A Quote by Julie Benz
Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody understands the hours.
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I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
That can be undersold, I think, the importance when you're trying to do something good is that everybody understands the director's vision, everybody believes in it, and everybody can find their own path to supporting it, and that's how you end with a great movie.
Los Angeles people are incapable of passively mainlining TV and movies. Here you have to read who produced or directed every episode, who wrote it, who had guests shots and whether you know them personally and if they like you. You have to figure out who everybody's agent is and whether yours is better. You not only know but deeply care about the difference between such job titles as Producer, Supervising Producer, and Executive Story Editor. ... So while the rest of the country is lying stupid in a media-induced coma, people in L.A. are in constant withdrawal.
With these kinds of figures you can do whatever you want as an actor because there are no guidelines, there are no real vampires. Except in Los Angeles, where everybody's a vampire, you know?
When I'm in Los Angeles, sometimes I hesitate saying that I'm an actor because people are like, 'Of course you are.' And I'm like 'No,' not, 'Of course I am.' In L.A., being an actor is like a pastime: everybody there is like, 'I was on this reality show; I'm an actor.' It becomes a word that is loosely thrown around.
It was not my class of people. There was not a producer, a press agent, a director, an actor.
I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.
I've never been anywhere in my life like it and I only really noticed it when I returned to Los Angeles and then Berlin. Everybody is much better off in these places, there is not poverty like in Cuba, but everybody complains about things.
I was staying on [writer/director/actor] Eric Schaeffer's couch in New York, and he said, "I've got this movie [If Lucy Fell]. Can you do five days on it?" And I was like, "Yeah, anything. Twenty-four hours times five is 120 hours. Oh, great, I'll fill 120 hours of my life with something." So I did that and it was fun, and then I did Flirting with Disaster.
And dilettantism is a humorous way to survive. Everybody understands you for it and everybody hates you for it. And not everybody chooses to be a dilettante. Many choose cunning and brute force.
I'd been on all the television programs as an actor, as a writer, as a director, as a producer.
I never thought being the producer was being the dictator. It means being the director and being the coach. It's a way of keeping everybody focused on the goal, and also having final say. Everybody can be in the same car, but somebody has to drive.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
Whether you're an actor, producer, writer, or director, it's all about the story you're going to tell.
I want to be a director, producer, and a writer. And an actor. So, like, all the things in acting, basically.
The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
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