I remember having to hit a mark and having no idea how to do it, real childlike stuff, because Carnegie Mellon didn't do an extensive job preparing us for film and television. It was very much a theater program. That was my first job. It was cool. I was glad it was.
It makes sense that it's so different from film and television, because it's so in-depth. As actors, when we're in film or television, we can have transcendent moments and we get to work with really creative and incredible people, but it's such a small percentage of your time that's about your process.
That idea of comparison is what fans do. That's why fans exist. They believe in something and something connects to them, and they have passionate feelings and opinions about films.
I was aware of it but I think I was aware of it abstractly, theoretically. You know I understood who Edward Snowden was and what he did but I didn't really see the relevance that it bore in my life and doing film changed that tune pretty quick.
It feels that way when I'm doing a play, absolutely. On film and television, it's more complicated than that I think, and when you start to add the business into the mix, and the industry into the mix, it doesn't maintain it's purity. That's something that's inevitable and unavoidable, but that's why I try to do plays as much as I possibly can.
When I got out of school, it used to be that it was theater actors that ended up doing film and television, and you had to come from the theater to be taken seriously in that world.
I think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.
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