Actors Pay Quotes

But writers INVITE ghosts, maybe; along with actors and artists, they are the only totally accepted mediums of our society. They make worlds that never were, populate them with people who never existed, and then invite us to join them in their fantasies. And we do it, don't we? Yes. We PAY to do it.

Sometimes in the afternoon sky the moon would pass white as a cloud, furtive, lusterless, like an actress who does not have to perform yet and who, from the audience, in street clothes, watches the other actors for a moment, making herself inconspicuous, not wanting anyone to pay attention to her.

One the one hand, our economists treat human beings as rational actors making choices to maximize their own economic benefit. On the other hand, the same companies that hire those economists also pay for advertising campaigns that use the raw materials of myth and magic to encourage people to act against their own best interests, whether it's a matter of buying overpriced fizzy sugar water or the much more serious matter of continuing to support the unthinking pursuit of business as usual in the teeth of approaching disaster.

Has it ever happened, you’ve seen a striking film, beautifully written and acted and photographed, that you walk out of the theater glad to be a human being and you say to yourself I hope they make a lot of money from that? I hope the actors, I hope the director earns a million dollars for what they’ve done, what they’ve given me tonight? And you go back and see the movie again and you’re happy to be a tiny part of the system that is rewarding those people with every ticket...the actors I see on the screen, they’ll get twenty cents of this very dollar I’m paying now; they’ll be able to buy an ice cream cone any flavor they want from their share of my ticket alone. Glorious moments in art in books and films and dance, they’re delicious because we see ourselves in glory’s mirror.

But people didn't have to pay as much attention to the awful truth. As the living legend of the cruel tyrant in the city and the gentle holy man in the jungle grew, so, too, did the happiness of the people grow. They were all employed full time as actors in a play they understood, that any human being anywhere could understand and applaud.

Why do writers write? Why do actors act? Why do painters paint? It doesn't pay much, unless you're very successful. It's who we are.

Oslo probably owed them money. Sockeye Sammy’s shiner testified that it might not be a good idea to stiff his employer. But if I couldn’t pay up, I’d surely make myself scarce, too!

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

Intellectual 'work' is misnamed; it is a pleasure, a dissipation, and is its own highest reward. The poorest paid architect, engineer, general, author, sculptor, painter, lecturer, advocate, legislator, actor, preacher, singer, is constructively in heaven when he is at work; and as for the magician with the fiddle-bow in his hand, who sits in the midst of a great orchestra with the ebbing and flowing tides of divine sound washing over him - why, certainly he is at work, if you wish to call it that, but lord, it's a sarcasm just the same. The law of work does seem utterly unfair - but there it is, and nothing can change it: the higher the pay in enjoyment the worker gets out of it, the higher shall be his pay in cash also.

One of my constant preoccupations is trying to understand how it is that other people exist, how it is that there are souls other than mine and consciousnesses not my own, which, because it is a consciousness, seems to me unique. I understand perfectly that the man before me uttering words similar to mine and making the same gestures I make, or could make, is in some way my fellow creature. However, I feel just the same about the people in illustrations I dream up, about the characters I see in novels or the dramatis personae on the stage who speak through the actors representing them. I suppose no one truly admits the existence of another person. One might concede that the other person is alive and feels and thinks like oneself, but there will always be an element of difference, a perceptible discrepancy, that one cannot quite put one's finger on. There are figures from times past, fantasy-images in books that seem more real to us than these specimens of indifference-made-flesh who speak to us across the counters of bars, or catch our eye in trams, or brush past us in the empty randomness of the streets. The others are just part of the landscape for us, usually the invisible landscape of the familiar. I feel closer ties and more intimate bonds with certain characters in books, with certain images I've seen in engravings, that with many supposedly real people, with that metaphysical absurdity known as 'flesh and blood'. In fact 'flesh and blood' describes them very well: they resemble cuts of meat laid on the butcher's marble slab, dead creatures bleeding as though still alive, the sirloin steaks and cutlets of Fate. I'm not ashamed to feel this way because I know it's how everyone feels. The lack of respect between men, the indifference that allows them to kill others without compunction (as murderers do) or without thinking (as soldiers do), comes from the fact that no one pays due attention to the apparently abstruse idea that other people have souls too.

The word ‘play’ is at the heart of what we do as actors – players putting on plays by playwrights in playhouses for playgoers. Play is everything.

I love my country enough to risk its wrath by drawing attention to the negative things we don't always want to see. And that can be risky and you have to pay for that. (Ramon Estevez) on Inside the Actor's Studio

It reminds me what Uma Thurman once said about actors improvising: "What most actors call improvising is just stammering and swearing. But another word for improvising is writing. And that's not what you pay actors to do.

The people of the heart—the painters, the poets, the musicians, the dancers, the actors—are all irrational. They create great beauty, they are great lovers, but they are absolutely unfit in a society that is arranged by the head. Your artists are thought by your society to be almost outcast, a little bit crazy, an insane type of people. Nobody wants his or her children to become musicians or painters or dancers. Everybody wants them to be doctors, engineers, scientists, because those professions pay. Painting, poetry, dance, are dangerous, risky—you may end up just a beggar on the street, playing on your flute.

