Creative Space with Jennifer Logue

Shivantha Wijesinha On the Actor’s Creative Process and Narrating ‘The Seven Moons of Maali Almeida’

January 15, 2023 Jennifer Logue
Creative Space with Jennifer Logue
Shivantha Wijesinha On the Actor’s Creative Process and Narrating ‘The Seven Moons of Maali Almeida’
Show Notes Transcript Chapter Markers

On today’s episode of Creative Space, we have the pleasure of chatting with Shivantha Wijesinha, an actor, musician, and old friend of mine with an incredible career so far. He’s got a long list of credits but recently, he played the role of Jegan in Oscar nominee Deepa Metha’s film, Funny Boy, which is available on Netflix. He was also nominated for most outstanding performance in the 39th Annual Green Room Awards for his portrayal of Duke Senior and Duke Frederick in Melbourne Theatre Company’s production of As You Like It. In 2022, he was selected to narrate The Seven Moons of Maali Almeida by author Shehan Karunatilaka, which won the 2022 Booker Prize and he also has a speaking role in George Miller’s upcoming Mad Max film, Furiosa.

Shivantha has had such an inspiring creative journey so far, from growing up in Sri Lanka and discovering his passion for music to giving up a career in law to study acting at the American Academy of Dramatic Arts in New York City. We talk about his creative process as an actor, his love for Sanford Meisner, and what it was like to work with directors like Deepa Mehta and George Miller.

For more information on Shivantha, visit: shivantha.com.

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SHOW NOTES:

0:00—Intro

1:09—How we first met

2:30—Growing up in Sri Lanka

4:00—The innocence of life before the internet

5:17—Following the sound of the drums

9:05—Leaving law behind for acting

13:00—Trusting even when you’re terrified

14:03— Studying at the American Academy of Dramatic Arts

16:54—Shivantha’s definition of creativity

19:20—Imagining a world without art

20:56—The creative process of an actor

23:30—It’s not about the words 

26:00—You have to move with the moment

27:20—What he learned from working with Deepa Mehta

29:18—The beauty of Sanford Meisner’s repetition exercise

31:30—Becoming a better actor by teaching

32:40—The greatest challenge in day-to-day work

33:30—Finding joy in the small things

36:31—Narrating ‘The Seven Moons of Maali Almeida’

40:20—The myth of overnight success

42:22—The civil war in Sri Lanka

43:55—Working on the latest Mad Max film, ‘Furiosa’

45:05—Your next role is your best role 

45:23—Advice for actors just starting out

47:00—What’s next for Shivantha





Jennifer Logue:

Hello everyone and welcome to another episode of creative space, a Podcast where we explore, learn and grow in creativity together. I'm your host Jennifer Logue. And today we have the pleasure of chatting with Samantha with Jay singer, an actor, musician, an old friend of mine with an incredible career so far, he's got a long list of credits, but recently, he played the role of Jagan, an Oscar nominee, Deepa Mater's film funny boy, which is available on Netflix. This year, he was selected to narrate the 2022 Booker Prize winning book, The Seven moons of Mali almeyda a really big deal that we'll talk about in the interview, and he also has a speaking role in George Miller's latest Mad Max film Furiosa Welcome to Creative Space. Shavonda.

Shivantha Wijesinha:

Thank you so much for having me, Jen. It's wonderful to be here. It's a privilege, and I'm looking forward to having a chat with you. Thank you.

Jennifer Logue:

Oh, my gosh, now we go way back. I mean, I want to see was it

Shivantha Wijesinha:

2007 510 2005 2005? Wow. Because what happened was at that point, I had just finished studying a semester in Italy. And my, my university, my college had a campus just outside Florence in Italy. So I was studying, you know, law with Australian students for a semester. And then from there, I moved to London for a year. And it was busking and it was playing in different various different areas. Then, after that, I kept in New York for three months. And I was just doing the local music circuit. I was just playing three, four times a week, every at any given open my diaper fine and sleeping on people's couches. And that's when I met you.

Jennifer Logue:

You're playing the Continental? Yes, that's the continental Yes, Continental.

Shivantha Wijesinha:

Yeah, it was my last gig in New York.

Jennifer Logue:

Oh, my God, you were incredible back then you continue to grow now. It's been such a joy to see your career grow, with music and with acting. So this is gonna be a really fun conversation. So I love to go way back. Sure. You have such an international life. Where are you from originally? Like, what was your childhood like?

