A Quote by Joel McHale
When you are an actor or trying to be a working actor in L.A., most people have commercial agents, and then they have legitimate agents, and you just end up going on a thousand auditions.
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The most important thing for people to get is we're not even looking at one big investigation, all these agents working together. They were chopped up and divided, but because I worked in the central place... other agents were sending their material to me... I was in this position to see all the dots being connected... These agents, while I was there, because I was the central person, they started connecting the dots.
I did what every other actor did: there were agents all the way up the Charing Cross Road and up St. Martin's Lane, and I would go out each day and do the agents - walk into these buildings, along their corridors, bang on these doors and say, 'Anything today?'
People are very good [at] thinking about agents. The mind is set really beautifully to think about agents. Agents have traits. Agents have behaviors. We understand agents. We form global impression of their personalities. We are really not very good at remembering sentences where the subject of the sentence is an abstract notion.
My story about becoming an actor is a completely non-romantic one. I became an actor because my parents were actors, and it seemed like a very... I knew I was going to act all my life, but I didn't know that I was going to be a professional actor. I thought I was just going to work as an actor every now and then.
To be an actor, it's really tough to find your own voice because you're always tied to other characters and going to auditions and trying to get a job, hoping they'll pick you. And I think it's just so important for an actor to have something else that's creative, something that's creative and you're in charge of.
My family was always very supportive. Whether you're an actor or not, everybody hears the horror stories of people going to L.A. and trying to be an actor, and their dreams are crushed, and they end up working for the IRS. So they were always protective to the point that they wanted me to have a backup plan, which is understandable, but there was always something inside of me that knew: backup plan, schmackup plan.
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.
I like the fact that I have two names because I find that in this industry you have to have dual personalities especially being a transitional entertainer, being an actor going into music. It's not that I'm pretending to be somebody else but it's just that the people that I act with, the Directors, Producers and Agents, can't really relate to what I talk about.
I had agents in Australia; I just never had any auditions. And if you can't audition, then you can't work. I studied there. I did classes there. I learned how to act. Growing up there, I discovered my love for acting, but I just wasn't getting the opportunities to work professionally.
Going from a child actor to an adult actor is not an easy thing, and I was sort of lost in a no man's land for a while, trying to figure out who I was as a person, and going from a young actor to an adult actor.
Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.
I don't want to be known as someone who is deliberately trying to do things that are not commercial! That is not a good reputation to have when you're trying to be a working actor.
It's important to underscore this overriding fact: women are not just victims of conflict-they are agents of peace and agents of change.
I basically never believed that I was a commercial actor. Just because of the outcome of many auditions over time. No one hired me.
My mom always wanted me to be an actor. And I started going to theater and going on auditions young. I only realized about five years ago that I actually didn’t want to be an actor.
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.
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