Actor Representation Quotes

I was one of the first to read the 'ER' script and the good news is George Clooney still gives me credit for helping to launch his career. I had George Clooney under contract for four years in a row before 'ER' happened. He's one of the few who remembers the people who helped him.

I get a lot of fan mail addressed to Bilbo and sometimes Sir Bilbo - it's hardly ever addressed to Ian Holm, in fact. My business manager drafts the replies, and then I pop in to the office and sign them, 'Bilbo!'

Big up Samuel L. Jackson, because here's a guy who has broken down doors.

I get that people want more diversity in TV and film, and I stand by that. I stand in solidarity with better diversity in TV shows, especially for Asian actors. I agree with that 100 per cent.

I must have Haley Joel Osment as my agent, because he only sees dead parts

Honestly, in retrospect, when I referred to the actors from 'Prince' as non-actors or non-professionals, it was actually a great disservice to them. The fact is that they are all actors and should be viewed that way by the industry. It was our casting process that was non-professional.

Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.

I think it would be a problem if Hollywood was casting British actors only as villains; if that were the case, then certainly there would be cause for concern.

I run Willow Management, which is the biggest agency for other short actors. We look after performers who are either under five feet and over seven feet tall.

To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.

In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.

There would be no Tab Hunter if it were not for Dick Clayton.

I've been looking for ways to audition more, because it also keeps me sharp and keeps my ambition at its firm edge. That's something that I'm actively engaged in conversations about now with my reps: What's out there that I can really either put myself on tape for, or meet with the director for and read for? How do we do that? We're now at the end of the Star Trek reboot trilogies and whether we are going to do another movie remains to be seen, and so I feel like I'm at the end of this cycle that began with me coming out of school and auditioning and building my way up.

When it comes to representation and agent meetings, a lot of times actors go into the meeting with the idea that they need the agent to pick them - but it's a partnership.

I think when average-size people start taking roles that were meant for dwarfs, that's a little frustrating because there aren't that many roles out there for height-challenged actors.

When I was in high school, there weren't a lot of out gay actors playing gay roles. I didn't see myself represented truthfully in the media.

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.

They don't always use dwarfs, unfortunately. They shouldn't be allowed to do that! How dare they do 'Snow White and the Seven Dwarfs' and not have dwarfs!

It's kind of like an out of body experience, watching my words being spoken by the actors, watching the portrayal of me by John David Washington.

Knowing who the actors were as you were designing them helped, with Catherine's beauty and Renee's frailty, they directed me visually just by who they were.

Hollywood likes to put actors in boxes, and it likes to put Asian actors in really small boxes.

TV writing - for me, at least - is half original voice and half an embodiment and a representation of the spirit of the actors you're writing for.

On general principle, I boycott shows that don't employ actors.

Normally movies have the same people they use over and over for everything. It's called typecasting. They don't like to take chances. They'll go with the guy they had before.

If you stood me in a costume next to a computer graphic of the same-looking character, I think there would be a difference. And many movie fans I've spoken to would rather see an actor in a costume than CG.