Oh wow, Persepolis, that’s one epic backdrop for a story, isn’t it? I’m drawn to a role in a forgotten civilization because it’s like stepping onto a living set of myths—every stone has a secret, and the whole place feels like a character itself. I love that feeling of uncovering something ancient and making it feel fresh for today’s audience. When it comes to balancing accuracy and drama, I think of it as a dance: you respect the rhythm of history, but you’re allowed to twirl in your own style. I’d start with solid research, talk to historians, look at the real artifacts—because if you’re going to rewrite a story, you need a good grasp of the facts. Then I’d find the emotional core that connects those facts to modern viewers: a love story, a battle of wills, a simple human struggle. That’s where I’d inject the drama. So you keep the bones of the past intact, but you let the flesh of the story breathe. That’s the sweet spot, where the audience feels both educated and entertained.

I’d love to lift the curtain on the tale of a young Persian princess who’d been told the city’s only true magic is in its silence. Imagine her, standing among the columns, hearing the ancient whispers and deciding to fight for the right to write her own story. I’d blend the real Persian legends—maybe a nod to the famed “Mithra” rituals—into that, so the myth feels alive but still grounded. The goal would be to make the audience feel the echo of those cracked stones while rooting for a character who’s as modern as she is mythic.