Shivantha Wijesinha:

Sure. So I have lived, lived lived in about six countries. And I've traveled 40 plus countries in my life. I was born in England in Oxford. My dad was studying and I lived there as a kid for the first five years of my life, I think. Then I moved to Sri Lanka, which is what my family is originally from where my heritage is my culture, my my tribe, originally my DNA. It's an ancient culture. It's an ancient people. And I lived in Sri Lanka for many years, and then I moved to Hong Kong for a few years as a kid. So it was my first foray as a teenager into international kind of expanding myself as a person. And yeah, I lived in Africa in Sri Lanka. And then I came to Australia and and went to university in Australia limited and Italy. And then I moved to New York, where it was, yeah, New York for 10 years. And then I came back to Australia, so I've lived a lot. My childhood was mainly Sri Lanka, I'd say, you know, that's kind of what I associate my childhood with. And my teenage years so yeah, it's playing cricket on the street and you know, going to your friends places and spending the days and regular kid stuff. You know, we didn't have Internet back then you didn't have cell phones. You just kind of you had landlines so you know you there was an innocence. And there was a there was less information that was constantly smashing in the face. So you could kind of find yourself in a way, like you would find maybe now in a country somewhere in the countryside, somewhere where not in a big, big city of Colombo is the biggest city in Sri Lanka. So

Jennifer Logue:

right, there's time for you to use your imagination. Yes, and be present,

Shivantha Wijesinha:

to be in the moment to actually not be distracted constantly. Because there's everything that's fighting for your attention today in this moment. But I claim trees as a kid, I would get lost. They would like you know, I climbed into Suez as a kid with a friend to pick up to find a football team, we were like, oh, there's a tunnel football winning that let's go grab it and we kind of going in like 10 feet into this thing and like, oh, oh, this is where we are. That's okay, let's go get the ball. Crazy, crazy fun times. Yeah, I missed those days. And I tried to recreate it your imagination and being present very, very Yeah.

Jennifer Logue:

So once you know you first wanted to be a performer, and when did music into your life? That's something I've always wanted to ask you

Shivantha Wijesinha:

sure I started playing piano, but eight. So I played the piano and I did the Royal School of exams and music and breeds and theory and scales, and I was practicing and all of that. I wrote my first song on the piano when I was 10. And then I loved the clarinet. But the clarinet came because I was in Hong Kong, and they told me that I want to learn the drums. Yeah, okay. I want to learn the guitar. That's nice. I want to learn a violin. No, you can play the clarinet. But anyway, I picked up the clarinet and I'm glad I get started in exam so that when I came to SriLanka Oh, no. So when I was 13, and I was going for clarinet lessons. My own math teacher was teaching drums, so I wasn't really good clarinet. So I finished school, let's say a three o'clock in the clarinet was at five o'clock or something. So two hours to kill. And I had this drum banging somewhere in my ears just went, Oh, what's that? And I followed the sound of the stairs into the room. So I met PJ and I was like, Oh, hey. And I was like, Do you mind if I watch the show? So watch him. Almost from then on. I would go every time he was teaching twice a week, three times a week, and I'm just sitting watching. And after he left, I would sit and play drums. Yeah, just kind of kind of remember what he did. And I would just bashed around with the drum. So that was kind of a first foray into musical expression of self without exams without structure, just exploring, imagining. And then I came to Sri Lanka. And I picked up the guitar at 17. I never, you know, played guitar before. And I picked it left handed because I'm predominantly left handed and I'm ambidextrous, but I'm predominantly.

Jennifer Logue:

Oh, that's right.

Shivantha Wijesinha:

I thought about that, that 10. But now I play right. So my play right handed, but when I picked it up, it was left that they drove left handed. So if the soccer drunk get around, but I started playing guitar, and that was really when something started shifting. But the shift happened when I was 17. And I was asked to fill in as a percussionist for the biggest Philharmonic Orchestra in Sri Lanka. Whoa, it was just the way the universe orchestrated. It's my, my cousin, my second My, how does this work now was my first cousin once removed my dad's first cousins, kid. So we're first cousins once removed. She called me up on a Thursday to chip, the percussionists number ones ill we can't find the number two normally comes in he can you you can read theory, right? And I was like, yes. It was terrible. So I always listened to you. And I did that I started and went for the rehearsal, and on a couple of days, and then I like we played Friday, Saturday, Sunday, and it was just my baptism of life. I asked when I shifted in me, just watching this language being spoken this unspoken language. And watching a dance happening between these various groups of musicians and different, like you had the string section and within the string check section. Yeah, the double bass, this Viola is the violins, cellos. And then you had the horn sections and how they interacted. And it was all kind of overlooked by this conductor. And I was playing percussion. So I probably played for like 20 minutes in a three set, you know, there wouldn't be box and the triangle and a couple other things that I had to do Flynn. And that's when something I knew I was like, Oh my gosh, my life was never the same after that.

Jennifer Logue:

And you were studying law, that then you headed down the acting path? Yes. So what prompted this shift? And were you scared at first, when you were like, This is not the path I'm going down.

