A Quote by Finn Wolfhard
I don't want to get typecast and I've been doing a lot of stuff to make that happen and not be the case.
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Definitely, doing my solo stuff, it's fun in a different way. I get a lot more say. However, there's a lot more work to do because I have to make everything happen.
I feel like a lot of times when you get signed to an agent they just send you everywhere, so I still audition for a lot for voiceover stuff. I actually don't book a lot of it, and I love doing it so I get disappointed because I want to do more voice stuff.
The problems you have as a novelist tend to have to do with making a living and trying to find ways to supplement the income you get from writing novels. For a lot of writers, that involves teaching. In my case, so far, I've been able to get by working in Hollywood with this TV stuff I've been doing. And it's very important, because my wife is a writer, too, and we don't have health insurance through any employer.
I didn't want to get typecast doing an item number in 'Corporate,' so I didn't do it then.
Even when I was doing theater it was more comedic. Don't get me wrong, I love doing the dramatic and heavy stuff, but I just want to have fun. I want to make people laugh.
A lot of the work I've been doing on camera has been me speaking on trans issues and illuminating things in a comedic way. That isn't the focus of my personal art, I guess, but it's a privilege for any artist to get to make stuff that isn't just about their oppression or strife or struggle.
No, the type-casting didn't happen until after Star Trek. I don't think that you get typecast until you've been cast!
I like doing this stuff [stunts] though, it's kind of the whole reason that you want to do the movie. When you're reading it you're like, "Oh, I get to dive out a window? Cool! I get to jump off a building? Great!" So I love doing that stuff, it's like the stuff we used to do in high school to be stupid and fun.
In the years that I've seen concerts, when I've paid to see somebody I want to see, there would be a certain amount of songs I'd want to hear. So whether it's stuff I want to play every night or not - or stuff I've been playing for years or stuff you get tired of playing - you have to play what people pay for and make it fair for them.
I try not to get typecast in any role, any image. I feel I can do justice to every kind of role, so why not make the best of it? See, commercial films alone can get you only so far. If you want to last as an actress, then you have to put in that extra bit of investment by doing off-beat films, too.
I'm not opposed to doing a fashion line, but I want to make sure it's the right thing and make sure its something people actually want instead of putting out a bunch of stuff that's already been done.
I've been doing magic since I was five years old, and when I was trying to get acting gigs, I found I could make a good living at it. It's great to kind of shake the cobwebs off and get the feeling of a live audience again. I love close-up magic, the card stuff, the coin stuff, the really up-close David Blaine stuff.
In the years that Ive seen concerts, when Ive paid to see somebody I want to see, there would be a certain amount of songs Id want to hear. So whether its stuff I want to play every night or not - or stuff Ive been playing for years or stuff you get tired of playing - you have to play what people pay for and make it fair for them.
I'm a spreadsheet guy. But you get to that moment of truth, and it has nothing to do with a spreadsheet. You've got to factor in what your competitors are doing, what the technology is doing, what your shareholders want, what your employees want, what your customers want, and you've got to make it happen sometimes.
When you're an engineer, you want to analyze things a lot. But if you believe that the most important data points are people, then you have to make conclusions in relatively short order. Because you want to push the people who are doing great. And you want to either develop the people who are not or, in a worst case, they need to be somewhere else.
No matter what kind of significance leads you do, you learn a lot from doing schlock. The setup's the same, only you have to work twice as hard to make it the best as you can make it. And a lot of acting is not about acting but technology. Are you standing in your light? Are you out of your light? And if the sound guy's near you, please don't put the coffee cup down at that moment, because you're covering your lines. All of that stuff's going on in your head, so you learn a lot by doing whatever. In my view, never worry that something's not prime - A, number - one stuff.
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