A Quote by Michael Mosley

The first heart you win over is that casting director. In first meetings, they'll be the ones who see your pitch for the character. And then as you get further up, they'll be the ones reading with you in front of the network.
Things maybe take longer usually when it comes to TV - especially network TV. There are usually multiple levels that you have to go through in terms of the casting director, the producers, the studio, the network, reading with other people.
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
A good director creates a playground for actors, and lets them go. The trick for a good director is in casting properly, and creating the playroom, and then they'll get stuff that they don't expect, and can't even direct. All the audience wants to believe is that whatever is happening, it is happening for the first time. They want to see the people within the work exchanging dialogue and action in that moment. There are not a lot of actors that can do that.
At Manchester United, we play to win. That's my first mentality when I get onto the pitch. Then everything else comes with it.
I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff. It's the first thing I have to solidify whenever...I get into a character. The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.
I think you have to do certain things in the pilot to get your network's attention - to break through... So maybe you push a little further in the first show.
A 'first meeting' is, by definition, a one-time opportunity, and there's no going back. Over the course of my career, I've been on both sides of inspiring first meetings that energized me for the next stage of a partnership and disappointing first meetings that left me uncertain about next steps.
I hated pitch meetings. Pitch meetings were my least favorite part of the week. I just gave up. I was so terrible at them.
People do not read first. First and foremost, they see color. Then they see numbers, then shape, and then, if you still have their attention and they understand what you put in front of them, then they will read.
When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.
Your only guidepost is your own instinct and judicious editing. In my stand-up act I learned that in the first 10 minutes I could say anything and it would get a laugh. Then I'd better deliver. In the movie it's the same thing. You get a lot of laughs when people first sit down and then the story better kick in. Many years in front of an audience, I would hope, give me a sense of what works.
When you're in the middle of it, when you're a kid growing up, you don't think, 'This is my first heartbreak.' You just think, 'My heart is broken.' But then as a parent, you look back, and you see your child go through his or her first heartbreak, and you're realizing, 'Oh my God, this is her first heartbreak.'
I think the first feature of any director is going to hold a special place in their heart. It's kind of like a first kiss in that its highly anticipated and will be forever ingrained in your memory, but at the end of the day you're just trying not to slobber all over the other person.
When you're facing a different guy every at-bat, he's coming at you with his best stuff. There's no warm-up; there's no 'see a pitch.' You've got to be locked in from the very first pitch... The biggest thing is do your homework before the game starts.
In novels you're able to occupy character's internal thoughts and it's really hard to do in a film or a TV show. When you're reading a character's thoughts or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me that's what the whole point of fiction is.
Usually if you have an idea, you have to first pitch it to a production company, get them on board, then go around and pitch to networks.
This site uses cookies to ensure you get the best experience. More info...
Got it!