A Quote by Alyssa Milano
People on series are now given a lot more opportunities, sometimes more than film actors.
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There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.
The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.
People forget actors can adapt and change their appearance. In this industry, people sometimes cast to type, or as close to type as possible, but actors are a lot more versatile than you think!
The way the recession has affected Hollywood, a lot of actors that had robust opportunities before in film no longer have such plum options, so cable has done a good job of becoming a happy medium for artists deemed film actors.
Once a film gets into production, the actors sometimes begin to have more input than a writer does.
There are more women editors than people realise. I think we're more able to keep our eye on what the film needs. Between men, sometimes it's a real ego battle, and that's very bad for the film.
The idea is to make the script out of a political analysis and then to convey that - sometimes in poetry, sometimes science, sometimes all it takes is a film. The film itself is less and less spectacular because I think very strongly now the more spectacular you are, the more you are absorbed by the things you are trying to destroy.
I think the unemployment rate for actors is pretty much the same in Sydney, London and New York. In all three cities, there are more actors than there are jobs. But I do think that there are far more acting opportunities in London and New York than in Sydney, where there are approximately seven actors that you see over and over again in every play.
Television in the 1960s & 70s had just as much dross and the programmes were a lot more tediously patronising than they are now. Memory truncates occasional gems into a glittering skein of brilliance. More television, more channels means more good television and, of course, more bad. The same equation applies to publishing, film and, I expect, sumo wrestling.
Film actors are, by nature, more complicated than stage actors.
I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.
I know there's pros and cons to Trump, and people talk crap that he's had a lot of failed businesses, but failing a lot sometimes means you've tried more. And a lot of those people have succeeded more times than they failed.
Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.
A lot of people do get stuck on the idea that they can't pour energy into something unless they own it. Given the current situation, property ownership is getting more and more unlikely. And it is not the essential part. If you're able to roll with adaption, and build the skill base of being a really useful person, there are so many more opportunities. And that's a skill for the future, because that's what the world is going to be like.
A real capitalist knows that $10 given today does a lot more good than $100 given 10 years from now.
For me, it's easier to like more things than to dislike them; I'm not a critic in that sense. I find it easier to like more, to be more open and enjoy more things, which has given me more opportunities.
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