When people ask me about being portrayed onscreen by Leonardo DiCaprio, I always say, ‘I love it – no matter how old I get, people are going to think that’s what I look like.’
No one really has any idea about me. To me, what I give you is what happens onscreen, and past that, anything you’re coming up with in your own head, you’re creating in your own mind.
On ‘Catfish,’ I’m a co-host and onscreen cameraman, maybe the second onscreen cameraman after Wes Bentley’s turn in ‘American Beauty,’ which is funny and ironic. But before that, I’d been doing a lot of creative nonfiction.
If you understand a scene well, it is not hard to translate it onscreen.
To recognize yourself in a character onscreen, and to connect with them, you gotta recognize their flaws; they gotta feel like a real person.
It’s one of the things I always do. I move faster onscreen. Creates a sense of danger.
Character actors like Philip Seymour Hoffman and James Gandolfini have found themselves getting more and more leading roles because they are permitted to behave onscreen in ways that George Clooney and Matt Damon never could.
My wife knows that interacting with actresses is all part of the job, but there is a line which I’m not supposed to cross, and as long as I don’t cross it, there are no problems. She doesn’t bother with whatever I do onscreen. But the line is always there!
I actually have a decent singing voice, and I’ve never been able to sing onscreen. I’d love to do a musical.
Nobody wants to see a woman onscreen who is a wreck. That is pure, unadulterated, systemic misogyny.
While I was doing the first season of ‘Girl In The City,’ a lot of people remembered me through my character name. None of them knew my real name, and my onscreen name, Meera, became my identity.
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