That's not who I am, and you aren't paying me enough to be an actor.

The publisher said of somebody, 'That man will get on; he believes in himself.' [...] I said to him, 'Shall I tell you where the men are who believe most in themselves? For I can tell you. I know of men who believe in themselves more colossally than Napoleon or Caesar. I know where flames the fixed star of certainty and success. I can guide you to the thrones of Supermen. The men who really believe in themselves are all in lunatic asylums.' He said mildly that there were a good many men after all who believed in themselves and who were not in lunatic asylums. 'Yes, there are,' I retorted, 'and you of all men ought to know them. The drunken poet from whom you would not take a dreary tragedy, he believed in himself. That elderly minister with an epic from whom you were hiding in a back room, he believed in himself. If you consulted your business experiences instead of your ugly individualistic philosophy, you would know that believing in himself is one of the commonest signs of a rotter. Actors who can't act believe in themselves; and debtors who won't pay. It would be much truer to say that a man will certainly fail, because he believes in himself. Complete self confidence is not merely a sin; complete self-confidence is a weakness.

the Great Actor, capable of bringing herself to tears, may extort our admiration for her “accomplishment,” but she will never leave us stronger; she has made us pay a price, and made us pretend we like it, but we leave the theatre moved only by our capacity to be moved.

I did not pay much attention, and since it seemed to prolong itself I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

Her agent kept telling her how much buzz there was. So much buzz. It turned out you couldn’t buy groceries with buzz, so she supplemented her enormously successful but currently non-paying career as “the next big thing” with waiting tables in restaurants, alongside most of the actors in LA.

it is style which is the deference that action pays to uncertainty;

I’m not happy. Paying actors. Posing. Less and less surprised by light.

~Does it bother you that you didn’t become a famous actor? That you didn’t get a break?~ ~David, there aren’t any guarantees in life. Not for your friends who want to be all of sorts of things. Not for you. The only thing we can do every single day we wake up is try to do the things that we can do the best; enjoy the things we get, and pay attention to when and why we’re happy. I didn’t know what I really wanted until I held you in my arms. In that minute, the very first minute they brought you to me wrapped in that blanket, I knew my little dream about myself was nothing in comparison.~

Celebrities are our heroes and heroines now, discussed the next day over latte or lunch. We have such a strong need to talk to each other, to have some commonality of story, that we're finding it in celebrities. In effect, we're turning reality into fiction. Using actors and actresses, just off duty. And how is this working for us? Not great. It leaves us with a perennially empty feeling. We find the celebrities empty, and at some level, we find ourselves empty for paying them so much attention. We've become reluctant voyeurs, and at some level, we know they're just people trying to live their lives. Our culture begins to lack content, depth, and substance. We miss the richness of human experience that story embodies, reflects, and carries forward. We might have to go back to reading books. Yay!

...it’s probably a good thing to go to the movies occasionally. The whole audience puts on the actor’s face. No one needs his own. A movie’s a place where you pay your money to exchange faces for a while.

The thespian is an impostor, but the paying crowd colludes fully in the fraud as they seek to leave real problems behind to indulge in the fictitious ones of another. Hence adulation towards a performer starts.

we wanted to pay homage to TV producer-director-actor Sheldon Leonard [the Emmy-winning producer and director of shows like The Danny Thomas Show, The Andy Griffith Show, The Dick Van Dyke Show, and more], so that’s where Sheldon and Leonard came from.

Many writers on slavery today have emphasized the “agency” of the enslaved people, insisting that we pay heed to the efforts of the slaves to resist their condition and assert their humanity under a dehumanizing system. But as slaves gain “agency” in historical analyses, the masters seem to lose it. As the slaves become heroic figures, triumphing over their condition, slave owners recede as historical actors and are replaced by a faceless system of “context” and “forces.” So we end up with slavery somehow afloat in a world in which nobody is responsible.

Everybody wants to be famous, but nobody wants to do the work. I live by that. You grind hard so you can play hard. At the end of the day, you put all the work in, and eventually it’ll pay off. It could be in a year, it could be in 30 years. Eventually, your hard work will pay off.

Tarantulas have also received a lot of bad press in the movies. Many movies and television programs starring such noted actors as Sean Connery, The Three Stooges, Harrison Ford, and William Shatner, have featured tarantulas as dangerous to humans or menaces to civilization. The Tarantula That Ate Tokyo is a long-standing joke among horrormovie buffs. The fact is that these movies play with the ignorance and fears passed on for generations by unenlightened people. Nobody would pay to see the movie The Beagle That Ate Boston since everybody knows what a beagle really is. Few know tarantulas as well.

That drunken poet from whom you would not take a dreary tragedy, he believed in himself. That elderly minister with an epic from whom you were hiding in a back room, he believed in himself. If you consulted your business experience instead of your ugly individualistic philosophy, you would know that believing in himself is one of the commonest signs of a rotter. Actors who can't act believe in themselves; and debtors who won't pay. It would be much truer to say that a man will certainly fail because he believes in himself. Complete self-confidence is not merely a sin; complete self-confidence is a weakness.

