A Quote by Todd Barry
I mean, I've always had scattered interests, but I never went on stage to get an agent or anything like that
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I mean, I've always had scattered interests, but I never went on stage to get an agent or anything like that.
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
I always had a separate life than just my work. I built my own family. I have my own hobbies and interests. I have a ranch with livestock and horses. I didn't always get my self-esteem and identity from acting. I never worked unless I wanted to. I never did anything just to do it, just for the paycheck. I always did things that I liked.
I never felt like a prodigy. For one thing, the root of the word is rather monstrous, literally. I never really felt like a monster or anything abnormal, because I always had a lot of different interests. But kids tend to focus on one thing, and for me it was violin.
Translator Dlique was saying, very earnestly, “Eggs are so inadequate, don't you think? I mean, they ought to be able to become anything, but instead you always get a chicken. Or a duck. Or whatever they're programmed to be. You never get anything interesting, like regret, or the middle of the night last week.
I mean normally you have your agent call the other agent and all the agents talk and then finally you get a phone call and you hear some misrepresentation of what someone else had to say.
I didn't have an agent until I got 'Hairspray.' I had to get a Broadway show without an agent to get an agent.
If you've had a bad experience with an agent, you have to move past it. You are bound to want a player at some stage who is represented by this guy and you will have to try to work around the personality of the agent. You tend to work out what makes them tick, what they respond to. You have to have tactical plans to get a deal over the line.
The early days were really difficult because it was constant no's, I didn't have an agent. I always knew that I had something to offer, but it just felt like I could never get someone to give me a chance.
I didn't always mean to be an actor. I was carried onto the stage when I was two days old, but I never acted as a child. My parents were stage people.
I've never had stage fright, that would mean you were paralyzed like a rabbit in headlights and you wouldn't be able to speak or move.
I have never had anything that I can remember in the business - and that includes all the movies and the stage shows and everything - that I didn't enjoy. I didn't like some of the small-time vaudeville, because we weren't going on and getting better. Aside from that, I didn't dislike anything.
I never heard anything so brilliant in my life as I did that first time I heard Ornette. He played like some revolutionary angel. Soon, we were rehearsing in his place, music scattered everywhere, and he was telling me to play outside the chord changes, which was exactly what I had been wanting to do. Now I had permission.
When you write for kids, people always ask you what lesson you mean to impart. I don't think adult writers get that question. I never mean to teach anybody a lesson, because I don't know anything myself.
People are always nice; I never get anything mean said to me on the street.
My mom always brought home a present once a week for all of us. We never felt like we ever needed anything. We never felt poor. So I never felt I had to go out and do something wrong to get money.
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