Moving from corporate banking to retail banking to international banking to supervisory roles has meant completely reinventing myself.
I always had a larger view. I'm interested in real life - my family, my friends. I have tried never to define myself by my success, whatever that is. My happiness is way beyond roles and awards.
I have said to my agents, 'I want to work. I want to play character roles.'
I haven't signed as many films as I'd like to because there are no good roles, as disheartening as it is to say.
I don't want to limit myself. I want to keep doing all sorts of roles. I guess what lies behind this urge is the conviction that movies have changed my life. And certain performances have inspired me to try to be someone different.
I think it can be hard for any man to sometimes be upstaged by his wife. So when I'm home, I work very hard to be Todd's wife and Jade's mother. I have no problem going back to those traditional roles. I try to be Giada, the young girl that he met 20 years ago and fell in love with.
I usually set aside a lot of time in advance of a movie with important roles for kids to search, but when you have great ones, they can be a real ace in the hole.
I'd say that the director I had most involvement with was Alex Rockwell in 'In the Soup'. It was one of my earliest leading roles, and he gave me a lot of responsibility as an actor.
So, if you're doing good longform with talented people than you can step out and you can be the president or a construction worker and people accept that. It's really the roles you give yourself.
Well, my favorite roles so far are Lucas and Lost Boys.
I'm not sure that you can say definitively that some roles are better filled by consultants, but I would say that some projects are better handled by consultants.
People often ask me why I don't take up more heroine-oriented roles. My question is, 'Where are these roles?' I really appreciate actresses who sign only films with meaty roles. However, there aren't too many of them. The industry is simply male-dominated.
In film roles, I play a lot of heavies and a lot of bad guys, so I tend to be the jokester and the good-time Charlie on the set.
I want to do amazing roles fit for my age in 30 years. I'm sure I'll be less popular and have less offers then, but I think I'll be able to do act well for my age at the time.
People think that my favorite roles to do are villains, but I find comedy to be the most challenging and rewarding.
My agent and I try to be picky with roles so that I can drive my career in different directions and be different, creative characters. I want to be an actor for the rest of my life and to have fun with my career. So I told him that I wish I could do a movie that already has a fan base. And then 'Twilight' came along!
I think there is an enormous appetite for great roles for women. You can see that clearly with things like 'The Hunger Games.'
A lot of these roles that I feel like I've had some sort of impact, or that have had an effect on me, have always been with directors who have the time to somehow get to know me. Any good director's going to be curious about who it is that's coming aboard.
People know me because I play the monsters, but I'm most recognized from the small roles in which they see my face. None of that stuff really bothers me. Whether I'm recognized in or out of a costume isn't a kind of pressure I put myself through anymore.
David Gregory is known by and respected by many for his years of service to the Tennessee Board of Regents and in many roles in state government.
I am really not of the school of naturalism. I like style, and you can use more style in theater than in film roles. I love to sink my teeth into a part.
I try to do different things. My main goal is to choose roles where I won't repeat myself or where I will not be doing the same role over and over. I try to do a villain, the best friend to the lead, and then a lead. I try to vary it up because if I don't, I will get bored.
That's double-edged: it's amazing that they're bringing me in and showing people new ideas, and at the same time it's a little hard because seventy percent of the time or even higher I'm not going to get those roles.
The 1950s felt so safe and smug, the '60s so raw and raucous, the revolutions stacked one on top of another, in race relations, gender roles, generational conflict, the clash of church and state - so many values and vanities tossed on the bonfire, and no one had a concordance to explain why it was all happening at once.
I'm not in a rush to do anything. And I wouldn't say I pick and choose. When it comes to producers picking people for roles I don't think it's between me and Tom Cruise, do you know what I mean?
I like the way that different people recognise me for the roles I done.
So you have to force yourself out of a comfort zone and really try to figure out what are the key ingredients, the key skill sets, the key perspectives that are necessary, and then figure out a way to attract the very best people to fill those particular roles.
I like to think I've done a lot of different kinds of roles, but obviously I have done quite a lot of comedies.
There are roles I am never considered for. Meryl Streep roles, let's say. Why not? I really wanted to do 'Ironweed,' for example, because the depression era in this country was one of the best for multiracial people, because everybody was poor. Everybody lived in the tents, and under buildings, and under gratings, together.
I've played a lot of roles I haven't wanted to play, either because they needed someone in the theatre or because they couldn't do it without me 'cause they don't have anyone else the right age.
I was never interested in 'Teen Beat' like roles. I just wanted to work.
I don't think of it at the moment, but the roles that interest me are those of young people.
Lead roles are fun, but I'm especially happy other, more colorful supporting stuff has come along.
When actors are vying for the same kinds of roles, there's bound to be a little rivalry. Deep friendships cannot be forged when you are competing with each other.
Competitive skills are desperately needed by poor children in America, and realistic recognition of the economic roles that they may someday have an opportunity to fill is obviously important, too. But there is more to life, and there ought to be much more to childhood, than readiness for economic functions.
So many roles for women demand that you make the audience fall in love with you or sympathise with you.
