British - Musician | December 1, 1982 -
'Post 9/11 Blues' is an observational satire about the surreal circus of fear at that time. It's a generational thing.
Riz Ahmed
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I'm not in a 'starry' position to be able to pick and choose, but I am interested in telling stories of substance with great directors - that's my only guiding principle.
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As a minority, no sooner do you learn to polish and cherish one chip on your shoulder than it's taken off you and swapped for another. The jewellery of your struggles is forever on loan, like the Koh-i-Noor diamond in the crown jewels.
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The reality of Britain is vibrant multiculturalism, but the myth we export is an all-white world of lords and ladies. Conversely, American society is pretty segregated, but the myth it exports is of a racial melting-pot, everyone solving crimes and fighting aliens side by side.
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Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.
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The 'Bourne' films totally reimagined and elevated the action genre.
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Multiculturalism isn't just a buzzword; it's not just something to debate - I am multiculturalism.
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It's interesting that we assign the label 'political' to art that doesn't just fit a mould of status quo. Is 'Downton Abbey' not political? That's political! Every piece of art offers a perspective on the world. And what is politics if not a perspective on the world? 'Downton Abbey' is about class. It's also about race.
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No one's of Pakistani origin in any British show. That's why every actor of color is here working in the States. It's true.
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I'm used to doing U.K. indie films, like, six weeks of filming, tops.
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Whether you look at 'Glee' and its normalization of gay identity or you look at the work of Martin Scorsese and the Italian-American community, American culture is able to take these stories, which are seen as marginalized, and just turn them into American stories. And you don't think twice about it.
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You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
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