A Quote by Martin Freeman
If you want your film to be instantly green-lit, your first approach is not to go to a relatively unknown English actor. They're not going to throw millions of dollars at you for that.
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I'm still relatively unknown, and as an actor you just want to work. So, if you get a job, it's hard to turn it down, even if it's something you don't believe is great, you still want to put your stamp on it. And you really believe that by saying yes and bringing your best, you can help it out a little, or improve on something. But the hope is that you can get to a position where you can start to shape your career.
When you become a commodity to a record label because you're making them millions of dollars, you can take all of your artistic integrity and throw it out the window.
Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
You don't really know how your film is going to turn out, but you can give it your best shot and hope the audience loves it. This has been my approach right from the beginning, and it's helped me a lot in my journey. All you can do is give the film your everything.
They're making so few movies that you really just have to make it. It's going to be the only way you end up getting work. I don't believe anyone's going to really go out on a limb and just throw millions of dollars on someone that's not been proven. They're going to have to show somebody something at some point.
My approach as an actor has always been the same, in that the greatest gift that you're ever going to have is your imagination because you're not going to have all life experiences. So you draw on things that are sort of close to it but you spend your time expanding on it or drawing something specific on whatever your situation is.
I don't want to approach reading from the viewpoint of that it's a pleasant adjunct to your life. I want to approach it from the idea that you have to read or you're going to suffer. There's a difference to be made - and you can make it if you read with your child.
On your first film, you think these are going to be your closest friends for the rest of your life. You form a bond, but then you go back to the rest of your life.
I changed my major to English literature, which was on the advice of my father. I finally said, "You know, Dad, to heck with it: I'm just going to be an actor. But I'm going to go to school." And he said, "Well, if you're going to go to school, then major in English literature. Those are the tools you are going to be working with as a man who's going to be acting in English, one would assume."
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
You can throw - and we've seen plenty of these kinds of companies - millions of dollars in advertising for a website or a service, and in the end if it's not useful no one's going to use it.
What I say about actors is you always want to find an actor you can play ball with. You throw the ball at them and you want them to throw it back. Your ball playing is a lot better when you play with good ballplayers, like any sport. Every actor I know feels the same way.
I have a bunch of movies that are, like, two minutes from being green-lit, or that they've maybe even told me are green-lit. But I never believe it until I see the money.
As an actor, you want to do your best but not overshine the film. No actor is above the film.
I love the Knicks and Rangers, right, but you still have a responsibility to your shareholders. They're not there because they're fans. You don't invest hundreds of millions of dollars in a stock because you're a fan. You do it because you think that the business is going to increase in value, that the stock price is going to go up.
After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."
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