A Quote by Danielle Fishel
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
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I'd never played a character as long as I played Poussey. Spending time with her, so much time embodying that character, it was so - and still is and always will be - so special to me and a part of who I am.
I used to play the drums. When I was 11 I got my first professional job, I played drums in a cabary and played Elvis and stuff, I used to play left handed actually. Then I started to pick up the guitar when I was around 15, but I played the drums for a long time.
I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.
I owe a lot to my time on 'House of Cards' because, up until I booked that show, I had been working consistently for 12 years, but I wasn't working on anything that mattered in the way 'House of Cards' did to its audience, to casting directors, to directors and producers. The show hit this sweet spot.
You know, when I first went into the movies Lionel Barrymore played my grandfather. Later he played my father and finally he played my husband. If he had lived I'm sure I would have played his mother. That's the way it is in Hollywood. The men get younger and the women get older.
Switching the public's perception and view of me was, and still is, kind of a challenge to get them to see me outside of a character that I played on TV for so long.
I don't really miss football anymore. I played for a long time, and played it well.
All of this happened a long time ago. But not so long ago that everyone who played a part in it is dead. Some can still be met in dark old rooms with nurses in attendance.
It's definitely hard to say good-bye to a character that you've played for a long time.
I played crying people in corsets for a long time, but I went into acting to be a character actor.
When I first started, it was the real basic stuff that was being played on the radio, so I was into Zeppelin, and Sabbath, and AC/DC, and all stuff like that. I grew up in New York, on Long Island, so the local radio stations played all that kind of thing.
Even though I'm very fortunate and grateful to have played Aladdin, there were still four, five casting directors who never gave me a shot in Toronto. They didn't give me the time of day. I never got to audition for them.
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
I worked in feature film casting right out of college and spent a lot of time working with actors, directors, and producers.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
It's so liberating to play a song in front of 50,000 people that you've never played before. Not something you played a long time ago and have forgotten: Never. Played. Before. There's something magical about it.
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