A Quote by Ernest Sosa
If the agent aims to make the attempt if and only if it would be apt, then a distinctive element of risk assessment becomes relevant: How probably would the agent succeed in attempting that fuller end?
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The risk pertinent to a particular attempt (and to its evaluation as an attempt of its sort) is the risk that the agent will fail to attain the end constitutive of that attempt. This risk of failure is coordinate with how likely or unlikely it may be that the agent will then succeed.
My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple.
If a shot aimed at aptness succeeds aptly, it is then fully apt, since it is not only apt but also aptly apt. But the full aptness of such an attempt is entirely compatible with its being a horrible murder, if the "hunter" is an assassin and the prey his victim. That hunter's shot may still be outstandingly, fully apt, if it manifests the agent's competence in both archery dexterity and shot selection.
When I wasn't working, I put the blame directly where it belonged - I blamed my agent. When I didn't have an agent, I spent time looking for a new agent so I would have somebody to blame.
I would come home with my friend Bill, and we would sit and watch 'Get Smart.' And I was Agent 44, and he was Agent 85. And it was a fantastic - and all we wanted to do was sleep with Barbara Feldon.
My brother is an agent, so he is in the business. Is he my agent? No, no, no. That would never work.
Given its more substantial aim, a judgment is apt only if its constitutive alethic affirmation is not only apt but aptly apt. The subject must attain aptly not only the truth of his affirmation but also its aptness. And that in turn requires not only the proper operation of one's perception, memory, inference, etc., but also that one deploy such competences through competent epistemic risk assessment.
Some of the most interesting research that I did was about risk assessment and how ordinary citizens like me handle risk assessment and how irregular our risk assessments are.
I have lunch with my friend who works for a theatrical agent and her and I were sitting there eating lunch on Sunset Boulevard and a woman who was a theatrical agent drove by and saw me and jumped out of the car and ran up and handed me her card. I had no idea this happens or would happen and I didn't know what to expect out of it. And my brother said alright you better call her and I said alright, why not? So that's pretty much how we got our first agent and then we started taking acting classes.
I tried for years to get an agent because I was told you needed an agent. The agent-hunting process was grim indeed.
As a matter of selective necessity, man is an agent. He is, in his own apprehension, a centre of unfolding impulsive activity-'teleological activity.' He is an agent seeking in every act the accomplishment of some concrete, objective, impersonal end. By force of being such an agent, he is possessed of a taste for effective work, and a distaste for futile effort.
Get an agent. Seriously, submitting stuff unagented means it will end up on the slush pile. An agent is the first quality filter, and a good agent is worth his or her weight in gold, as they'll often know the editors on a personal level and will be able to talk to them directly about the project.
I was doing a lot of web design at the time. And anybody that has an agent thinks, "Why do I need an agent?" Maybe it's a little different as an actor - of course you need an agent - but any kind of agency that's selling something for you, you think, "Why can't I sell this myself? It doesn't make sense."
For the record, I've never taken a bung in my life. I might have enjoyed a meal or a bottle of wine on an agent or two but that is it. I was earning £1.5m a year, so I didn't need a little bit extra from an agent. It would have been madness.
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 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!
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