As if somehow irony,” she recaps for Maxine, “as practiced by a giggling mincing fifth column, actually brought on the events of 11 September, by keeping the country insufficiently serious — weakening its grip on ‘reality.’ So all kinds of make-believe—forget the delusional state the country’s in already—must suffer as well. Everything has to be literal now.” “Yeah, the kids are even getting it at school.” Ms. Cheung, an English teacher who if Kugelblitz were a town would be the neighborhood scold, has announced that there shall be no more fictional reading assignments. Otis is terrified, Ziggy less so. Maxine will walk in on them watching Rugrats or reruns of Rocko’s Modern Life, and they holler by reflex, “Don’t tell Ms. Cheung!” “You notice,” Heidi continues, “how ‘reality’ programming is suddenly all over the cable, like dog shit? Of course, it’s so producers shouldn’t have to pay real actors scale. But wait! There’s more! Somebody needs this nation of starers believing they’re all wised up at last, hardened and hip to the human condition, freed from the fictions that led them so astray, as if paying attention to made-up lives was some form of evil drug abuse that the collapse of the towers cured by scaring everybody straight again.

I used to feel compelled to respond. Once I contacted the author of a list of “Ugliest Former Child Actors” to ask her why, as a woman, she was punishing other women for the way they looked. She wrote back immediately to apologise. “I write stupid things on the internet to pay the bills,” she said. “I can’t afford integrity.

machines again, and radios, and the latest Chevrolet. General Electric flooded the country with luxury gadgets: food processors, toasters, floor-polishing machines, FM radios, electric blankets, and so on. These were all products promoted by that epitome of the television salesman Ronald Reagan, a popular actor whose work in advertising eventually taught him to sell himself, too. Traditional ideals were put on hold and ‘selling out’ became a catchphrase – you accepted a job that gave you no satisfaction because the pay was good. These were the months and years when British singer Vera Lynn touched American hearts with ‘A kiss won’t mean “Goodbye” but “Hello to love”’. Yes, that’s when it started, with that kiss on Times Square.

I watched, for the umpteenth time, James Dean in REBEL WITHOUT A CAUSE. Man oh man, I'm trying my damnedest to recreate the impact that cool cat, Dean, had on the world with the use of ONLY my words. Why? Because I (full disclosure) was an actor at one time in my life and though theatre didn't pay the bills, off-Broadway productions were (and maybe still are) my thing.

There is inherent drama to a major Supreme Court case in which the powerful institutional actors include the Court itself. Some will emerge as winners and some as losers. But it is important to recognize that outside the courtroom, in less dramatic ways, the Court continually interacts with the other branches. The Court submits its annual budget request to Congress, and the justices take turns going before the relevant congressional subcommittees to testify about the Court’s fiscal needs. Congress determines the salaries of the justices and all federal judges. When John Roberts became chief justice, he made it a priority to persuade the president and Congress of the need for a long-deferred pay raise for federal judges, a plea that fell on deaf ears.

To clothe the penguins is a very serious business. At present when a penguin desires a penguin he knows precisely what he desires and his lust is limited by an exact knowledge of its object. At this moment two or three couples of penguins are making love on the beach. See with what simplicity! No one pays any attention and the actors themselves do not seem to be greatly preoccupied. But when the female penguins are clothed, the male penguin will not form so exact a notion of what it is that attracts him to them. His indeterminate desires will fly out into all sorts of dreams and illusions; in short, father, he will know love and its mad torments. And all the time the female penguins will cast down their eyes and bite their lips, and take on airs as if they kept a treasure under their clothes! . . . what a pity!

By now, certain alternate theories are beginning to circulate online. It's the government, they say. Or it's Big Pharma. Some kind of germ must have gotten loose from a lab at the college. Think about it, they say: Do you really believe that a completely new virus could show up in the most powerful country on earth without scientists knowing exactly what it is? They probably engineered it themselves. They might be spreading this thing on purpose, testing out a biological weapon. They might be withholding the cure. Or maybe there's no sickness at all—that's what some have begun posting online. Isn't Santa Lora the perfect location for a hoax? An isolated town, surrounded by forest, only one road in and one road out. And those people you see on TV? Those could be hired victims. Those could be crisis actors paid to play their parts. And the supposedly sick? Come on, how hard is it to pretend you're asleep? Maybe, a few begin to say, Santa Lora is not even a real town. Has anyone ever heard of this place? And look it up: there's no such saint as Santa Lora. It's made-up. The whole damn place is probably just a set on some back lot in Culver City. Don't those houses look a little too quaint? Don't be naïve, say others—they don't need a set. All that footage is probably just streaming out of some editing room in the valley. If you look closely, you can tell that some of those houses repeat. Now just ask yourself, they say, who stands to benefit from all this. It always comes back to money, right? The medical-industrial complex. And who do you think pays the salaries of these so-called journalists reporting all this fake news? Just watch: in a few months, Big Pharma will be selling the vaccine.

