A Quote by Drea De Matteo

I'm not one of these actors who's rolling in money. — © Drea De Matteo
I'm not one of these actors who's rolling in money.
I haven't been somebody who's been smart about his money. There are a couple of actors who are quite brilliant with the way they've handled their money. But they're not very good actors.
The thing I was up against in documentary films - was trying to get non-actors to convincingly play themselves in a way I'd come to know before the camera started rolling. And many non-actors can't do that convincingly, even if they just have to play themselves - they can't be naturalistic. And I would always want to recreate something I'd witnessed them do or say, and it just would be incredibly difficult because of the fact they weren't actors.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
Forget the credit, they (male actors) take all the money as well. We don't get paid even one-third of what male actors get. It's not so much about the money, but it's about (being a) woman.
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
I'm not trying to hide from my past. I want to roll in it. Like a dog, rolling in feces, I'm rolling in the feces of my greatest hits - that's a bit of a wild way of looking at it, but I am a man, and we do like rolling in our own feces at times.
The reason that most British actors are better than most American actors in the end is that they don't make any money. At the very end of their lives, they get into a space movie and they make a lot of money, but until that happens, basically, they don't have bank accounts. They live from day to day.
We're paid to care. That's what actors get their money for. But the main goal is not for the actors to be frustrated at the end of the show, but for the audience to be throwing their shoes at the television set. That's what we're trying for.
The actors are in control, getting outrageous amounts of money. The reason they're getting this kind of money is because the studios don't know what else to do. They don't have a clue about what to do except to pay an actor a lot of money.
When there's film rolling through the camera, there's a heightened awareness of the importance of that moment, from the actors and the crew. It creates a much more old-school respectful atmosphere for the process.
I wanted to be in Rolling Stone number two with a tomorrow feel to it, like an experimental Rolling Stones with Jagger singing.
I've dealt with a few method actors, and I don't know if should say this, but I think it's a bunch of nonsense. I think it's film acting and you just have to be on when the camera is rolling.
A normal fight is thirty seconds of rolling around on the floor, scrapping, that's what it is. It's not rolling over boxes or getting punched through windows.
Yes, I will sign a film for the money. Because sometimes you don't have the money to eat, and you have to get work and maintain a lifestyle. Not just actors - I think everybody does that. No job on this planet is about 100 per cent satisfaction. You do some part of the job for money.
Improvisation, for me, is when the cameras start rolling, we don't know where we're going and let's just waste people's time and money.
When we were young people, all we ever wanted was to be good working actors. We didn't think of fame or money because, honestly, money was never part of the dream.
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