Shivantha Wijesinha:

I always knew that I, we talked about creativity and we can me I always knew that I expressed myself musically. And I express myself in a way that brought joy. You know. And when I was finishing law, I had to do what's called my article. So you finish law school and you're a law graduate. Then you have to do work experience under qualified in a legal situation to become a qualified barrister and solicitor or call to the bar. It's the same thing. You could call it a bar, we call it doing your articles. It's the same thing. So you only get called to the bar you have to have work experience. So you finish not score. And then I was doing this work experience. And I knew something was wrong, because I would go to work every day. And I felt this environment was so impressive. It was so fake, it was so untrue to self. It's like you had to take the essence of what made you you, even at home and be something that you're not make money for somebody else. The whole equation was wrong for me. Yep. The entire equation didn't make sense. And I was like, why are we doing this to ourselves why? And then I realize a lot of people, it's easier to do that. Because you get the paycheck at the end of the day, in order to be monetarily buy the pieces you think you need. I think everyone has a gift, and the purpose, whatever that may be, and it's your duty to yourself in this lifetime, to find it. And it's your duty to honor it. And it's your duty to respect it, and to let it grow and nurturing needs. Now I'm not saying everyone needs to go. Okay. I like to so that quit your day job and be a seamstress for the rest of your life. No, but I'm saying if you do like that, while you're doing a day job, yeah, let's go build a business bill. Forget even a business. Just build the community. Do it every day find joy in it express that. Yes, that is the fear that people don't want to cross, right. So it's safer to do something like this. But then you realize you lose your whole life as as pilots all that you haven't when you're 7080. And yet, it's time for you to leave this place. If you're lucky to live that long. You're not going to go oh my gosh, I spent 80 hours at the advertising place. I spent eight years in a law place. Yay for me. You say Hey, Did I did I say the right thing to my parents before they died? Yeah, did I? Did I helped that person when I could? Did I love myself enough? When I was scared to still go, Hey, I got you. I got you little chips. I got your little gem. Let's do what you want to do. Even the big Shivan beginner. I'm scared man. I don't know if this is right for me. But little shifts like hey, I want to go play and you're like, oh, no, no, we can't play we have to work a nine to five job. And that's what the society tells us to do. You can't do that to a kid, man.

Jennifer Logue:

We gotta respect the inner child within us.

Shivantha Wijesinha:

Yeah, you get it. It's exactly that I'm

Jennifer Logue:

on a journey to getting that Shavon like, I don't wanna I'm on a journey back to my inner child.

Shivantha Wijesinha:

Wow. That's so you understand? And just to circle back to your question. Giving up law was hard. Because I my entire community, my friends, my family thought it was bananas. That I left last career of stable career that I would have earned six figures at a certain point for a while I could have easily you know, going up to being a partner or whatever it is, and given the hours as I lost my youth to it. But that's the part that chose not to take because I was like, Nah, I would rather go to acting school and, you know, do whatever I have to do and and when I was in New York and $7.50 an hour, something stupid like that. But I'd rather do that and be true to myself and see what life brings me and trust, even though I'm terrified, because I was terrified. Wow. Yeah, I mean, but the option was either you work in an environment that is horrible for you. And that gives you anxiety and takes you to places that you don't want to go. Or you face the fear and still have the anxiety but you go well, I'm gonna try it anyway. You know,

Jennifer Logue:

what was it like studying at the American Academy of Dramatic Arts? You were there for a few years.

Shivantha Wijesinha:

I was. I was so American. The American Academy of Dramatic Arts is the oldest acting Conservatory in the English speaking world. It's the oldest United States it's about 130 something years old. I'm 35 years old. And they have to they have been nominated for something stupid like 90 Oscars a whole bunch of Emmys. It's just ridiculous. It's a it's a lot of people have gone on that score. And for me, I only applying to that school. So I flew up to New York. I went my audition and after that being a week in New York of celebrating Kenya with friends, they call it the school as it listen guys. I need to know Yeah, like did I get it because that was a turning point for me. I had done everything within my power to go in The direction that I wanted to go. And that's all you can do. Because at that point, say, the universe life makes the decision or Will, Will Will. There's an outcome that you can't control. You can make a song. You can control what you put in and the direction you want to go and just keep going. And if you hit a roadblock that you figure out, am I gonna go over it? By going around it? Am I gonna go through it? Am I turning back? And there's no shame in that? Yeah. So I did everything going to New York, auditioning. And we went by and as I hadn't heard that, I was gonna go back to Melbourne, I had to go back to law. Just need to know. Yeah, make it. And I call them and had to wait on hold for a while. And they said, Yeah, you got in. And I was like, Cool. Thank you guys. I'll see you. I'll see you in a few weeks. So when however many months, I had no, eight months, six months, because I have to come back to Melbourne at four jobs, who earn money to go. The first year we had 90 students, the second year, we win by the 270. And the third year 20. So it was like a mutation.

Jennifer Logue:

It's a conservatory. Yeah. Oh, that's intense.

Shivantha Wijesinha:

So I did theater for three years of my life, and I will learn the craft. And I got to discover me and my essence and express it in an environment that fostered and helped me nurture myself. And again, you know, just school, it's a little goldfish bowl like anywhere else. It doesn't prepare you for the rest of the world and real life. But it gives you a springboard off which to jump. And that's it. That's all you have. You know, you take the springboard your dive, and you don't know how people how turbulent waters are going to be. But hey, I got a springboard I can dive. You know, and that's what the school was. And I learnt a lot about myself and about the craft, and gotten me my first agent. And I just went from there.

Jennifer Logue:

So this is creative space. And I love asking this question of everyone, because everyone has a different perspective on creativity. How do you Shavon define creativity?