With just about every script, in almost every corner of the set, I was faced with the truth: This was my parents' life. My mother had sat in handcuffs; my father had once worn an orange jumpsuit like the dozens that sat folded in our wardrobe department. For the other actors and me on our show, this was all fantasy, the re-creation of a world we knew little about; for Mami and Papi, it could not have been any more real or painful...I've had so many scenes in which Flaca & I are doing the dirty work, like cleaning the kitchen or mopping the floors, which is when I think of my parents most. Long before they ended up in prison, they'd spent years handling the nastiest jobs, the ones often avoided by others. Manual labor. Low pay. No respect. They must've felt so trapped. It must've been so hard for them to maintain their dignity when others looked down on them or, worse, didn't see them at all.

Much of the so-called environmental movement today has transmuted into an aggressively nefarious and primitive faction. In the last fifteen years, many of the tenets of utopian statism have coalesced around something called the “degrowth” movement. Originating in Europe but now taking a firm hold in the United States, the “degrowthers,” as I shall characterize them, include in their ranks none other than President Barack Obama. On January 17, 2008, Obama made clear his hostility toward, of all things, electricity generated from coal and coal-powered plants. He told the San Francisco Chronicle, “You know, when I was asked earlier about the issue of coal . . . under my plan of a cap and trade system, electricity rates would necessarily skyrocket. . . .”3 Obama added, “. . . So if somebody wants to build a coal-powered plant, they can. It’s just that it will bankrupt them because they’re going to be charged a huge sum for all the greenhouse gas that’s being emitted.”4 Degrowthers define their agenda as follows: “Sustainable degrowth is a downscaling of production and consumption that increases human well-being and enhances ecological conditions and equity on the planet. It calls for a future where societies live within their ecological means, with open localized economies and resources more equally distributed through new forms of democratic institutions.”5 It “is an essential economic strategy to pursue in overdeveloped countries like the United States—for the well-being of the planet, of underdeveloped populations, and yes, even of the sick, stressed, and overweight ‘consumer’ populations of overdeveloped countries.”6 For its proponents and adherents, degrowth has quickly developed into a pseudo-religion and public-policy obsession. In fact, the degrowthers insist their ideology reaches far beyond the environment or even its odium for capitalism and is an all-encompassing lifestyle and governing philosophy. Some of its leading advocates argue that “Degrowth is not just an economic concept. We shall show that it is a frame constituted by a large array of concerns, goals, strategies and actions. As a result, degrowth has now become a confluence point where streams of critical ideas and political action converge.”7 Degrowth is “an interpretative frame for a social movement, understood as the mechanism through which actors engage in a collective action.”8 The degrowthers seek to eliminate carbon sources of energy and redistribute wealth according to terms they consider equitable. They reject the traditional economic reality that acknowledges growth as improving living conditions generally but especially for the impoverished. They embrace the notions of “less competition, large scale redistribution, sharing and reduction of excessive incomes and wealth.”9 Degrowthers want to engage in polices that will set “a maximum income, or maximum wealth, to weaken envy as a motor of consumerism, and opening borders (“no-border”) to reduce means to keep inequality between rich and poor countries.”10 And they demand reparations by supporting a “concept of ecological debt, or the demand that the Global North pays for past and present colonial exploitation in the Global South.”11

Instead, my biggest piece of advice to anyone just starting out, or to anyone who feels like they are taking a wrong turn along the way, is this. Find something you want to do and learn how to do it really well. Take what you got and make the most of it. Learn how to do something, whatever it is, you would choose to do for nothing. Whatever it is, when you are doing it, it makes you feel amazing and most yourself. Throw yourself into it. Challenge yourself to be the best you can be. We can’t all be famous actors. But, if you can find something you love and if that something will also pay the bills, you will be on your way to your own personal paradise.

There were three great comedians in my formative years—Bill Cosby, Bill Murray, and Richard Pryor—and they wrecked comedy for a generation. How? By never saying anything funny. You can quote a Steve Martin joke, or a Rodney Dangerfield line, but Pryor, Cosby, and Murray? The things they said were funny only when they said them. In Cosby’s case, it didn’t even need to be sentences: “The thing of the thing puts the milk in the toast, and ha, ha, ha!” It was gibberish and America loved it. The problem was that they inspired a generation of comedians who tried coasting on personality—they were all attitude and no jokes. It was also a time when comedy stars didn’t seem to care. Bill Murray made some lousy movies; Richard Pryor and Eddie Murphy made even more; and any script that was too lame for these guys, Chevy Chase made. These were smart people—they had to know how bad these films were, but they just grabbed a paycheck and did them. Most of these comic actors started as writers—they could have written their own scripts, but they rarely bothered. Then, at the end of a decade of lazy comedy and half-baked material, The Simpsons came along. We cared about jokes, and we worked endless hours to cram as many into a show as possible. I’m not sure we can take all the credit, but TV and movies started trying harder. Jokes were back. Shows like 30 Rock and Arrested Development demanded that you pay attention. These days, comedy stars like Seth Rogen, Amy Schumer, Kristen Wiig, Melissa McCarthy, and Jonah Hill actually write the comedies they star in.

