https://www.warshinternational.com/WarshHeinousCredits.html
They mention him in the film's diary as well... https://www.warshinternational.com/WarshDiary2.html
I'm not sure if it actually made it to the screen though.... but it was submitted..... Gautami's got a film too... that might have been realeased not sure https://www.humayoon.com/merimarzi.html
It was probably while he was in school in in the us for acting. Interestingly enough, look what I found on his acting school's website...
I think below is the acting school he went to, but only he his course in
Stanislawski Method Acting, so the technique might be a bit different. But I love how the school focuses on the eyes and he takes his learnings to another level....... BTW feel free to correct me if I am wrong...(PI isn't my line of work)
https://www.baronbrown.com/actingmanual.html#navbar
"Using the Eyes
Just as the moment of reaction is the most important feature in film acting, the eyes are the most important organ of response. With this in mind, the actor can have a sense of using their eyes effectively. By the same token, lapses in concentration are most profoundly reflected in the eyes.
Use the eyes. An actor may deny the camera their eyes, or let the camera find their eyes for effect, and the player might want to know where their eye light is, the specific fixture called a "Tweeny," so that they can catch that light with their eyes, or, much less frequently, use the shadow on the eyes.
Keep the gaze steady. It's usually preferable to maintain stillness with the eyes. For this reason, while it's normal in life to look back and forth and down at both of someone's eyes and their mouth, it is probably best for an actor to maintain the attention on only one of the opposite characters eyes when addressing them. When it is the actor's single shot, and the other actor is opposite them standing next to the camera, it's best to look at this actor's eye that is closest to the lens.
When doing a scene with more than one person, it's probably better to keep watching the person who is speaking. In this way the editor has a steady look to use for a character absorbing what is happening. That means not doing what is normal and throwing looks frequently at the other person being spoken to, checking in with their reactions to what is being said, unless it's for a singularly important reaction to what was just presented.
Flash looks
On the other hand, it can be good to dart periodic, reactive looks at people and events so that the editor can use these as a way to cut to said people and events.
Note: It has been advised by some that an affective film technique to convey power is not to blink during a shot. While this might be true, the technique of not blinking is a peculiar skill that probably demands more self-conscious attention, undermining one's power, than it's worth. Worth it or not, going without blinking for long periods will go from conveying power to conveying creepiness."
To the forums leaders, if this is a repeat post, feel free to close... and sorry :(.
Fan Fictions
