A Quote by Albert Brooks
'Drive' came to me because the casting director knew my manager and called and said, 'You've always talked to me about Albert wanting to play the heavy. I think he should read this.' My ears just perked up.
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The Dead was cool, It's a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.
I came in on this movie after there had been a director and I came in after Tom Courtenay had talked to Ron Harwood about making a movie. So, you know Tom and Albert Finney had been friends since the beginning of their career as they became stars around the same time - Tom always reminds me that Albert was first with Saturday Night and Sunday Morning and then Tom with The Long Distance Runner.
What crystallized the importance of speaking out like that - of making nonviolence not just a tool or a tactic, but a way of life - was in San Diego [at Comic-Con]. One of the young girls who marched with us was wearing a hijab, and she came up to me afterward because I talked about my beard, and I talked about why I was doing it, and she came up and she gave me a hug, and she was crying. And she said, "Thank you. You have no idea how the other students treat me because they're shown that this is OK by Donald Trump. Thank you for speaking out."
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
I was mid-sentence when the casting director said, "Listen, kid. You should not be an actress. You are not pretty enough. You should go back to wherever you came from and you should go to school. You don't have it." She was very blunt - I honestly think that she thought she was doing me a favor.
The director of the [Grimm] pilot called me in. I had worked on a pilot called Love Bites with him, and the producers I worked on with on Hot In Cleveland, so they knew me from comedic worlds, and they wanted someone who could be light too. Because it is pretty heavy.
I randomly went to a casting session in my hometown in North Carolina, and the casting director introduced me to my manager. I really lucked into it!
I used to rent a house in Princeton, New Jersey, and whenever people came to visit me, I would drive them past Albert Einstein's house, which is the most ordinary house in Princeton - a house, let me assure you, that now a salesman wouldn't live in. I'd always say, "That was Albert Einstein's house." And they'd say, "What do you mean? Why would Albert Einstein live in a little house like that?" And I'd always say to people, "Because he didn't care!"
But, yeah, it was just the regular audition process. There were a couple people telling me about it and that they were looking for the actors, but my manager is pretty good at sorting that out. And, (casting director) Rene Haynes cast me in Into the West, and she's always kept in touch and been a real big supporter of my career.
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
I did so many interviews and auditions for films, and it was just zilch. Nothing I did impressed anybody! I could just feel it. It was always, 'Okay, thank you, Mr. Lloyd.' Then, out of the blue, 'Cuckoo's Nest' came to cast. A casting director who sent me up for different things over the years sent me up for that, and it just clicked.
Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"
I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.
I'm not saying that I'm the grand genius that came in on a float and made it happen, but they liked my pitch. I was on my way to a camping trip with my daughter when my agent called and said, "This thing came up and it's really wild and crazy, do you want to read it?" And, I said, "Yeah, why don't you just send it to me? But, I'm going on this camping trip, so I probably won't be able to read it until I get back."
At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.
At drama school, a casting director asked the class to walk round the room one at a time, and we had to imagine who they might be. The two before me were described as a doctor and a businessman, but when it came to me, they said homeless person. That was when I thought I'd better do something about my appearance!
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