The driver, whose name was Chase, pulled up in a silver Honda. He was cute, with a gap in his front two teeth—maybe age twenty-six at most. He looked like he was trying to grow a mustache, and his brown hair was past his ears under a baseball cap that read FML. He babbled that he was an actor, or was trying to become one. His favorite philosophy about acting was Uta Hagen’s, something about being a student of humanity. Well, for a student of humanity he was shitty at reading people. In my head I just kept saying, Shut up, shut up! I wanted to say, Don’t you know I am dying? But even in my dying I couldn’t be mean to him for fear that he would think I was a bitch. Why did I even care what he thought? Was my death unimportant? How could I prioritize the feelings of this vacant, mustached kid over my own—me, who was probably dying? I repeated, “That’s nice” and “Oh, interesting,” and lay down in the backseat. I didn’t announce that I would be laying down, I just did it. He wasn’t paying any attention to what I was doing, instead going on about an upcoming audition for a prescription allergy medication where he would play the son-in-law of a woman with adult allergies. He said he had mixed feelings about it, because he didn’t want to limit his range to pharmaceuticals. The part he really wanted was an audition for Samsung next week. He was trying out to play the phone. “It’s not easy to make it in this town. I’m going up against two hundred other potential phones, at least,” he said, looking in the mirror at the traffic behind him. I noticed he had green eyes. He really was cute. I waited for him to comment on me lying supine in his backseat, but he didn’t ask if I was okay. I suppose this was normal behavior in California. I closed my eyes and concentrated on my breathing. I wasn’t dead. I was breathing in the back of this cute idiot’s car. When we pulled up at Annika’s house, he stopped and said, “Okay, we’re here. Wish me luck at Samsung!” I opened my eyes and squinted at him. I wanted to tell him that I hoped he never got a part.

The best advice came from the legendary actor the late Sir John Mills, who I sat next to backstage at a lecture we were doing together. He told me he considered the key to public speaking to be this: “Be sincere, be brief, be seated.” Inspired words. And it changed the way I spoke publicly from then on. Keep it short. Keep it from the heart. Men tend to think that they have to be funny, witty, or incisive onstage. You don’t. You just have to be honest. If you can be intimate and give the inside story--emotions, doubts, struggles, fears, the lot--then people will respond. I went on to give thanks all around the world to some of the biggest corporations in business--and I always tried to live by that. Make it personal, and people will stand beside you. As I started to do bigger and bigger events for companies, I wrongly assumed that I should, in turn, start to look much smarter and speak more “corporately.” I was dead wrong--and I learned that fast. When we pretend, people get bored. But stay yourself, talk intimately, and keep the message simple, and it doesn’t matter what the hell you wear. It does, though, take courage, in front of five thousand people, to open yourself up and say you really struggle with self-doubt. Especially when you are meant to be there as a motivational speaker. But if you keep it real, then you give people something real to take away. “If he can, then so can I” is always going to be a powerful message. For kids, for businessmen--and for aspiring adventurers. I really am pretty average. I promise you. Ask Shara…ask Hugo. I am ordinary, but I am determined. I did, though--as the corporation started to pay me more--begin to doubt whether I was really worth the money. It all seemed kind of weird to me. I mean, was my talk a hundred times better now than the one I gave in the Drakensberg Mountains? No. But on the other hand, if you can help people feel stronger and more capable because of what you tell them, then it becomes worthwhile for companies in ways that are impossible to quantify. If that wasn’t true, then I wouldn’t get asked to speak so often, still to this day. And the story of Everest--a mountain, like life, and like business--is always going to work as a metaphor. You have got to work together, work hard, and go the extra mile. Look after each other, be ambitious, and take calculated, well-timed risks. Give your heart to the goal, and it will repay you. Now, are we talking business or climbing? That’s what I mean.

One thing he'd learned in ten years on the New York Stage was this: don't make friends with the man who plays Hamlet; make friends with the man who pays Hamlet.

The administration of the country appeared to me then – as it does now – as a sorry and sordid play, in which the politicians are the actors, the Pressmen are the dramatists, vested interests pack the house, and – the public pay the price!

He didn’t call on Monday. “Pay up,” she said. “He’ll call,” Mike said. “He took a pinky pledge.” Mike made a good point, but how long could even a sacred vow sealed by the tiniest and most loyal of digits forestall the inevitable? They decided to give it a month. Tuesday morning the phone rang. “Hello,” said an increasingly familiar British voice. “Oh, hello,” Becky said, and thought both “darn” and “hooray!” at the same time. She hated to lose a bet. “Yes, hello,” said Felix. Becky cleared her throat. “Did you go skiing?” “Yes, you know, we did.” “Have a good time?” “Mm hmm.” “Good. Sounds . . . fun.” “So, what do we do now, swap stories about our exes? Watch a reality show on the telly and narrate to each other in scandalized voices? ‘Can you believe she said that? I can’t believe she just said that.’ ” “You don’t have many friends, do you?” “I have thousands of fans, dozens of itinerant co-workers, a handful of acolytes, three stalkers, and a wife.” “You have no idea how this friend business works, do you?” she asked. “Ha!” Felix said. “Ooh, that was a nice ‘ha.’ Full of derisive laughter and effectively evading any answer.” “Thank you. I’ve been practicing.” “Yeah. So, um, you have no idea how this works, do you?” “I know there’s talking involved, don’t I? And phone calling. I’m not such an amateur as all that.” “Felix, are you really sure you want to be friends?” “What do you mean, am I sure? I took a pinky pledge.

