A Quote by Nate Torrence
People weren't willing to bet on 'The Commercial Guy' when they were casting movies and television in the beginning, but I stuck around, and now it's slowly starting to pay off.
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It's no accident that Julia Child appeared on public television - or educational television, as it used to be called. On a commercial network, a program that actually inspired viewers to get off the couch and spend an hour cooking a meal would be a commercial disaster, for it would mean they were turning off the television to do something else.
Kids now, they're not willing to pay for music and movies. The only thing they seem to be willing to pay for is concert tickets.
Now the time comes that I decided I only will do art films, basically. In a way, very similar to Isabella Rossellini. I prefer to work only with people like Lars von Trier or Guy Maddin or Gus Van Sant, just to name a few. But also there's bills to pay, and sometimes you have to make a movie. So my decision from now on is art movies, or movies which are commercial, but for real money. That is my decision.
I tried out for another show while I was in college so I could pay off my student loans, and it sort of led to The Real World. The same people that were casting that show were casting The Real World, so they asked me to do it.
I've been an actor for 14 years now and a lot of that time was spent in theatre and television. Then I moved to L.A. to try and build upon that and it's starting to pay off!
Movies always had a captive audience, so they were able to do deeper, more complex things. Television was always about, 'Look at me now! Look at me now! Now go away!' That's starting to change.
When I was starting out, it seemed like there were so many girls who were known by their first names, who were unique, who all had idiosyncrasies and characteristics that made them individual. Those girls stuck around; you'd work with them season after season. But now it's completely different.
We have people there who do have substantial wisdom and substantial experience. And if they were confident enough to express their own views, that they wouldn't be bushwhacked by the party for casting a single vote like Bob Bennett was or like I was, they'd be willing to speak up and they'd be willing to speak their consciences and put their ideas on the line. But right now, there is timidity, there is fear that if they do that a single votes gonna cost them their job and they're not willing to make that kind of a sacrifice and they're not enough with the people.
I'd be willing to bet you, if I were a betting man, that I have never bet on baseball.
We didn't make money but we never lost money. We'd sit around Times Square with fliers, walk around the Village and try and get people to come. Now you'd just tweet it, but that was the beginning of emails, or the beginning of me doing emails - I'm sure there were people in 1986 who were doing emails.
President Bush bet his presidency-and America's world leadership-on the war in Iraq. Tragically, it looks as though he bit off more than the American people were willing to chew.
I'm very fortunate, and the movies that I've made, even from the very beginning, have been very eclectic. The thing for me is: Am I emotionally engaged in the idea? Is there something special about it? Does it capture my imagination? So everything that I do is simply something that turns me on. And I have the good fortune to be able to make bigger movies and television that ostensibly pay for the other ones. I don't mean literally finance the movies. But they allow me to work on things for very little pay. I do these things because I love them.
If I were beginning my career today, I don't think I would take the same direction. Television is at a crossroads at the moment. And although I am not up to date technologically, I suspect that somewhere out there people are conveying things about natural history by means other than television, and I think if I were beginning today, I'd be there.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.
What is first seen as a loss is now seen as a gain. For he finds solitude, not in far off, quite places; he creates it out of himself, spreads it around him, wherever he may be, because he loves it and slowly he ripens in this tranquility. For the inner process is beginning to unfold, stillness is extraordinarily important.
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