A Quote by Julian Fellowes

What's difficult for American audiences is that they're used to a system here where you can get an actor for five years or even seven, and that is signed for at the audition. Whereas in England, no agent will give you an actor for more than three years.
You see, in America, it's quite standard for an actor to sign, at the beginning of a series, for five or seven years. The maximum any British agent will allow you to have over an actor is three years.
As an actor, there's nothing worse than the sound of 'seven years'. I'm sure to some people it sounds amazing, but to us, it's, like, seven years of playing the same person.
I went to university for a year, and I'm not one for schooling and have no enjoyment sitting in a classroom all day and ended up going to live in England for two years, just to travel. I worked in a bar in a hotel for a couple of years and had no intention of becoming an actor. That's where I met my agent.
I think that 'Degrassi' really challenged its actors. I was on it for seven years, and it was one of my first jobs. I can't even watch the early episodes - they're so embarrassing! But I really do think I grew as an actor and learned a lot over the seven years.
After I began to explore what an actor actually is, I studied for three years before I had the guts to go on an audition.
A lack of resources may slow you down, but don't let it make you throw away a big idea. Give God five years, ten years, fifteen years, twenty years, twenty-five years, thirty years, forty years, or more. Give God all the time He needs to bring the resources to you!
There's a whole generation in England who think I'm American, thanks to 'The Walking Dead.' It's an interesting phenomenon of being an actor longer than 25 years because you can tell what people know you from.
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
I had opera training for three years, and I have three albums out. I also did a Broadway show. I'm an actor that sings, so it is in my blood. It is in my system.
I always felt that just being an actor is difficult. Being an Asian-American actor doesn't make it more difficult. I see it as an opportunity and a chance to help other Asian-American actors coming along.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
It took me seven years to even comfortably say that I'm an actor.
The solo years have been more meaningful to the audiences than the Smiths years, but the press in England only write about me in relation to the Smiths era.
It used to be that you kind of got pigeonholed into one thing - you're either a stage actor or a TV actor or a movie actor. Today, there's a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.
My first professional audition as an actor was when I was about 12 years old, and it was for a children's television show called 'M.I. High,' which I ended up doing for two years.
We were all ruled by the studio system. I signed a contract for seven years.
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