In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.
Effective stream-of-consciousness narration is the product of verbal precision, not just of literal documentation. It is decidedly not a matter of unedited free-association.
Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.
We object not to the narration of the deeds of our unregenerate condition, but to the mode in which it is too often done. Let sin have its monument, but let it be a heap of stones cast by the hands of execration - not a mausoleum erected by the hands of affection.
A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.
For me it's a very organic process. I read the script/hear a narration and pretty much know instantly if it's something I want to be a part of or not. It's really as simple as that.
I suddenly realize why David Attenborough is the giant he is. It is not just his geographic curiosity, not just his anthropological understanding, not just his gift for narration that simultaneously calms the soul and inspires the mind. It is that behind it all there is such a deep thinker.
Doing narration is a totally different art form. I do some video games, and some that I've done are iconic.
Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.
I regard sports first and foremost as entertainment, so dry documentary narration is not for me.