Shivantha Wijesinha:

When you define creativity? Well, for me, I think the backstory of creativity is that creativity is the ultimate purpose of life like we were created. Right. And it is Adam, right and a duty to create. And I think creativity is to be able to infuse a part of your soul and will fuse a part of your unique self and vulnerability into something that nobody else can do. You know, I think that will vary from person to person, and that there's something that's unique to you. And you have to be brave enough to infuse that part of self and do it and be able to express that and put yourself out there who will be judged, because everything is judged you are judged the word judges. But if you're brave enough to say no, this is what I have created, I have made this I was brave enough to spend the time when the rest of the world said don't do this, when the rest of the world tells you to do something else where you're like, No, I this is what I can do with my hands with my talents, with my gift, whatever that may be, then do something that nobody else can do. And be brave enough to find that space. And create I don't know if that's the definition, but that's kind of how I feel about it. So personal.

Jennifer Logue:

Creativity is personal. You know, we all have our own filters. Like we all put out something that's unique for the sum of our experiences. And

Shivantha Wijesinha:

yes, it is. And we are almost told, and the irony of being creative is that you know, people, people, when when people look, a lot of people look down on creativity, or it's also what am I trying to say here? I think people people would rather pay $5 for for beer or whatever it is then it is to buy someone's album or buy a piece of artwork. Or books, maybe maybe people will buy books, but unless you are a star or someone who's made it in the eyes of the public. You're not taken very seriously as an artist, right? So that is the burden you have to kind of keep pushing through and still be creative. Because the irony is I tell people Well if that's the case, well you go from week without watching Netflix without reading a book without listening to radio without listening to a podcast or listening to any music. Help Do it. Do it for a day.

Jennifer Logue:

Oh man, no one i Lee how the world's gonna look a lot less sparkly about any creativity in your life.

Shivantha Wijesinha:

Exactly. And those are all things that piece of art Book comic music films. That's what creativity. Yeah. Right. And when consuming what we consume and consume, and we consume, that no one sees that as creative. It's almost like it's our, our duty to entertain people. And it's not No, I'm not doing this entertain you, I couldn't care less for the entertainment, I'm gonna do this, because this is what feels right. For me, this is for me. I can help those who can actually get something from it, my God, I will do it. But my duty is not to make you entertained, you know, not for me at any rate. But if I can, if I can put a piece of my soul and I can put a piece of my viewpoint of life that can touch you, and it can help you look inward, then I will do it.

Jennifer Logue:

How does creativity come into play in your work as an actor?

Shivantha Wijesinha:

When you when you are given a brief when you're given a script? When you read it, you get a sense? Well, first of all, you're given like a blurb of what the director, the writer thinks the character looks like, you know, whether he's in a certain age, whether he is, you know, binary or certain characteristic traits, you can like, everyone has a different little thing that they give you. So you kind of look at that going, okay, that's what the director sees. But all the work is in the script, right? So I do a lot of homework first with the script and break it down and figure out what's happening each scene I forgot the arc of the character from start to finish, I know what because you know, what's happening with the story. And then, once you've understood basic needs of characters, basic relationships of other characters, basic ones, basic obstacles, basic, the story, then you can create, and then you infuse what, you know, is that an accident? You put him on an accident? That's a part of your creative flow, and that's yours, unless it says, No, he's from this place, and you have to behave like this. How does he walk? You can figure that one out. And let's play this. How does he? What is what his mannerisms like? Or what sort of vibe does he bring to the to the story like Is he is he the part where you make those choices? Those are the creative choices for me, like, for example, with, with the two characters that we spoke about in that Shakespeare, the way he walked one of them was different from the other the way the ones was different. The way his the way he carried himself was different, that were healing approach. The world was different. The unknown was, he approaches it with a sense of benevolence and joy and love. There's all creative choices that I made. Nobody told me that because it Shakespeare, Shakespeare doesn't give you a breakdown, and you just have to read it and kind of go, what's he saying? So once I understand what he saying, then I can figure out oh, he actually sees the world like this, he sees the world. Like, let's take the younger brother, for example. He sees the world as I have to take what's rightfully mine, before somebody else gets it. Yeah, that determines how we behave. So everything's a threat. Right? So those are the creative choices that I make. And then once I've made those choices I play every day. On stage, I would do something completely different every day. And people like UC actors will say the same line the same way, every day for the whole, gosh, damn duration of the play. And you're just like, you're playing, you're just a robot repeating lines in the same boring way. And it's not about the words. It's not about the words, genuine. Pensions, it's about what like, like, you can see any word right and you can say, Hello, right? And you can say if I didn't like it, but I thought all right. You know, like, if I wanted to be really gentle, I'm like, Hey, hi. Hello. You know, if my character wanted to flirt, they'd say different way if they wanted, you know, to get an ice cream from you, they'd say it in a complete different, it's not the word. It's the intentions behind the word. So once you understand what your intentions are, you can play it in however you wanted. I know in this scene, I want to get an ice cream from me. So I can try different things to get an ice cream, I can You can see my lines that can gain I can like, hey, I want the ice cream and like I want the ice cream and I want the ice cream, you know. So those are all choices that I bring into play. And then I can be like, oh, I want the ice cream. You know what I mean? You can say it's so many different ways. So that for me is playing and I can come in and I can maybe take five seconds. This time and look at you go, I want the ice cream.

