10,000 NOs. Matthew Del Negro
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Название: 10,000 NOs

Автор: Matthew Del Negro

Издательство: John Wiley & Sons Limited

Жанр: Банковское дело

Серия:

isbn: 9781119691853

isbn:

СКАЧАТЬ else it needs. Those qualities, he says, came from growing up with less than everyone around him and having parents who taught him the value of hard work.

      If you did not have that kind of influence, the good news is that work ethic can be learned, trained, and coaxed out of its dark cave if you have the right piece of meat to lure it. This point may be best illustrated by 10,000 NOs guest Terry Knickerbocker's journey. Knickerbocker, an acting teacher with his own studio in Brooklyn, New York, is known for guiding actors like Sam Rockwell into Oscar-winning performances. The signature quality cited by Knickerbocker's students, clients, and employees is his incredibly detailed and dedicated work ethic. But earlier in his life, he was a self-described underachiever who would get high all the time beginning in the ninth grade. His appetite for work was only whetted when he discovered his passion for acting. He began to get roles, but soon realized his raw talent would only take him so far.

      “I didn't know what the hell I was doing, but I kept on getting these parts. I realized I reached a plateau here and I needed to train.”

       —Terry Knickerbocker, Acting Coach

      “You can be like Jack Horner and chisel a plum

      And think you're a wonderful guy.

      But the Man in the Glass says you're only a bum

      If you can't look him square in the eye.”

      —“The Guy in the Glass,” Dale Wimbrow

      Passion and interest certainly play a part in consistently chipping away at a goal for long periods of time. But something that I think may be overlooked by many, which is the key to increasing a strong work ethic, is the mindset that usually accompanies this process. Contrary to what many people may believe, almost every high achiever known for their incredible work ethic developed it because a voice inside their head told them that their God-given talent on its own was not good enough to get them to where they wanted to be.

      “We are not particularly well-spoken, we are not particularly good-looking, we are not particularly intelligent, we are … generally speaking a B-minus across the board, and yet we just fucking killed ourselves, and worked our asses off and found a way to push that boulder up the mountain. And I think people look at us, and rightfully so, and they think, ‘If those guys can do it, I think anybody can do this.’”

       —Mark Duplass, Filmmaker and Actor, on the massive success he and his brother have had in Hollywood circumnavigating the system

      As an actor, I know fear every time I'm on a new set in a new role. My consistent training has reduced this fear. And over time, my experience has provided me examples that I can draw from, of times where I have overcome my fear in the past, which helps me to keep it in check. But new environments can bring new challenges that sometimes make me feel like I'm starting all over again. When I was young and I'd hear a legendary actor like Gene Hackman wonder if he was ever going to work again once he wrapped a film, I thought it was an insincere ploy for sympathy. But now, as a consistently working actor myself, I finally understand his statement. The years have taught me that I can never predict what is coming next. Likewise, on a new set with new players and material, a fear that I won't have what it takes to hack it can sometimes creep into my psyche. My specific career, where much of my work has consisted of extended stints on other people's shows, has brought this challenge up for me repeatedly.

      One of these intimidating stints was on The West Wing. While I was eventually cast as Bram Howard, the advance man of Jimmy Smits's Matt Santos character, toward the end of season 6, I had auditioned for a different role two years prior. For that audition, I had made it far enough to eventually read with the show's creator, Aaron Sorkin. Despite having had a nice run on The Sopranos a few years before this, I was a bit scared. The tip from the casting director before I walked into the room was that Sorkin liked it fast, so I would need to pick up my cues and keep the pace at a fast clip. While I wouldn't have considered myself a loyal fan of The West Wing at the time, I had seen enough episodes to know that virtually every character was hyper-articulate and prone to slinging polysyllabic political jargon while marching through the maze-like halls of the West Wing or hotel corridors at a brisk pace—these “walk and talks” quickly became a hallmark of the show and a feature used by many shows since. It was intimidating, to say the least.

      On top of this, while I consider myself to be an intelligent human, I have never been particularly astute when it comes to politics. With an exorbitant amount of preparation, however, I was able to successfully make it through my reading with Sorkin. Knowing that there were only a few other actors in the running, coupled with the fact that they were looking to “cast an unknown” in this role, I actually walked out of that room believing I had a legitimate shot. I was wrong. Rather than offering the role to me or one of the other handful of “unknowns,” they gave it to Matthew Perry, who was fresh off of the smash hit Friends. Such is Hollywood. I was forced to chalk it up as another of my 10,000 “no”s when Perry eventually won an Emmy for his performance.

      Two years later, in 2005, while temporarily in Los Angeles attempting to score a series regular role on a new show during pilot season (the time of year when pilots, a.k.a. first episodes of a new series, are being cast for the following season of TV), I went in again for what СКАЧАТЬ