A Quote by David Thewlis
After Cannes, my agent told me to get the next flight to LA. He was right. I had a part in 'Prime Suspect 3' by the end of the week.
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One time in spring training, we had the hit-and-run on, and Carl Erskine threw me a curve and I struck out into a double play. I came back to the bench and Casey [Stengel] said, 'next time, tra-la-la.' I didn't know what tra-la-la meant, but next time up, I hit a line drive, right into a double play. When I sat down, Casey came over and said, 'Like I told you, tra-la-la.'
I laugh at it now, but one time I had an agent tell me I would never work in TV if I didn't get a nose job. People tell you to change yourself to fit into the L.A. scene, but the advice usually doesn't make any sense. The next agent told me my nose was great!
I am just a poor boy, though my story's seldom told, and I have squandered my resistance, for a pocket full of mumbles, such are promises. All lies in jest, still a man hears what he wants to hear and disregards the rest...la-la-la-la-la-la-la-lala-la-la-la-la...
I took Alexey Brodovitch course at the New School. He taught me something that I've always remembered: After we did the initial assignment, he contradicted what he had said the first week, and I said, "Okay." The next week, he contradicted what he had said the second week. We went through 10 weeks of contradicting, and I thought maybe he was drunk. At the end, he said, "You may think I've contradicted myself, but there's no one way to do anything."
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
I had an audition notice from my agent telling me the fake name of the part with a short description. I knew it was for The Walking Dead' but had no idea of what the part would end up being.
I had no agent, and I was getting approached by so many people that I tried to escape for a while because I couldn't believe that world. Photography is not an industry, and suddenly an industry came to me, so I sort of had to accept it in the end and get an agent.
Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen.
When I was a young boy, my father taught me that to be a good Catholic, I had to confess at church if I ever had impure thoughts about a girl. That very evening, I had to rush to confess my sin. And the next night, and the next. After a week, I decided religion wasn't for me.
Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.
With 'River Monsters', I am the investigator: here's the crime scene, I talk to witnesses, I establish a suspects list, I narrow it down; here's the prime suspect, I go and arrest the prime suspect - who often doesn't want to come quietly.
No one in my family plays music. But since I was very little, I would go around the house singing and dancing. And when I was 8, my parents asked me to get up and sing something at a family meal. I had my eyes closed, singing - la la la la la - and when I opened them, the whole family was crying.
He lived in a fantasy world. There was not a day when he didn't add some Mickey Mouse story about a club that wanted him. First of all, he came in and told me that Arsenal wanted to buy him, then the next week it was Manchester Utd, then the next week it was Real Madrid. He made it clear that he did not want to be at the club so, in the end, there was only one thing I could do - send him to Wigan.
There were numerous times where, at the end of a week of working on a song, there was a part of it that we still weren't feeling, so we'd scrap the whole thing and start from scratch the next week.
I tried for years to get an agent because I was told you needed an agent. The agent-hunting process was grim indeed.
The way 'The Icarus Girl' came about was by me just basically bragging it with a literary agent and telling him I'd written 150 pages when I'd only written 20. And I think it was when the agent e-mailed me back right the very next day after sending him the 20 pages and asking to see the other 130.
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