A Quote by Joe Pantoliano

When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.
I've done so many interviews that I've gotten past the ego and the personality. I used to feel that there might be something missing, but a few years ago I realized that I was so causative over how the interview went that I was no longer concerned over the effects of the interview.
With the art films I've done, you know, I got to work in a way that so few actors get to work in, people work years to get those kinds of opportunities.
I can't even count how many times I've been pulled over. I can't count how many times I've gone to a club and not got in, how many times a security guard has followed me round a shop. I can't count how many times that somebody has asked me if I'm a footballer because I've come out of a nice car.
I always thought that Bill Murray was one of the great actors that I've worked with. And I've worked with all kinds of people who are known primarily for their dramatic work.
Cate Blanchett is somebody who's transformed herself in so many different ways and worked with so many amazing actors and directors. If I was gonna model my career after somebody's, it would definitely be hers.
If you do anything with the Cowboys, there's an interest in it. And there are people who constantly want to write books about our teams in the '90s. They want to interview me. I say, 'Look, I've done it a million times. I'm just not interested. What's left to tell?'
When it’s all said and done, I want to be able to say I got the most out of my potential. I don’t want to look back, however many years from now, and say, ‘I wonder if I would have worked a little harder. I wonder if I would have done this or done that, how things would have turned out.’ I want to, when it’s all said and done, be able to put my head on my pillow and say, ‘I did everything I could do — good or bad.’
As a Japanese actor, I really want to work with a lot of actors and actresses in the world and many directors who have many different kinds of talents. I feel like nationally doesn't matter at all.
There are plenty of directors who work with the same actors over and over, many more times than I have. Like I have worked with Bill Nighy more times than I have worked with Kate, but I'm not married to Bill Nighy.
I've done work for hire. I've worked for DC and Dark Horse.
The movies I've done with Wes [Anderson] have a much different quality than some of the more broad comedies. But what is interesting is how many sequels I've done. I've worked with Ben [Stiller] a million times now, and this is yet another sequel we're doing. I guess we're lucky to be in some movies that people wanted to see again.
You have actors you've worked with previously, and you have actors you haven't worked with that you've seen in things where you know they can work in these parts. And then there are actors who blow you away, who surprise you.
When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
There are actors who have never gotten an Oscar and have done amazing work.
There are fewer roles, and I've done so many things already that I don't want to repeat, so to find something you haven't done is harder. I don't want to play a country singer again.
I think a lot of politicians, rightfully so, understand that their political futures are tied to how many times people see their names in print. The press is so accustomed to politicians wanting those things, it's a surprise when somebody's like, 'Whatever, I'm not really worried about those things.'
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