The best actors work the hardest but make it look easy. You have to master your nerves to do the job. You have to be willing to make a fool out of yourself. After a while, if you’re smart and paying attention, bit by bit, line by line, you begin to understand how to interpret a character.

Caitlin Ross was a pretty blonde white girl in a room full of pretty blonde white girls. She looked over the sea of heart-shaped faces and sighed. Every open call was the same, a swarm of female actors putting the lie to all of her father’s ungrammatical assurances that Caitlin was “very unique.” The audition was for an all-white musical adaptation of A Raisin in the Sun, which the producers were re-titling Caucrasian. It would undoubtedly be horrible and it didn’t pay, but Caitlin hadn’t been working lately and was getting desperate to appear in something. When she had emailed the company her headshot and résumé she had claimed that a reviewer had once described her as “like a young, white Debbie Allen,” and almost immediately she was asked to come in and read for the part of Beneatha. She

If you consulted your business experience instead of your ugly individualistic philosophy, you would know that believing in himself is one of the commonest signs of a rotter. Actors who can't act believe in themselves; and debtors who won't pay. It would be much truer to say that a man will certainly fail, because he believes in himself. Complete self-confidence is not merely a sin; complete self-confidence is a weakness.

McCabe and Bokonon did not succeed in raising what was generally thoughts of as the standard of living,' said Castle. 'The truth was that life was as short and brutish and mean as ever. 'But people didn't have to pay as much attention to the awful truth. As the living legend of the cruel tyrant in the city and the gentle holy man in the jungle grew, so, too, did the happiness of the people grow. They were all employed full time as actors in a play they understood, that any human being anywhere could understand and applaud.

Myth—God Will Rescue Me Following 40 days of fasting, Jesus was tempted three times by Satan. The second temptation is recorded in the New Testament as follows, “Then the devil taketh him up into the holy city, and setteth him on a pinnacle of the temple, And saith unto him, If thou be the Son of God, cast thyself down: for it is written, He shall give his angels charge concerning thee: and in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone. Jesus said unto him, It is written again, Thou shalt not tempt the Lord thy God.”80 Satan’s temptation was an appeal to man’s desire to be miraculously delivered from the consequences of an action. We tend to seek divine intervention to rescue us from consequences with little or no effort on our part. This tendency was illustrated by Ancient Greek dramatists’ use of the “deus ex machina,” meaning “God from a machine.” This was a machine in which actors portraying the gods would suddenly be lowered on the scene to save the mortal characters from the consequences of their choices. Satan’s use of this temptation continues today and can easily be seen manifested by the student who fails to study and then prays for an “A” during the examination, or the person who violated the divine laws of health and then prays for deliverance from resulting sickness or the person who purchases an expensive plasma screen television and then prays for help to pay the rent. We also see this tendency manifested by those who have incurred larges amounts of debt and then seeks to be delivered from the bondage and obligation of repayment through bankruptcy, or those who seek deliverance from a disease of choice by taking a pill to treat the symptoms instead of changing the behavior that causes the symptoms. We should respond to such temptations as did the Savior by saying, “Thou shalt not tempt the Lord thy God.”81 We must accept responsibility, which is the willingness and ability to recognize and accept the consequences of our actions

And in Japan, there’s been a proliferation of companies such as Family Romance that hire out actors to pretend to be lonely people’s friends, family members, or romantic partners. There’s nothing sexual in the arrangements; customers are paying only for attention. For example, a mother might rent a son to visit her when she’s estranged from her real son. A bachelor might rent a wife who will ask how his day went when he arrives home from work.

Fear’s ploy is to stop us looking at him, or indeed anything else, closely and attentively. When panic strikes it helps to remember that the simple act of paying attention is calming. In fact only attentiveness brings peace.

on an outdoor set, he watched a donkey braying at all the wrong moments, angering the sound technicians, who could not get the animal to perform on cue. (Walter loved to tell this story, and of course it got better every time he told it.) “I can bray,” said Brennan, buttonholing the director. So he brayed, and both the director and the donkey were delighted. “How much?” Walter asked the director. “Ten bucks,” came the reply. “Not enough,” the actor responded. But that was the pay scale, the director said. “Then I don’t bray,” Walter rejoined. “Tell you what,” the desperate director offered, “you bray for the ten-spot, and tomorrow come around and I’ll give you a bit part. You can collect twenty-five on that.” So it was that Walter Brennan brayed himself into motion pictures. Or as he liked to put it, “I got into pictures by making a jackass of myself.” True story? True enough, I suspect, because it was often said of Walter that he knew the value of a dollar and knew how to make himself useful. He also saved money by having his one pair of pants pressed every day by a friendly wardrobe man. Ruth liked to reminisce about washing Walter’s one shirt, putting it out on the line to dry, and then getting up at 4:00 am to iron it.