Jennifer Logue:

I'm convinced you have actually been. What flavor do you want?

Shivantha Wijesinha:

Yeah, so you play, that's my play. That's so I will once I know what I want and what I'm fighting for what I need from the scene, I will do whatever I wanted every day is different for me, I will never do it the same unless it's a beyond take. And then you kind of have to be a little bit. It really varies. It depends on on the production, it depends on whether it's a comedy, whether it's a drama, you know, sometimes it's hugely emotional, but it's all play FME playing and being creative is doing something different, but the same each time but I've never do the same. And because then you've lost creativity, and you've lost play, and play. It's all about this is all about play, say playing when you play a song, you'll never played the same each time. When you record it. You've played it in a certain way. And you kind of stay true to it. But you were in different ways. And how boring would it be if I played the same way and sang the same note every night? No, it the crowds different, I gotta do something different. And that'll play something different, that crowds differently, and it is different to them or walk to the front of the stage and say my line this way, and you're different, you know, you got to move with the moment. That's what playing is for me brave enough to do that.

Jennifer Logue:

So what in the moment to move, you're

Shivantha Wijesinha:

brave, to move with whatever is happening in that moment. If your acting partner gives you something different, you got to go with it. Yes. If they accidentally dropped the glass, you can't just be like, I want my ice cream, like, oh, gosh, pick up the glass and we didn't want an ice cream. Up in the moment. You know, say something, be aware, be alive. Be aware, be present, be conscious. And that will help you play and be creative.

Jennifer Logue:

Luckily

Shivantha Wijesinha:

done all the homework and done all the work. And like 90% of acting for me is work like you do all the pre production as a character you make your choices. You decide your mannerisms and decide what you want you to say what you need. And you decide you know, where am I in a hot and cold where it what sort of isn't easy, because he is more like a kind of mechanic playing Coliban music like an animalistic kind of crude, cheesy, very gently feminine, you know, how does he talk like this? You bring to the table, right? The two things that I have learned, one is working one was working with deeper method, which is she brings a script, the actors that working she has that core now we're doing this and then the actors do it. She's like, No, we're not doing that. We're doing this now. And one of the actors, she was like, Oh my gosh, why can't you just give us the lines? And I'm like, no, because she's working with us. This is the best creative process. She's working with us. She's not doing only her wedding only us when meeting each other halfway based on what she brings and what who we are like, can't you see that?

Jennifer Logue:

That's beautiful, but a dream.

Shivantha Wijesinha:

It was beautiful. And then when I did one of my my readership, we had a production company in New York, and we produce five for five short films. But one of them the writer wrote it. And then when we rehearsed I was I was directing the act as like, I don't want you to read the lines. I don't care about lines. Yeah. What's happening in this scene? Oh, well, he's trying to he's, he's trying to hide the drugs. Okay, well, then hide the drugs, hide the drugs. I'm trying to look for them what's going on, hide the drugs, hide it from me, tell me something, make some excuses of I don't care. And so you actually find out what's really being said. And then once you say that, and the writer gets ideas, and then as the acting like, Oh, now in order to interpret the line if the writer keeps the line, because I've actually improved in of ad lidded, and I've actually fought from what the writer was going for? Because if you take the lines just as is it's a result.

Jennifer Logue:

Yeah. It's all it falls flat. Yeah, it's not life.

Shivantha Wijesinha:

No, no, it's it's not life. And you have to really say it in your own words to actually really for you as an actor to understand it. And then you can deliver it exactly. You understand the essence of what the writer is saying. And then the writer might be if the writer is open mind and be like, Oh, actually, maybe that's a better way of saying let's do that because that comes to you when it's ready. And I think that's a bit of actually that's how the character would say, you know, you're taking

Jennifer Logue:

me back to my my own Meisner class. You tell the you know what I was talking about when I was studying acting at Playhouse West. Yeah, that's all Meisner.

Shivantha Wijesinha:

Really. Yeah. Repetition and stuff. Oh, love it.

Jennifer Logue:

Repetition is like my favorite thing in the whole wide world. And I seriously just want to get a group together to do repetition once a week, or every day I could.

