A Quote by Colin Baker

If you turn down work because you are frightened of getting typecast, you'll never do anything good. — © Colin Baker
If you turn down work because you are frightened of getting typecast, you'll never do anything good.
I think it's still hard for me to turn down work if it's really good because for so many years I was so desperate to get a job and couldn't and so it's kind of an anathema for me to turn down work.
I think it's still hard for me to turn down work if it's really good because for so many years I was desperate to get a job and couldn't, so I think it's anathema for me to turn down work if I think it's really good.
I never turn down scripts without good reason. If I did, I would probably never work.
I am conscious about not getting typecast, but obviously I have to keep picking up great roles so that I don't get typecast.
There was something I was always very good at, however, and that was teaching myself not to be frightened while frightening things are going on. It is difficult to do this, but I had learned. It is simply a matter of putting one’s fear aside, like the vegetable on the plate you don’t want to touch until all of your rice and chicken are gone, and getting frightened later, when one is out of danger. Sometimes I imagine I will be frightened for the rest of my life because of all of the fear I put aside during my time in Stain’d-by-the-Sea.
I'm not sought after. I never get enough work. It's the history of my career. There just isn't anything to turn down, let me put it that way.
If you're not frightened that you might fail, you'll never do the job. If you're frightened, you'll work like crazy.
Great directors turn in mediocre work, and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know. You just have to go with a good story and a script that you like and people that you like to work with.
You can never plan anything, you're never guaranteed anything. As long as I'm getting the work and it's quality then I'm happy. But you never know.
Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something—anything—down on paper. What I’ve learned to do when I sit down to work on a shitty first draft is to quiet the voices in my head.
Unfortunately, I think I'm going to be typecast in Hollywood as the kid who can cry. I don't like putting audiences through those emotional ups and downs. I don't want people to think Dana Hill is so depressing all she does is cry. But the parts are so good, I can't turn them down.
I never wanted to do Shakespeare; I never liked watching it, it's always frightened me, and I've never been any good at it. But I really wanted to work with the director Tim Carroll and Mark Rylance.
I feel that I have not got my due in films. However, I did a lot of good work on television and that's why I never got typecast.
Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.
I never want to turn something down because I'm afraid to do it, because of some idea of image or whatever. That was never anything I set out to do. In fact, the opposite, I always want to confuse people in terms of any kind of image and be unpredictable in any kind of movie I make.
When a writer's whole being is poured into a piece of work, there is never enough. The feeling of finally getting to the end of a piece of work, of making it as good as you can at that moment, is more of a relief than anything else, and then you wait for reviews.
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