Reality, it is true, has a lot to answer for, so on the whole we make sure we don’t live there. We cannot control reality, but we can control our fantasies. Except our fantasies don’t exist; so we’re not really controlling anything at all. But the illusion of control is deeply reassuring. And the price we pay for this reassurance is unimaginable.

Rakesh Roshan Rakesh Roshan is a producer, director, and actor in Bollywood films. A member of the successful Roshan film family, Mr. Roshan opened his own production company in 1982 and has been producing Hindi movies ever since. His film Kaho Naa…Pyaar Hai won nine Filmfare awards, including those for best movie and best director. When I remember Diana and her activities in the last years of her life, I strongly feel that God sends some special people into this world to perform some special duties. Diana was one of these special people. Advancing on this godly path of love and goodness, Diana was blossoming like a flower, and with her captivating fragrance she started infusing new life in our dangerously sick garden--which was apparently at the brink of a precipice. The irony is that the cruel winds of autumn ruthlessly blew away this rare flower and deprived the world of its soothing fragrance. Diana, Princess of Wales, is no longer present in this world, but Diana, the queen of millions of hearts, is immortal and will live forever. My heart breaks when I think of her last journey, her funeral, which was brilliantly covered all over the world. One could see the whole of England in tears, and the eyes of all the television viewers were also flooded. Thousands of men, women, and children had lined up along the entire route from the palace to the church where the services were held. All the fresh flowers available in the United Kingdom were there on the passage. All eyes were tearful, and one could clearly hear the sobs of people. There were heartrending scenes of people paying tribute to their departed darling. Last, I would like to write here a translation in English of a poem written in Urdu. We hope you will come back…dear friend But why this pervading sadness…dear friend The familiar flavor in the atmosphere is singing… You are somewhere around…dear friend Please come back, Diana; this sinking world desperately needs a savior.

Would you care to share with the rest of the class what is so funny?” Madison gulped. Ms. Healy was staring hard at Madison’s PalmPilot, which was absolutely forbidden in class, along with cell phones, CD players, and any other distracting electrical equipment. Madison instantly started vamping. “Well, Ms. Healy, I was just musing on how ridiculous a scarlet would be today, and who would have to wear one--senators, actors, teachers, even a few of our presidents. In fact, there would probably be more people wearing the scarlet letter than not wearing it.” Ms. Healy’s cold blue eyes looked huge through her extra-magnified glasses. “This is funny?” Madison swallowed hard. “I guess it’s really more ironic, wouldn’t you say?” Ms. Healy, who knew Madison as a straight-A, straight-shooter kind of student, softened a little. “‘Ironic’ is indeed the perfect word for it,” she said with a brisk nod. “Now put the personal digital assistance away and pay attention, Ms. McKay.” As Ms. Healy walked back to the front of the room, Henry Cooney, Madison’s partner in chem lab, mouthed the words, “Nice save.” Madison wiped some imaginary sweat off her forehead with her hand and tried to focus once again on the lecture. She forced herself to keep her eyes glued to Ms. Healy and soon found herself wondering what had turned the teacher into such an old grump. She was clearly smart and sometimes very funny, in a droll sort of way. Take away those awful glasses, let her hair out of that tight metal barrette at her neck, and Ms. Healy could almost be considered attractive. Maybe she’d had some brush with failed love that had made her go sour. Or worse yet--what if she had never had any brush with love at all, and this dried-up old prune was what Ms. Healy had become?

Marc Goodman is a cyber crime specialist with an impressive résumé. He has worked with the Los Angeles Police Department, Interpol, NATO, and the State Department. He is the chief cyber criminologist at the Cybercrime Research Institute, founder of the Future Crime Institute, and now head of the policy, law, and ethics track at SU. When breaking down this threat, Goodman sees four main categories of concern. The first issue is personal. “In many nations,” he says, “humanity is fully dependent on the Internet. Attacks against banks could destroy all records. Someone’s life savings could vanish in an instant. Hacking into hospitals could cost hundreds of lives if blood types were changed. And there are already 60,000 implantable medical devices connected to the Internet. As the integration of biology and information technology proceeds, pacemakers, cochlear implants, diabetic pumps, and so on, will all become the target of cyber attacks.” Equally alarming are threats against physical infrastructures that are now hooked up to the net and vulnerable to hackers (as was recently demonstrated with Iran’s Stuxnet incident), among them bridges, tunnels, air traffic control, and energy pipelines. We are heavily dependent on these systems, but Goodman feels that the technology being employed to manage them is no longer up to date, and the entire network is riddled with security threats. Robots are the next issue. In the not-too-distant future, these machines will be both commonplace and connected to the Internet. They will have superior strength and speed and may even be armed (as is the case with today’s military robots). But their Internet connection makes them vulnerable to attack, and very few security procedures have been implemented to prevent such incidents. Goodman’s last area of concern is that technology is constantly coming between us and reality. “We believe what the computer tells us,” says Goodman. “We read our email through computer screens; we speak to friends and family on Facebook; doctors administer medicines based upon what a computer tells them the medical lab results are; traffic tickets are issued based upon what cameras tell us a license plate says; we pay for items at stores based upon a total provided by a computer; we elect governments as a result of electronic voting systems. But the problem with all this intermediated life is that it can be spoofed. It’s really easy to falsify what is seen on our computer screens. The more we disconnect from the physical and drive toward the digital, the more we lose the ability to tell the real from the fake. Ultimately, bad actors (whether criminals, terrorists, or rogue governments) will have the ability to exploit this trust.

