A big fear of working with an actor that's never been a lead in a film before is that you're going to have to work really hard to pull a performance out of her.
I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from there.
Turning pro is a mindset. If we are struggling with fear, self-sabotage, procrastination, self-doubt, etc., the problem is, we're thinking like amateurs. Amateurs don't show up. Amateurs crap out. Amateurs let adversity defeat them. The pro thinks di...
I think fear is unavoidable and that, when recognized and embraced, it's something that can work for you - especially in the audition room.
Here is a fear for me, I never wanted to be one of those guys that was defined by a body of work 20 years old.
I don't think a system or a government should fear critical opinions or views. Only by heeding those critical views would it be possible for us to further improve our work and make further progress.
I did become quite well known from 'Four Weddings and a Funeral', and it helped hugely. I wasn't as famous as Hugh Grant, but I certainly began to work.
I studied Japanese language and culture in college and graduate school, and afterward went to work in Tokyo, where I met a young man whose father was a famous businessman and whose mother was a geisha. He and I never discussed his parentage, which wa...
Quite frankly, I didn't become an actor to become a movie star. I have never dreamed about being the most famous person on the planet. I just want to do really good work.
George Harrison was also a pleasure to work with. He was one of the most famous people I've ever known, but in spite of that fame, he was such a nice and friendly guy.
When I started out as a model, I took things for granted. Because I bagged work thanks to my looks, I didn't give my body any importance. I was a couch potato who'd eat anything. Then, in 2005, a tabloid ran a story calling me fat. I thought, 'I'm fa...
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
Edgar Degas's famous sculpture, 'Little Dancer Aged Fourteen,' served as my muse for 'The Painted Girls.' I came upon a television documentary on the work, and as someone who held the sculpture in high esteem and who largely considered ballet to be t...
Its only when you are a great actor and are recognised for your good work that you become famous. Unless you are in the news for the wrong reasons!
It's not a matter of becoming a superstar. Fame and money aren't the purpose of all this. No actor's going to say, 'I don't want to be famous.' But the main purpose for doing what I'm doing is the passion in the work.
I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.
When you work with actors, what you're hoping to absorb is good ways to be an actor as opposed to how to handle being famous.
I'm just a guy who happens to work in public from time to time. I've built a reputation as an established comic, not as a celebrity - a celebrity is someone who is famous but doesn't do anything.
I'm not the most famous guy in the world; my work is spread out across different mediums, and I never write the same kind of story and rarely even do the same character from one year to the next.
I went from being totally unknown and never acting professionally to being in a major movie and being very famous. It all happened so quickly, I didn't have any time to work things out. It's been pretty scary at times.
Exposure makes you famous, not just good work. Famous is being plastered everywhere.
