I'm supposed to be the director of a television company, but I've only ever seen that company as a vehicle for making the kind of programmes we wanted to make, getting our ideas on the screen.
The key factor is whether the agent is a member of the Association of Authors' Representatives, which screens its members and requires them to uphold a Canon of Ethics.
I didn't get my first pilot that I screen-tested for, and I really thought it was the end of the world. But it's fine, you know, you move on to something else.
On 'Glee,' the director can be like, 'Hey, your face is looking a little too intense here.' And they can show me the screen, and I can be like, 'I know exactly what to do here.'
I learnt a lot about how to negotiate the camera: everyone had told me an actor doesn't really need to do anything on screen, but I realised that wasn't true. If you do nothing, it's boring.
I don't like to watch myself on screen because in my mind there is a touch of George Clooney about me, but when I see it, there is more than a little Donkey from 'Shrek' about me.
If the screen does not make room for me in the structure of their screenplay, I'll step out. I'll step back. I'd step back. I couldn't do it. I just couldn't do it.
Sticking to my schedule, I've gotten over seven months ahead, which allowed me to write a 'Pearls Before Swine' movie script for the big screen.
You know you are a human when a beautiful image appearing on television/computer/smartphone/tab screen appears more alive than a living being. Basically, we are stupid.
I'm almost tempted, when I'm playing a real person, not to meet them. Afterwards, maybe. But, the job is the same. You still have to show up on screen and be alive and real and all that stuff.
Being an actor: that's a pretty big net. That's a big playing field. The Screen Actors' Guild is filled with many, many, many, many people and vastly different careers.
There's something about the impact of a big screen that means something to me, even though I realize almost every film is fated to be seen for a year in theaters, and then forever after on television.
As a dancer, it's hard because there's such a perfectionist quality that you really have to let go of while you're acting, because nobody wants to a watch a perfect person on screen.
Writing is like giving yourself homework, really hard homework, every day, for the rest of your life. You want glamorous? Throw glitter at the computer screen.
You never really know until you put the movie in front of an audience. I am a big advocate of screenings, which are getting harder and harder to do nowadays.
It's really odd to be up close to an icon like Bruce Willis. You're used to seeing him on a screen, 50 feet tall. To think, 'Hmm, I'm taller than you are' is just weird.
As soon as people see my face on a movie screen, they knew two things: first, I'm not going to get the girl, and second, I'll get a cheap funeral before the picture is over.
There's something that people misunderstand about screen quotas. It's not about rejecting or hating other countries' films, but about protecting our domestic film industry.
A first kiss is hard to fake on screen. It's tempting to practice before you shoot, but why blow that natural awkwardness on a rehearsal? There's something so beautiful about it that can't be faked.
[As a very young man, I thought] of Europe as a place that could not exist except in the imagination, in glorious dreams, and through the careful lies of the silver screen.
We made the joke when we screened 'Bucket List' that there was 100% desire to see amongst our demographic with a 40% ability to get them to see it.
