A Quote by Henry Lloyd-Hughes
If you want to have the right to have that conversation with your agent - "I know you sent it to me, I know you like it, but I just really think it's terrible" - you need to have the full details about script. You don't want to be in that situation where your agent says, "What about after the first 20 pages where it turns into a psychedelic musical?" And you're like "What? I thought it was an action-rom!"
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The way 'The Icarus Girl' came about was by me just basically bragging it with a literary agent and telling him I'd written 150 pages when I'd only written 20. And I think it was when the agent e-mailed me back right the very next day after sending him the 20 pages and asking to see the other 130.
I was asked to lose weight by a network for a TV pilot. The conversation happens because you get a job, and your agent or manager calls, and they say, 'They are so excited about you. They just think there is no one better for this part, and they want you to look and feel your best. They really feel that that could include losing 15 or 20 pounds.'
When Cara [Delevingne] and Dane [DeHaan] arrived, I told their agent, "They need to know all this." I gave them the 600 pages. I said, "You have to learn everything. You're a cop. You need to know the names." I don't want him, when he meets an alien to go, "Whoa" like this. I want him to know if this guy is peaceful.
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].
After about 20 years of the real estate industry - where we had built it up from a little one-off, just five-agent operation - we built that that into a four-office, 65-agent, multimillion-dollar firm. At that point, I relocated to my ranch in eastern Montana and really thought that I was going to spend much of my time in ranching.
I'm in, like, dating Babylon. Like, I go on dates with men and, literally, like Sarah Palin will come up in like the first 20 minutes, and that doesn't put me in the mood. Like, talking about Sarah Palin. And they just want to know gossip, and I'm just kind of taking a little hiatus from dating right now, because I just don't want to talk about Sarah Palin.
My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.
I was being rejected all the time. Agents would say, 'I don't think you're the type they're looking for.' I was always like, 'You think? I don't want you to think. I want them to think that.' This business is all about someone's opinion, but not the agent or the manager's. How do they know? They're not that person.
The good reviews that people have told me about through the years haven't really helped me do my job. So it's kind of like, if your hair turns out right you want to go out, you don't just want to stay in and look in the mirror. That's kind of what reading a review is like to me; it's like reveling in something that's just one night.
If you want your rock stars that are completely 100 percent serious about themselves and you want them to pretend like they're 25, I'm probably not the guy for that. But if you want to come and say, 'Hey, you know that guy right there, he's just being himself. I kind of like him for that,' you know, then that's me.
I remember writing a song when I was about 15. This is the one I can remember. I know I'd been writing poetry for a long time, since I was about eight, but I remember my first one that I put to chords. I was really trying to be like the psychedelic era Beatles, I was obsessed. All I could think about was Beatles and Hendrix. So I tried to write a psychedelic song, and it was the worst. I couldn't even... If I read it now - I still have the book somewhere - it makes me cringe out loud. It was just about psychedelic stuff.
If you want to be traditionally published, then you most likely want to get a literary agent. To sign with an agent, you need to send them a query letter, but agents can get up to 20,000 query letters a year. With numbers like that, it helps to get in front of agents with every opportunity you have.
I want to be a free agent. I think everybody in the NBA dreams to be a free agent at least one time in their career. It's like you have an evaluation period. It's like if I'm in the gym and I have all the coaches, all the owners, all the GMs come into the gym and just evaluate everything I do. So yes, I want that experience.
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.
At the end of the day, you're handing your performance over. If a director says after a take, 'You know what, try it just really angry. Just get furious'... you're like, 'Well, I don't know if I want to give you that because I don't know if I trust what you're going to do with it.'
My dad even likes to give me career advice. I'll let him know about some offers about films and TV shows that I get, and he'll ask me questions like, 'What's the money like?' and 'Who got this for you - was it your agent or manager, and what are they getting out of this?'
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