Yamadonga) monologues. I look for my character which I’ve written. I want to see my character in the actor. We have nothing to do with their personality at all. I’ve given you this kind of character sketch, this is my story, and you do it.
If I can see the character, and not him/her, and if the actor can make me believe that he/she is my character in real life till the film finishes, that’s what I am expecting in an actor. A good casting director will specifically look at what value an actor brings to the project. They look at the requirements of the characters in depth, get all the character traits to the bone, and then go through all the portfolios in the database, and provide according to the character requirement. Bad casting directors don’t give prominence to the content. They just look for superficial attributes of the actors.”
If you’re an aspiring actor, trust your ability and read whatever material you can, work on being a better actor. You must understand that filmmakers depend on you to bring their stories to life. That’s your position, and be the character, period.
