A Quote by Lynn Shelton
I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.
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I started as an actor, then became a theater director. I loved acting but didn't feel as confident as I needed to be, so I started directing theater; then I played in some movies, and then I felt the need to do my own stuff.
I came out of a sort of experimental background, and I didn't ever really expect - or even desire - a career as a feature filmmaker.
I started to do theater when I was a little boy at school, and then, I think because my father was a documentary filmmaker and worked for German television, I was of course fascinated by what he did. Then when I was around 15, I did my first movie.
In my career, I've had kind of a strange trajectory as an actor. I started out doing movies and theater and stuff, but then I had a terrible problem with stage fright as an actor on stage, and I quit stage acting for a long, long time.
I trained as a singer before I was an actor. I was a kid singer, I went to theater and choir school, and then I got music scholarships throughout my education. And that's what I was going to do. And then I took a left turn and went to drama school and became an actor.
I started as a musician, then I was a singer. I sang with the band. Then I was an actor in the theater, TV, films. But I guess I am a song and dance man. It's at the heart of everything I do.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
I went to NYU Tisch for undergrad, and it was amazing. My life then was extremely experimental with acting. I did crazy theater where we would be rolling around on the floor. I would be playing grandmothers, and clowns, and all this crazy stuff. Then I would be doing Shakespeare eight hours a day.
I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.
People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
What makes a good editor is staying the hell out of the way as much as possible. ... If you're a DC or Marvel or Dark Horse or BOOM! editor who's assigning work, then if you did your job properly to begin with, then the people you've hired can be trusted to do what they do without excessive meddling. The ideal situation you're shooting for as an editor is to groom a collaborative creative team to the point where their work sails effortlessly through production and the most you have to do is fix the spelling and the commas.
As a working-class actor, leaving school with no qualifications, being a printer and then becoming an actor and then working with people who to a certain extent had had a leg up. I never had that advantage. It's less an artistic need to express myself and more a need to prove myself.
I started to do theater when I was a little boy at school, and then, I think because my father was a documentary filmmaker and worked for German television, I was of course fascinated by what he did.
At first, I took theater courses on the side. Then, theater became my minor; then it was my major.
I trained at a conservatory as a mezzo-soprano and was a musical theater major in college so I had a theater background.
I stayed at 'Cosmo' well beyond my internship, moving up the ranks over some 15 years to become books editor, then brand director, then editor-at-large - editing everything from an excerpt of Gore Vidal's memoir to writing some of those juicy cover lines myself.
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