A Quote by Bruce McGill

When I got the offer to do 'Weird Ernie' in the pilot, I was living in New York, and somebody had made a mistake, and they made an offer that was supposed to be $2,500 for the job, but they offered $25,000. I couldn't turn that down. I'd never heard of anything like that!
I would be delighted to show my film in the Viennale. I do not offer press kits. I do not offer stills. I do not offer screeners. I do not offer DVD's. I do not offer posters. I require a first-class flight to bring the print however I do not offer any photo ops or press exchange in any way. My fee for showing my film is $35,000 dollars US.
My loss to Marquardt was just one of those things. I made a mistake and got caught. I think I had a lot more to offer in that fight, but he caught me before I had a chance to show it.
Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.
'Law & Order' was so very interesting to me because what I got to do was explore New York along with getting to work with some of the best actors New York City had to offer.
I've always said that if I could have made a living someway in gospel music, I would have loved to had that break, but it never was offered to me, a job in that field, so naturally, I got lost on that other road.
I was willing to go just about anywhere in the U.S. for the best job - except New York City. Of course, I received a job offer from GM - in New York City.
I had a pretty poor self-image for a long time. I broke into acting as a model in New York. I was never anything like a "supermodel," but I made a living at it for a couple years. The thing was, I was convinced that I was tricking everyone into thinking I was attractive.
Captain Huston and myself have spent over $200,000 in strengthening the Yankees since we purchased the club. We paid $37,500 for Frank Baker; we paid $25,000 for Lee Magee, and we have got rid of a young fortune on other players who couldn't deliver the goods. And we have had some of the most frightful luck I ever heard of.
I've never been offered a job that I turned down and regretted. I didn't have Stanley Kubrick offer me something and me say no.
For God's sakes, quit worrying about your next job. Just do the best you can at the job you have now, and the offers will come. And when they do, if you have confidence in yourself you don't have to feel that you can't turn it down if it isn't quite right for you because you fear you'll never get another offer. You will. Wait for the right opportunity, and turn down all the rest. It will make all the difference.
I love the theater, and I did tons of theater before I ever did anything in front of the camera, but I haven't done anything in New York in a while, and I really, really want to. I've been offered a few things, but it's got to be something that works, because it's so disruptive to the family that it's got to be something that I cannot turn down.
When I was forty, I was getting divorced, living in a low-class, dirty hotel in New York. My mother was dying of cancer. I owed $20,000. That was about the lowest. I came back to show business, and I couldn't get a job. I was turned down by every small-time agent in New York.
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
I always had this romantic notion of living in New York. I just felt like, everyone could be different and weird and whatever they are in New York.
The biggest mistake, in general, I've made, is to put too much of a weighting on someone's talent and not enough on their personality. And I've made that mistake several times. I think it actually matters whether somebody has a good heart, it really does. I've made the mistake of thinking that it's sometimes just about the brain.
And that's the soulful thing about playing: you offer something to somebody. You don't know if they'll like it, but you offer it.
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