A Quote by Neve McIntosh
You go for an audition, and you meet a director, and you find that they don't want you. You have to have a pull with them: that they understand what you want to bring to it. That you don't want to be the pretty little thing.
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I want to go to Mexico. I've been stonewalled, so far, by federal officials. I want to go to Mexico, and I want to meet with the top Mexican officials. I want to tell them my past experience and what I can do here as Sheriff to help them get better intelligence and communications on the drug thing, not the illegal immigration thing.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
It's the same challenge as with any other character, adults or not. You want to take time with the kids. You want to tell them in the audition that they have time to exchange ideas. I'm there. It's not someone else who does the audition, but I don't want to audition a thousand children.
Millennials want to find meaning in their work, and they want to make a difference. They want to be listened to. They want you to understand that they fuse life and work. They want to have a say about how they do their work. They want to be rewarded. They want to be recognized. They want a good relationship with their boss. They want to learn. But most of all, they want to succeed. They want to have fun!
I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who's been on the cover of magazines.
Even though this is a business you do have people here that you're with every day, like your family. You want to go play for them and you want to win with them. You have to find a way to do that but understand that there is a business side to it. You have to find a way to understand.
If you're going to go to an audition, you don't want to go in trying to force yourself into some archetype that has been thought up by a director and translated by a casting director.
Young people want to learn, they are thirsty for knowledge, they want to understand and remember. The main thing is to teach them where not to go. Oppression, not to go; dictatorship, not to go; racism and prejudice, absolutely not to go. This is a moral plan [for society].
If you put pressure on your kids to book every audition, they won't enjoy it anymore, and they won't book it, either. Also, if they don't want to go to an audition, they shouldn't be forced to go. They have to want to do it.
I always try to stick to the script because I want to respect the writers, and I want to respect the director. But if the director and my fellow actors are okay with me playing with it a little bit, then I definitely want to play with it.
Actors often want to look like they're comfortable. You want to go into an audition saying, 'I'm your gal. I'm what you need.' Yet you don't want to push.
In education, I'm going to try to find what works. One thing I want to do is improve the quality of teachers. There are a lot of people who want to go into teaching; it's fundamentally a very fulfilling profession. But people don't feel they have financial support. We pay starting teachers in particular too little to attract the quality people that we need. I want to make it easier for good people who want to go into teaching to do that.
In my films, I like to use the same actors again and again, so I know them really well and can bring their unique personalities into the process. However, as a director, I have strict control over the way they express their personalities. I don't want them to go beyond what I need from them, but I also don't want them to underplay. So I modulate their performances very closely, within a certain range of expression.
I am a fan of all genres. My big thing is to serve the purpose of the script and what the director wants. If it's a comedy, I want to be funny; if it's action, I want to bring the action. If it's drama, I want to be the catalyst for that drama. That's the fun part; it never gets boring being an actor.
For me, intrigue is a pretty powerful emotion. If you want to know more about a character, if you want to understand how they work, then you have enough curiosity to delve into their skin and their being. That was the biggest pull for me.
I love it when people say things to me in public and want to meet me, because I want to meet them! Early on, my manager told me, 'If you want to sell 500,000 records, then go out there and meet 500,000 people.'
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