highly recommend that you take.
I try to remember what it was like to be the new boy. I was on a picture once as a one-day actor; the director was explaining what he wanted me to do, when the star, who definitely was short, walked over to us. He came over, looked me in my chest, and said: "You're fired, kid." "What?" said the director. The actor said, "He's fired. Go and collect your money, kid, and go home." He wasn't about to have anyone in the film taller than he. That old star power still exists and, unfortunately, can still be abused.
To be a movie star, you have to invent yourself. I was a Cockney boy and obviously didn't fit anybody's idea of what an actor was supposed to be, so I decided to put together elements that added up to a memorable package. I got myself seen around the "in" spots, wearing glasses and smoking a cigar. I became known as "that guy who wears glasses and smokes a cigar." Then people began to say, "Ile plays working-class parts." Suddenly I was "that working-class actor who wears glasses and smokes a cigar." Then word spread that I was quite amenable, so I became "that easy-to-work-with working-class actor who wears glasses and smokes a cigar." It was the truth, but I had quite consciously assembled that truth so nobody could miss it. I did for myself what the major studios used to do for their contract actors. I created an image. Image can be true, false, or in between, but until you have one, for the world of the movies you don't exist.
In fact, I tried to conduct my whole career the way the big studios used to handle their actors. I did as many films a year as I could, to get the experience. If you sit around waiting for "the big one," when that opportunity finally comes along, you won't be ready for it. You won't have all that small time experience that adds up to big time ability. Success, it may surprise some to hear, comes from doing, not negotiating, not counting lines, not weighing credits. Do it, do it, don't wait for it. Some very good actors sit out their entire lives while waiting for the right part. Make every part the one you've been waiting for. Learn the confidence you can only gain under fire. The confidence lends relaxation. Relaxation opens all your resources for the demands of your role. And when the big role does come along you'll need all 100 percent of what you've got to give. Don't be caught 25 percent short; don't be caught one percent short. Be completely available to whatever challenge comes your way, by being totally in charge of your craft, your material, yourself.
A star has certain obligations. The money for a film is often raised on his name and the expectation of his continuing and reliable presence. Any scene he's in, he's going to be responsible for. This does not mean that he wants to hog his scene. People have come up to me on a set and said, "Did you see that character actor steal that scene off you yesterday?" And I'll say, "Thank God for that. At least that's five minutes I'm not responsible for."
THE ISLAND
Directed by Michael Ritchie. Universal, 1980.
Obligations continue off the set, too, with interviews, public appearances, promotions. I do all that because it's part of the job. Acting means communication. If no one knows the picture is being released, you've failed to communicate. So the same standards of reliability, good humor, and punctuality are required for the off-the-set duties. Fan mail is important, too (and you can usually write off the expenses). I don't personally answer every letter because that would be impossible. But I do sign every photograph-I don't have a secretary who fakes my signature. Now there are some stars who refuse, temperamentally, to do any off-the-set promoting, but the only actors who get away with that get so much publicity for not cooperating that the production company is probably just as happy that they won't.
Temperament usually comes from insecurity. Real stars aren't insecure. They say what they want,
I try to remember what it was like to be the new boy. I was on a picture once as a one-day actor; the director was explaining what he wanted me to do, when the star, who definitely was short, walked over to us. He came over, looked me in my chest, and said: "You're fired, kid." "What?" said the director. The actor said, "He's fired. Go and collect your money, kid, and go home." He wasn't about to have anyone in the film taller than he. That old star power still exists and, unfortunately, can still be abused.
To be a movie star, you have to invent yourself. I was a Cockney boy and obviously didn't fit anybody's idea of what an actor was supposed to be, so I decided to put together elements that added up to a memorable package. I got myself seen around the "in" spots, wearing glasses and smoking a cigar. I became known as "that guy who wears glasses and smokes a cigar." Then people began to say, "Ile plays working-class parts." Suddenly I was "that working-class actor who wears glasses and smokes a cigar." Then word spread that I was quite amenable, so I became "that easy-to-work-with working-class actor who wears glasses and smokes a cigar." It was the truth, but I had quite consciously assembled that truth so nobody could miss it. I did for myself what the major studios used to do for their contract actors. I created an image. Image can be true, false, or in between, but until you have one, for the world of the movies you don't exist.
In fact, I tried to conduct my whole career the way the big studios used to handle their actors. I did as many films a year as I could, to get the experience. If you sit around waiting for "the big one," when that opportunity finally comes along, you won't be ready for it. You won't have all that small time experience that adds up to big time ability. Success, it may surprise some to hear, comes from doing, not negotiating, not counting lines, not weighing credits. Do it, do it, don't wait for it. Some very good actors sit out their entire lives while waiting for the right part. Make every part the one you've been waiting for. Learn the confidence you can only gain under fire. The confidence lends relaxation. Relaxation opens all your resources for the demands of your role. And when the big role does come along you'll need all 100 percent of what you've got to give. Don't be caught 25 percent short; don't be caught one percent short. Be completely available to whatever challenge comes your way, by being totally in charge of your craft, your material, yourself.
A star has certain obligations. The money for a film is often raised on his name and the expectation of his continuing and reliable presence. Any scene he's in, he's going to be responsible for. This does not mean that he wants to hog his scene. People have come up to me on a set and said, "Did you see that character actor steal that scene off you yesterday?" And I'll say, "Thank God for that. At least that's five minutes I'm not responsible for."
THE ISLAND
Directed by Michael Ritchie. Universal, 1980.
Obligations continue off the set, too, with interviews, public appearances, promotions. I do all that because it's part of the job. Acting means communication. If no one knows the picture is being released, you've failed to communicate. So the same standards of reliability, good humor, and punctuality are required for the off-the-set duties. Fan mail is important, too (and you can usually write off the expenses). I don't personally answer every letter because that would be impossible. But I do sign every photograph-I don't have a secretary who fakes my signature. Now there are some stars who refuse, temperamentally, to do any off-the-set promoting, but the only actors who get away with that get so much publicity for not cooperating that the production company is probably just as happy that they won't.
Temperament usually comes from insecurity. Real stars aren't insecure. They say what they want,
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