A Quote by Emily Atack

It is hard as an actor when you are typecast at a really young age and come out of that pigeonhole thing. — © Emily Atack
It is hard as an actor when you are typecast at a really young age and come out of that pigeonhole thing.
The hardest thing as an actor is that you work really hard constantly for these roles, and you invest so much in it. And when they don't come to fruition and nobody sees them, there's a part of you that dies a little bit. It's like, 'Ah! But I worked so hard!' But that's the business.
Going from a child actor to an adult actor is not an easy thing, and I was sort of lost in a no man's land for a while, trying to figure out who I was as a person, and going from a young actor to an adult actor.
First of all, it was wonderful to have a home. Consistent work when you're a journeyman actor, when you're a character actor, is really hard to come by. When you can get it, you have to cherish every moment of it - cherish the crew, cherish the cast, cherish the stage, cherish everything. Because when it's over, it's really hard to get back.
I got to do a lot of good things at a young age. I really kind of knocked out my bucket list when I was really young.
You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That's something that you know when you become an actor or actress, but it's always hard to deal with when it actually happens.
People ask me, 'Are you worried you're going to be typecast as a John Locke type of guy?' I say he's the perfect guy to be typecast as! He's vulnerable and ambitious and sort of unstable. It was a good actor's role.
Being typecast is a great thing for an actor. I was considered one of the New York mob actors.
I generally get challenged; I haven't been typecast, which is really, really, nice. It's not something that every actor gets, really. It's luxury. Most actors are capable of it, but they aren't afforded the opportunity to express their variety.
I don't really worry about being typecast much. I mean, everyone in Hollywood is typecast to a degree.
I was 14, when I wanted to be an actor. My parents were basically like, "This is a very hard life, and you have to be really serious about it, and show us that you're serious about it. You can't drop out of school." They strongly encouraged me not to act professionally until I finished college, which I didn't. And I think they should have been horrified! It's a really hard life. I'd be really scared if I had a child who wanted to be an actor.
The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.
One thing I've noticed is that I can tell when a young actor or a young actress is going to become a huge star. Everybody else will say, "Oh come on, Michelle Pfeiffer, are you kidding?" and I'm pretty much always right about that.
I think it's the actor's job - when you think of being typecast or getting out of the shadow of whatever you've had success in - it's up to you as an actor. The industry will always want to hire you for what you were successful in last and what made money. But you can say no to that and look for other parts.
When you're put in a position to really affect young people who are going to run the world one day, if you're able to be in their life at a young age and make a positive impact, I think that's a beautiful thing.
I think it's one of the coolest things especially as a young actor, actually at any time - even doing my stuff with Avatar - merchandising, video games come out and action figures and plushie toys. It really ignites the kid in you.
I think the hard thing for young comedians is that the majority of the young people in the audience out there don't have the wide range of references.
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