A Quote by Joe Mantello
My first real job as a director was working with Robbie Baitz on his play 'Three Hotels.' It was an incredible collaboration.
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On various shows, I've been the producing-director, the executive producer-director; and if you were working with the material you love with the right group of people, it's an incredible job to be doing.
From that first meeting, I totally loved working with Joey, it was a real collaboration.
I have to audition for everything; there is no Mrs. Robbie Williams free pass, and because I'm working with British actors everyone is so polite - no one mentions Robbie.
If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.
I was doing a Broadway play, and I was really new to this business. The Broadway play was my first job, literally. The play next door was a musical called Falsettos. The director got hired to direct this Michael J. Fox movie and was looking for a kid who could play brash and salty and mean [in Life With Mikey].
My first job was at Proctor and Gamble in Cincinnati, my second job was at a pharmaceutical company in Berkeley Heights, New Jersey. My third job was at Palmolive. And I realized, three jobs in three years, maybe it wasn't the job. It had to be me.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
And being an actor already means that working with cast as a director, I have a clear understanding of their position and that collaboration is great and useful.
When I first started drinking, it was working for me. It was great. Like when you're doing a gig and you're in a band and you're in the truck and there's nothing to do in the truck and the gigs are all the same and the hotels are all the same...it's the hotels, the car, the gig.
I've enjoyed my time in the game, whether it be managing Luton in the top flight, taking Spurs to Wembley or, as director of football, pinpointing players such as Jermain Defoe, Paul Robinson and Robbie Keane with real sell-on value.
I think the most important thing for an actor is reading the script and trying to figure out if you can play that character well. The last thing on my mind is if the director made good movies previously. It's not my job to know if that director's last movie was any good - it's my job to know if I can play the role.
I got Robbie's mobile number and rang him. It went to his voicemail: 'Hi, it's Robbie - whazzup!' Like the Budweiser ad. I never called him back. I thought: 'I can't be f****** signing that'.
I like collaboration because, first of all, I'm good at writing lyrics. I don't know how to make beats. I don't play instruments. I'm not a good singer. So even when you see a solo album of mine, it's still a collaboration.
When you are not working in TV and primarily doing film, you're working with one director for a long period of time, so getting to work with 12 different directors in the span of six months is incredible.
What's interesting as a director, and even studio executives don't understand this, is that if you're directing a $200 million movie with six million people, it's the same as directing a $25,000 movie with three people. The director's job is, "You stand there and do that," or "This is the shot I want." The logistics change, but the job remains the same. And I enjoy the job.
'Strong Island' has been a labor of love and dedication on the part of so many people, that it's just an incredible recognition to be honored. And to be the first trans director - and, I believe, the first African-American trans director - to be nominated for an Academy Award is incredibly, incredibly special to me.
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