A Quote by Benjamin Bratt
I have always been of the mind that good work is good work, whether performed on stage, on television or in film and, like any reasonable actor, I keep my options open.
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There's a lot of great stuff on television and that's very appealing to actors who want to work, who do good quality and high quality work. But you're always concerned that the time demands on television will interrupt or interfere with your film work.
I think you know, to not open your mind to television is silly because there's so much good work happening on television.
I started off on stage because it was the only work I could get. I haven't been back for 11 years. I think any stage experience is good experience, as far as being an actor is concerned.
The only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
At the end of the day, I'm an actor. I'm not here to sell other stuff or use off-screen things to generate whether or not I work. If I'm any good, I'll work; if I'm not, I won't.
I always keep my mind open. For me, a mind has to work like like a parachute, works only if it's open.
Even though I'm an actor, I've gone to productions where there has been someone whose work is known in film, and you can't take your eyes off them. It unbalances the production. Whether they're good or not, it doesn't matter.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
You get work however you get work. People keep working, in a freelance world, and more and more of today's world is freelance, because their work is good, and because they are easy to get along with, and because they deliver the work on time. And you don't even need all three. Two out of three is fine. People will tolerate how unpleasant you are if your work is good and you deliver it on time. They'll forgive the lateness of the work if it's good, and if they like you. And you don't have to be as good as the others if you're on time and it's always a pleasure to hear from you.
As an actor, you want to be open to the unexpected. So in order to be open to that, you do have to get out of your discursive mind just like in any creative process, this isn't just about acting. So you have to learn a little bit how to work with your own mind.
It must be a good thing to die conscious of having performed some real good, and to know that by this work one will live, at least in the memory of some, and will have left a good example to those that come after. A work that is good-it may not be eternal, but the thought expressed in it is, and the work itself will certainly remain in existence for a long, long time; and if afterwards others arise, they can do no better than follow in the footsteps of such predecessors and do their work in the same way.
To do stories that I love, scripts that I love, and work with people who are passionate about them and passionate about projects - whether that's on stage or television or film, that's the kind of environment I want to work in.
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