Shivantha Wijesinha:

I I love repetition. It's like It's like the healthy drug that I haven't had enough of. Yeah, yeah. Because it gets you so present. So repetition is one of the tools and again, just like playing with the orchestra record. Mission was the acting that changed my life. It brought me out of the world where I had to behave in a certain way I had to sit on my I felt I had to sit on my emotions that couldn't speak my truth. And repetition gave me the tools and the gateway to be brave enough to speak my truth in a safe environment. Yes, that is what changed my life. Again, another another cog in the wheel, another Shifting Gears of pushing. I can be authentic, even though the entire world is terrified of authenticity. And they don't want you to do certain things. And you can't speak your truth. You're not supposed to speak your truth. Say no, why not? Why can't they? And then I found repetition. Oh, my gosh, I can actually say, whatever I think of you in this moment, because it's the work it's not personnel. And I can see I can allow myself to feel actually saw

Jennifer Logue:

your gut. Like, actually, yeah. And the thing is, when you work, like when you go back to the real world, and you're operating under those pretenses, if you're not practicing repetition, every day, you start losing it. So you know, but I was so sharp when I was doing it every day. I mean, just I've never felt more alive. I was better as a human. Like acting aside, I just thought it's changed my life as a human being. I'm like, wow.

Shivantha Wijesinha:

So I teach one day a week at an acting school here. Oh, that's so cool. Love it. I love it. And the new semester is starting and the kids are like, do you do Meisner analysis? We word human repetition the like, yeah, and has ended up repetition. course for us, and let me figure this one out. So it's my next hurdle. Later, I'm going to sit down and figure out an eight week master course for these kids, and bring repetition into my life.

Jennifer Logue:

Oh, my gosh, game changing their lives. And I'm so excited for them.

Shivantha Wijesinha:

Again, I feel like I'm giving, I think giving of creativity and giving of yourself is so important. But also by giving. I get so much richness as a human being do and become a better actor. Through all of that. That's not my aim, and my teaching them to be a better actor, but by teaching them and finding the joy in giving to them. I'm actually becoming richer and becoming a better actor. And it's just a win win. Man, this is so amazing. I'm so happy to repetition.

Jennifer Logue:

That's so beautiful. You're teaching Oh, there's a lucky. What is the greatest challenge you face in your work day to day?

Shivantha Wijesinha:

I get distracted. A lot. Okay, learning with time to be able to go oh, okay, I need this. This is what I'm doing. And I need to just be really quite cold hearted with what I'm doing and get there. Because otherwise I'm like, have you seen the film up?

Jennifer Logue:

Yes, but a long time ago.

Shivantha Wijesinha:

There's a dog, whose name's Doug. And he goes, please was up my master. And he's a squirrel, right? I get distracted. You know, I'm just like working on this. And I'm like, oh, yeah, no, I need to figure that one out. And then you do. So that for me is a personal challenge.

Jennifer Logue:

So we talked about greatest challenges. What is the greatest joy? About your work? Did it day to day I mean, we talked about so much joy in this conversation already.

Shivantha Wijesinha:

I think Joy, Joy should not be mistaken with being as an emotion in the moment, oh my god, I'm so happy. That's that's kind of joy but I think Joy really, if you can find joy in small things, like gratitude. That for me is an extended, slow release version of joy. You know, and then there are moments where it just shoots up you're like, oh my gosh, that was so amazing. Like that was like, I'm so happy that was so wonderful. But if you can just be eco they realize that you have all your faculties. You have your hands, you have your face, you have your body works. That gives me a joy. I have I have a roof over my head that gives me joy I have my wife that brings that makes me a better human being. She grounds me she helps me she we discuss life together. We discuss each other together we check in with each other. That gives me joy. I'm joyous that in this moment I have spending celebrating my life with a beautiful human being. I have joined my parents are alive. You know, I have joy that I am doing this with you and like, I'm really grateful, like, when you reach out to me, I was like, wow, wow, I'd love to do it. But Jen, you know, I'm, you know, no jokes apart, like, these are things that I don't take any of this for granted, it's like, because it's these things are given to me, Jen, bye by God or whatever you want to call it, it comes to you. And that gives me happiness really. And then when I but if you want to know what gives me joy, I went out on stage and got that guitar in my hand, I'm like, What's worse, am just the little diva on stage and I get to play and I get to go out and walk around the stage of my buildings. And I get to walk around the stage and I can do whatever it is that I need to do. And that gives me a sense of heightened exhilaration that music can only give and that energy of giving to the audience and the energy of receiving and that communication and the video, the pot message and be able to impart some wisdom and take something from that is for me the most exhilarating thing so that gives me joy and an unparalleled way.

Jennifer Logue:

Oh my gosh, she want that your joy is so contagious. I absolutely love it. I love it. I love it. My heart is so full right now.

Shivantha Wijesinha:

Lovely. I'm so happy. I'm so yeah, like, like I'm being I'm actually beaming in this moment. You know, it was just happiness. So yeah. You were

Jennifer Logue:

selected to narrate the seven Moon moons of Mali Almeda, the 2022 Booker Prize winning book. Yes. Which is a big deal in the world of literature. Do you want to educate our listeners about that?

