A Quote by Joe Dinicol
When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor.
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Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
I don't think I could have learnt as much about my craft working with stars. Just the sheer freedom you get while working with newcomers is exciting.
Voice work is fun. But about three-quarters of the things you enjoy about acting are just not there. You're not working with another actor; you're not working with an audience. You're just working with a bunch of writers and a microphone. It's very abstract.
Collaboration is such a thrill when you're working with someone you really respect. When it's just one person working alone you get a singular view of their world, and that can be great, too. But when you have different people working together with different aesthetics, different techniques, and different mediums, you get something bigger than both of them.
I did a theater program the summer of my junior year, and that's when I really fell in love with the craft of acting. It became more about the craft and less about being a working actor.
I'll just put it this way: I've struggled enough as a working actor - and, most of the times, a not working actor - to know that anytime you are working is a blessing.
Once I started working as an assistant director, I just realized very quickly that working on a film set was just a perfect fit for me.
I've always wanted to act and I grew up a little on film sets when my dad was working as an actor.
For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
Some people manage to make that transition from child actor to adult actor seamlessly. But I felt that if I spent my whole life on a film set without taking a few years to do something else, all I would ever know about was film sets.
Don't just learn one thing; learn everything about whatever you're going into. If you want to be an actor, if you want to be on Broadway, hang lights, sweep floors, sell tickets, be an usher, do everything that you can because that's where you learn your character and your craft.
You spend most of your life working and trying to hone your craft, working on your chops, working on your writing, and you don't really think about accolades. Then you get a bit older and they start coming your way. It's a nice pat on the back.
I'm a working actor, and I'm really appreciative to be a working actor, but it's another level when you're a working actor with the likes of Sarah Paulson and Angela Bassett.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
You need to work at the craft of songwriting, but not only the craft. When I see people working both on themselves and the craft, and they combine those things...I just go, That's just fabulous.
Working on 'The War Room' was a thrill, not only because we were given such exquisite access to the nerve center of Bill Clinton's first presidential campaign, but for me personally, it was so exciting to be producing my first film and working with documentary filmmaking legends D.A. Pannebaker and Chris Hegedus, who were the film's directors.
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