Coming at the acting business as a technician, I really enjoy the process of working. I really enjoy being in a rehearsal room, starting a theatre piece for the first time. I really enjoy shooting in front of the crew, and I really love going on location. I think all that is just so exciting. So I've never really been drawn into the fame of being an actor, which in L.A., is part and parcel of the deal. I think for a lot of people, especially kids, it's hard to not get wrapped up in the world of the perks that the job brings.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
I still audition a lot - it depends on the medium. For film, I audition just like everyone else, because it's a different set of casting directors. For television and theatre - well, for theater, there's some auditioning that has to happen, just for them to know that you can sing it, and how you'd take on the part. But for TV, things are getting a little better with, "Would you like to be a part of this?" But that's really for one - night things. It sounds like a pompous answer, if I say people are calling me to ask me to do things.
I love physical stuff. I love circusy, weird, breathing fire and bucket-listy things.
I did enjoy singing the song, called "The Count", which is Count Olaf's big song that he sings to the kids when they first arrive with his henchpeople. He wrote it himself, and he thinks he's really, really talented, and it's a terrible song. So we had to learn intentionally bad choreography... We did these almost Lady Gaga-ish kind of movements, which were just awful, but that made me laugh
That movie [A Series of Unfortunate Events] told four books in two hours, and we have two hours per book. So we have eight hours to tell four books, and if people watch we'll get to tell more of them. There's only thirteen books, so there's only going to be two more seasons, but that allows for a lot of time to be in character and to maintain character.
I like [Count] Olaf's wardrobe, because the whole thing seems like it should be a period piece in many ways, and yet the date is non-specific. So I would wear cloaks and jackets, but also turtlenecks. I was a little beatnik, and kind of hipster in that way.
The hardest part of playing the villain was the prosthetics, because I couldn't really move my face as much as I wanted to, and yet I had to move my face a lot. If I moved my face in certain ways the prosthetics would come apart, so I could do a lot of eyebrow acting, but I couldn't do a lot of nose lifting, or the corners of the nose would pop out.
Playing a villain was fun, only because you get to do all the things you wouldn't normally do in your real life.
The makeup [for Count Olaf] took about two and a half hours every morning. The meditation was another hour and a half. I would eat a big breakfast - that was probably 45 minutes. And then it was lunch.
As I learned from chapters past, it's important to try and stay in the chapter that you're in, and enjoy it while it's lasting. Not be constantly worrying about where this step will take you - living in the potential future. Like a good meal. Like a good chef's tasting meal. You don't want to wonder what's next while you're eating the foie gras.
I'm wildly impressed with the diversity of gay roles.
I sort of pride myself in my dissatisfaction with my work. I've always been concerned with buying the hype, and having that make your performances suffer.
If I'm doing some weird tick with my mouth, or not standing still or something, I'll be the first person to notice it, and then want to change that. I think it's important just to maintain trajectory, to not just use your same tricks over and over.
You have to be careful when you're doing an interview.
I feel like with actors wanting to direct, you really only have a shot or two. You can't just make a bunch of little independent movies, and then finally one gets noticed. You have to make a really good one right away.
I'm very interested in starting to produce, and direct, and have an umbrella over an entire project in the future. I'd like to have control over what the characters do. I think as an actor, you get a little too caught up in the moment-to-moment, beat-to-beat stuff to have perspective.
I have actual strong ideas. You just have to wait for the right timing. Timing is pretty crucial here. I can't dedicate a lot of energy and efforts trying to, say, create a show that I want to produce while I'm currently on another show.
For film, I audition just like everyone else, because it's a different set of casting directors.
Love is awesome and endless, but it is constantly changing its form. You love something for what it is, then it changes. But that change can make you love it even more.
When you have twin four-year-olds, you are able to dance like a fool, often. And I do.
I'd love to be some sort of villain in a big-budget action movie. Or a superhero franchise. That'd be rad.
I regret not dancing more, just cutting loose on the dance floor. I still admire those who don't care much about what others think of them.
Babies just change everything. You have to become super-selfless and super-tired and super-amenable to change. They just change all the time.
I think flirting is great fun. It doesn't mean that anything's going to come of it but it's fun to be told that you're hot and that your tits look great. You all get your pens out.
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