Shivantha Wijesinha:

So the Booker Prize is, is a book that's okay. It's it's a book that's awarded each year to the best fiction novel written in English. And I think the prerequisites there has to be published in the United Kingdom. But it's open to the entire world. Yeah, it used to be the it used to be only England and it was the Commonwealth. And then now it's just anyone in the world. So it's pretty much the best fiction book that's selected by one of the oldest oldest book judging. What's the word? I'm looking for a book, judging, not communities, but like panels shall be saying. And it's extremely prestigious, because the person who wins it gets 500,000 pounds or something ridiculous. Like that was ridiculous amounts of money. It's huge. It's huge. So, this year 2022. The book was won. The Booker Prize was won by a Sri Lankan author by the name of Shan Karna. felucca, and the book is called The Seven News, Amalia Mela. And I was got the call on Wednesday from agency Hey, listen, ship this book. This book came through as a narration like, oh, yeah, sure. Let me see it. And like, Oh, yeah. Then I call my dad typical show I can when it's a call she had Yeah, he actually studied in this New Zealand because his dad is actually a friend of mine who went and he started with this person who you know, and I was like, oh, cool, okay. You end up doing a lot of people in that world, but obviously, I don't know him. I've never met him in my life. And so audition on Wednesday, Thursday, they give me the job, and then start Friday. And I said, Whoa, I need I need time, because I need to read this book. Because they're 30 characters. Wow, ridiculous like that. And the worst thing that you you don't want to be reading this thing, sing songs from England. And then you know, you give them a dirty sort of, you know, I mean, like a, like a, like a, a piece of accent. And then you find that later on, they're naturally when they're from Manchester something like Oh, God. So you want to be able to get your notes down and you want to when you're writing stuff going, Oh, of that, that person reminds me of this, the voices kind of placed up here, as opposed to of right down there, or whatever it is that you want to do, or whether it's on this side of your mouth, you know, you've got to the person is or how do they speak? Or, you know, are they really slow and really dopey? Like, what, whatever the character you want to pick for that in that moment. So I was like, trying to read this thing like the three in the morning trying to figure out the time stay ahead and read the book. Otherwise, I'm reading it in real time. Anyway, I wish we narrated in, we did it. I sent it out, and it has got they have sold a lot more copies and the reviews have been coming through Jen it's like Sravanthi has it's that they were chasing does an amazing job and shenana brings his book to life and out of five like 4.8 something and the author's 4.5 hours of it. Not that it matters. I don't care but like the If my first ever narration Wow, Booker Prize

Jennifer Logue:

prize incredible

Shivantha Wijesinha:

was given this and not just like, I don't know if some some Blinky Bill comes to town or you know, a little children's book about his dog.

Jennifer Logue:

I think things are coming together for you. They're really coming together fast. Well, it's been a while you've been preparing for this for a long time, but it just seems like it's building now. The momentum is really building.

Shivantha Wijesinha:

It's it is in, you know, I think was Naomi Watts was interviewed, or someone was interviewed, and they said, Wow, see, now maybe you're like, an overnight success, you know? And I'm a 13 year overnight success. So for me, I've been doing this for 2025 years. Yes. Yeah. No, I mean, like, I met you, like 1817 years ago.

Jennifer Logue:

I can't believe that. That's

Shivantha Wijesinha:

right. So I'm still I'm still at it. I'm still doing it. And you know, it's but enjoying enjoying the reading. And it's open doors. I got an email from Penguin in the UK wanting me to narrate something else. The audio, the publishing company, he was like, Hey, can you come in in January and do some auditions? I was like, Yeah, bring it on, man. Let's do a video thing.

Jennifer Logue:

So click the View, recording some of it and you were you came to life? Like you really? I mean? Yeah. Incredible. I mean, anyone who has, you know, read their book, I think is blessed. They're getting a blessing too.

Shivantha Wijesinha:

I think, yeah. Means a lot. I appreciate it. Yeah, if you get a chance to listen to edits, look for it online. And you can download it on almost any any one of the audio platforms. I think Amazon everywhere. Just put seven moons seven moons Booker Prize audio book, and we'll find it up wasted, I think. And then the papers, the bullets here. That's what it looks like. That's. And I think my name is somewhere here. And then the back. Yes. Yeah. My name on it as well, which is really cool.

Jennifer Logue:

So cool.

Shivantha Wijesinha:

It's really cool. Yeah. So yeah. It's based on the Civil War, SriLanka. And since like I suffered for 27 years. Civil War, which is the reason we almost had to leave Sri Lanka, because I've heard suicide bombs going off. I've seen the remains of dead people on the street, like I know, people who have died. I know people who have been abducted and other people, you know, like, I've seen it all. And I lived through all of it. I've lived through times when there was no electricity when it was no water. Wow. And I've lived through all of that. And yeah, it was a it was a it was a tough time when they were military checkpoints all the time. And people are, you know, people are vanishing off the streets. It was full on, you know. So the voice itself has taken a toll on me, like millions of people have suffered and struggled. And that's something that a lot of people don't see and can understand. And you can read about what's going on in Ukraine. But like unless you live, you don't understand it. I have lived it. And this book is set under that in the backdrop just just like funny boys actually sit on the backdrop of the Sri Lankan Civil War. I didn't realize that you go to my big projects based on that. So

Jennifer Logue:

yeah, I'm glad you provided that context.

Shivantha Wijesinha:

Yes. Yeah. I thought it was important. So check it out. It's awesome. It's a getting a really good book. I really enjoyed it.

