A Quote by Bill Bailey
In 1994 I was doing a two-hander with Sean Lock in Edinburgh and there were more people in the cast than the audience. It was pretty grim, quite a chastening experience.
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Going to Edinburgh when I was at university and seeing people who were my age just getting up and doing what they wanted to do, was quite a clincher for me.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
My mum was critical in getting me to recognise very early on that although what I was doing was pretty serious, quite selfish, and probably to most people pretty obsessive, there actually was more to life than running quickly twice round a track.
I love that drag is a way for people to vacation in the gay nightlife, but... it's quite a different experience to perform for a gay audience than a straight audience.
Models have a stigma that they can't act. You're also, to be quite blunt, you're tall and not a lot of actors are tall and when you are starting out you're obviously not the first one cast, so you're trying to fit into a mold. You're quite often not cast as the quirky best friend, but you don't have the experience to be cast as the lead. So it can be really tricky. One of the biggest things is just to get your people, so to speak, your agents and managers to take you seriously. That's one of the issues I had when I came out to LA.
Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.
When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.
I once waited on Sean Connery. A long time ago. This was at the Caledonian Hotel in Edinburgh. They closed down the restaurant for him, and when he walked in with his morning paper, all the waitresses started squealing. He was a big guy, bigger than in the movies.
I'm starting to play lots more naturalistic, realistic people than when I first started. Maybe because I was doing character comedy shows, and I was doing slightly weird, oddball characters with weird accents, those were the characters that I got cast to play - which made perfect sense.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
More often than not, I get cast as quite Machiavellian roles - it's something about my face; I'm quite shifty or something!
He's a guy's guy, so it pretty much became like the impressions - don't imitate Sean Connery's voice, and things like that. We were all kind of doing it towards the end of the film, anyway, and he was cool with it.
We need more extreme movies in Sweden. Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.
We need more extreme movies in Sweden.Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.
Home gigs can be hard because it's an odd collision. More than anything, I feel self-conscious when my family are in the audience. I'm doing this job which is not quite acting - part of it is me, part performance. You're presenting a cartoon of yourself to people who know you as a line-drawing.
I spoke to Sean Hannity, which everybody refuses to call Sean Hannity. I had numerous conversations with Sean Hannity at Fox. And Sean Hannity said - and he called me the other day - and I spoke to him about [war in Iraq] - he said you were totally against the war, because he was for the war.
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