A Quote by Joe Mantello

I have a concentrated period of work for about five months, and then I take a bunch of time off. That's just the way I work. — © Joe Mantello
I have a concentrated period of work for about five months, and then I take a bunch of time off. That's just the way I work.
The good thing about being an actress is that it's very children-friendly. I can work for three months and then I can have six months off. And then I can work for six months and have six months off.
I know so many amazing actors who don't get work... and then there are a bunch of real duds that work all the time. The industry is just not fair in that way.
What I do is work for three or four years and then I take a year off, and then I come back again and work for three or four years and then take another year off. It is not about just working and then writing for a year. That is not how it is structured. It is about doing very conscious goal-driven activities for four years and then taking a year off in complete surrender to discover facets of myself that I don't know exist and exploring interests with no commercial value associated with them at all.
For an actor, to go to work every day is a really rare occurrence. You may work on a film for three months max, and then you're off, so you have to find another job and then work another three months.
I work three months really hard, nonstop, and then I take a month off. Then I do it all over again. I work hard but I give myself four breaks a year.
I'm not disciplined at all. I barely function. But I get a lot done. I take days off all the time, but when I work, I work very fast and very efficiently. But I'm always having days when I'm feeling a little anxious, and I take a day off. I work in a funny way.
The good thing about being an actress is that it's very children-friendly. I can work for three months, and then I can have six months off.
You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.
My schedule, it always looks like it's really steady, but believe it or not, I tend to work a bunch and then take a year off.
The way I found time to write 'The Imperfectionists' was that I took work as a copy editor at the 'International Herald Tribune' in Paris, working full-time for approximately six months, then taking my savings from that and writing full-time, then returning after six months, and so on, until the book was done!
When they [visitors to his studio:] learn about the six-week daily-strip deadline and the 12-week Sunday-page deadline, a visitor almost never fails to remark: "Gee, you could work real hard, couldn't you, and get several months ahead and then take the time off?" Being, as I said, a slow learner, it took me until last year to realize what an odd statement that really is. You don't work all of your life to do something so you don't have to do it.
In a strange way, I don't have a job, so I have a lot of time on my hands. When I do work, it might be very concentrated, and it might be months where you're not really doing anything except maybe playing the banjo or writing something. You know, there's a lot of time in the day if you're not working 9 to 5.
I feel like most actors just dig and dig and work and work in whatever way they do to try to do as much as they can to portray a character in the limited time they have to play it, whether it's six months or one month or one week of work, you know.
People I love and trust advise me to just drop off the face of the Earth for an extended period of time, and maybe that will calm or cool things down. But my work is very public work.
I've gotten to go to far-off places in the world, have very unique, isolated, intense experiences for four or five months at a time, and then, kind of like a dream, those things disappear. You may see those people again, but it's never, ever going to be as intense as it was for that time period.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
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