Jennifer Logue:

Yeah, I'm excited to check it out. And you also starred in the latest Mad Max film Furiosa. We talked about it a little bit. Was there anything else you wanted to talk about?

Shivantha Wijesinha:

Well, with Mad Max, the only thing is that, you know, it's George Miller. It's, it's a big film. And I was handpicked as I went for the audition, I had the callback and I remember working with Monica Police who has the right to them, and we're literally in the first met Max. And it was just him on trailer. It was lovely. I felt like, again, it's not not to. I'm not bragging. I'm just really humble. You know, I'm actually genuinely feel like I'm blessed like you are. I was flown to Sydney I was looked after I was not treated badly. I was, you know, I set with George Miller and his trailer and you know, at the end of the film said it was lovely working with good actors. And I said, Well, Georgia, we got to do this again. He's like, you never know. So it was just really a wonderful, wonderful experience at the highest level and I meant budget, beautiful human beings and it was a highlight. It's a highlight for me to say I worked on that and I will always treasure that experience and prepares me for the next as I sell anyone my next role is my best role to date. The next film I make is the next film my best film today the next gig I plays my best gig today but you've got to look at it like that and move on to the next one take the energy of go,

Jennifer Logue:

seeking go a little further. keep raising the bar every time I love that. What advice do you have for actors just starting out

Shivantha Wijesinha:

acting is hard work for many reasons. It's there's a joy that comes with it. There's beauty that comes in it's not all fame. It's not all don't do it for fame. Don't do it for fame. It's the wrong reasons do it for the right reasons if you don't know what they are find them find it. Because people see this the tip of the iceberg they see the Brad Pitt's they see that Angelina Jolie's they see whoever in the lights and they associate that with worth. And that's not worth. That's the years of hard work that someone has done. Or it's just the way it was their time, late late, Daniel Radcliffe looked very irregular, if it was his time to shine is Harry Potter. But it's not all fun and games. So be prepared. If you want to be an actor, it's a sacrifice. The beautiful thing is that you are your own person you get to be you. If you're brave enough to find out who you are, do it. Be prepared for the ups and the downs and be prepared to stick it out for the long haul. Because it's not like an overnight success. It isn't unless you get it. And if you get it, then you won't know what you're fighting for. And you won't understand what you've got. And then you might just go down the wrong path. And if you get it when you're lucky. Yeah, great, good for you. But be prepared to work hard. Be prepared to look at it like a craft. Work on it every day, watch films, read books, read plays, use your imagination. Take a script, break it down, do the work, practice, practice, practice, practice. And did I say practice?

Jennifer Logue:

Amazing, amazing advice. What's next year Shavon.

Shivantha Wijesinha:

I am going into the studio to record my new EP with the band. It's called Shiva and the dark southern that's the name of the band. And we're taking myself some clarity and we're making it into a rock version of it. That's on the short term, the medium term is getting myself as a musician into a place where I am playing bigger gigs, I'm earning more money and I'm reaching more people. And then what's next next to me on a global scale is maximizing more of my potential. Going further in the direction that I want to go in. I would love to be able to be working on a TV series. You know, that's my aim. I want to be a lead actor on a TV series and in the film. So I'm working towards that every day. When it comes, you just have to be prepared. I have to make sure that luck is when preparation meets opportunity. Yes. What I said, and somebody else equally wise quoted. And so in the pipeline, it's just balancing appreciating the small things along the way. Yeah.

Jennifer Logue:

Should I be such a beautiful spirit? I'm so inspired by you. Oh my gosh, I'm so glad that we met all those years ago because yeah, you're such a beautiful soul.

Shivantha Wijesinha:

Thank you. Likewise. Likewise. I'm glad you found me again. And I'm glad we're doing this. Thank you so much. Yeah, thank you genuinely,

Jennifer Logue:

thank you for doing this. Oh my goodness. absolute joy. For more on ch Avantha. Visit Shabbat the.com. And thank you so much for tuning in and growing in creativity with us. I'd love to know what you thought of today's episode. What you found most interesting what you found most helpful. You can reach out to me on social media at Jennifer Logue or leave a review for creative space on Apple podcasts so more people can discover it. I appreciate you so much for being here in the beginning stages of this. My name is Jennifer Logue and thanks for listening to this episode of creative space. Until next time

Introduction
How we first met
Growing up in Sri Lanka
The innocence of life before the internet
Following the sound of the drums
Leaving law behind for acting
Trusting even when you’re terrified
Studying at the American Academy of Dramatic Arts
Shivantha’s definition of creativity
Imagining a world without art
The creative process of an actor
It’s not about the words
You have to move with the moment
What he learned from working with Deepa Mehta
The beauty of Sanford Meisner’s repetition exercise
Becoming a better actor by teaching
The greatest challenge in day-to-day work
Finding joy in the small things
Narrating ‘The Seven Moons of Maali Almeida’
The myth of overnight success
The civil war in Sri Lanka
Working on the latest Mad Max film, ‘Furiosa’
Your next role is your best role
Advice for actors just starting out
What’s next for Shivantha