If you're an English actor and turn up in America, they don't have an opinion about where you sit. They have no idea what auditions to send you to, so they send you to everything.
For a long time when I was first starting out, I didn't have an agent, I hadn't really gone to many auditions... I was very unaware of how the industry worked so I didn't have the preconceptions or worries.
In terms of style, the best advocates are relaxed, clear, in control, and confident. They embrace the hard questions with gusto. But no matter how hard you prepare, it's impossible to prepare for every conceivable question.
A boss is all about good business, so start with everything that you can control and you can turn up that costs you nothing, then lay all the knobs out, look at all the controls, all the remotes, and just turn them all up. It don't cost you nothing.
Auditions are great, and you definitely want to continue to make progress as an actor, you want to continue to see some advancement in your career. But when you get out there, you don't realize how many auditions you have to go on before you actually get work.
When you go to meetings or auditions and you fail to prepare, prepare to fail. It is simple but true.
When you are an actor or trying to be a working actor in L.A., most people have commercial agents, and then they have legitimate agents, and you just end up going on a thousand auditions.
I'm more of an oldies guy. I'll say this - Michael Jackson, best entertainer of all time. Luther Vandross, best male singer of all time. Whitney Houston, best female singer of all time...and when Teddy Pendergrass says turn off the lights, turn 'em off. That's what I got for you.
Let's be honest, you and I have probably seen a whole lot of family films - you have to do something special. Jim Strouse has the ability to write this hairpin turn between emotion and comedy that is very real. In real life, you don't have time to prepare for the bad stuff and you don't have time to prepare for the good stuff, it just sort of happens.
Acting, and the privilege of being able to do it for a living, is so important to me. I don't turn up and just hope for the best. I really fret about it. I do my homework; I prepare myself for the experience of playing a particular character.
I turn you out of doors tenant desire you pay no rent I turn you out of doors all my best rooms are yours the brain and heart depart I turn you out of doors switch off the lights throw water on the fire I turn you out of doors stubborn desire.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
But in life people come and go. We don't always have control over it. But we can control how we respond. We can keep going, keep living the best we can. We can love the people we have instead of shutting them out. We can do our best to get to know them in the time we have.
When I was starting out, I didn't know what the hell I was doing and my person who was helping me out, I didn't even have an agent, got me five or six big auditions for leads in movies in 1986 that I had no business auditioning for. I think I ran out of three of them before I'd even finished.
It's wonderful when you happen across it as an actor, finding a young actor that is literally just starting out and you understand that to them the craft is the most important aspect of the job.
I prepare for auditions differently depending on what it is - what the material is, what the project is, who I'm reading for.