I walked into Aquagrill and began my experience of trying to help a new restaurant get off the ground. The owners were talented and lovely, but I felt like an imposter in all of our pre-opening meetings. I wanted to earn a living as an actor, and I wanted to pay off my student loans and maybe get some health insurance.

I’m not,” Ben said. “I’m careful. There’s a difference.” “Of course,” my father said. “I’d never—” “Save it for the paying customers, Arl,” Ben cut him off, irritation plain in his voice. “You’re too good an actor to show it, but I know perfectly well when someone thinks I’m daft.” “I just didn’t expect it, Ben,” my father said apologetically. “You’re educated, and I’m so tired of people touching iron and tipping their beer as soon as I mention the Chandrian. I’m just reconstructing a story, not meddling with dark arts.” “Well, hear me out. I like both of you too well to let you think of me as an old fool,” Ben said. “Besides, I have something to talk with you about later, and I’ll need you to take me seriously for that.” The wind continued to pick up, and I used the noise to cover my last few steps. I edged around the corner of my parents’ wagon and peered through a veil of leaves. The three of them were sitting around the campfire. Ben was sitting on a stump, huddled in his frayed brown cloak. My parents were opposite him, my mother leaning against my father, a blanket draped loosely around them. Ben poured from a clay jug into a leather mug and handed it to my mother. His breath fogged as he spoke. “How do they feel about demons off in Atur?” he asked. “Scared.” My father tapped his temple. “All that religion makes their brains soft.” “How about off in Vintas?” Ben asked. “Fair number of them are Tehlins. Do they feel the same way?” My mother shook her head. “They think it’s a little silly. They like their demons metaphorical.” “What are they afraid of at night in Vintas then?” “The Fae,” my mother said. My father spoke at the same time. “Draugar.” “You’re both right, depending on which part of the country you’re in,” Ben said. “And here in the Commonwealth people laugh up their sleeves at both ideas.” He gestured at the surrounding trees. “But here they’re careful come autumn-time for fear of drawing the attention of shamble-men.” “That’s the way of things,” my father said. “Half of being a good trouper is knowing which way your audience leans.” “You still think I’ve gone cracked in the head,” Ben said, amused. “Listen, if tomorrow we pulled into Biren and someone told you there were shamble-men in the woods, would you believe them?” My father shook his head. “What if two people told you?” Another shake. Ben leaned forward on his stump. “What if a dozen people told you, with perfect earnestness, that shamble-men were out in the fields, eating—” “Of course I wouldn’t believe them,” my father said, irritated. “It’s ridiculous.” “Of course it is,” Ben agreed, raising a finger. “But the real question is this: Would you go into the woods?” My father sat very still and thoughtful for a moment. Ben nodded. “You’d be a fool to ignore half the town’s warning, even though you don’t believe the same thing they do. If not shamble-men, what are you afraid of?” “Bears.” “Bandits.” “Good sensible fears for a trouper to have,” Ben said. “Fears that townsfolk don’t appreciate. Every place has its little superstitions, and everyone laughs at what the folk across the river think.” He gave them a serious look. “But have either of you ever heard a humorous song or story about the Chandrian? I’ll bet a penny you haven’t.” My mother shook her head after a moment’s thought. My father took a long drink before joining her. “Now I’m not saying that the Chandrian are out there, striking like lightning from the clear blue sky. But folk everywhere are afraid of them. There’s usually a reason for that.” Ben grinned and tipped his clay cup, pouring the last drizzle of beer out onto the earth. “And names are strange things. Dangerous things.” He gave them a pointed look. “That I know for true because I am an educated man. If I’m a mite superstitious too…” He shrugged. “Well, that’s my choice. I’m old. You have to humor me.

When he started taking close-ups, up in the office they said, “We pay for the whole actor.” When Mr. Griffith entered films, he gave it the form and grammar it has today.

But people didn’t have to pay as much attention to the awful truth. As the living legend of the cruel tyrant in the city and the gentle holy man in the jungle grew, so, too, did the happiness of the people grow. They were all employed full time as actors in a play they understood, that any human being anywhere could understand and applaud.” “So life became a work of art,” I marveled.

If you ask the original Saturday Night Live team why the show was such a success, they’ll talk about Lorne Michaels. There’s something about his leadership, they’ll say, that made everything come together. He had an ability to make everyone feel heard, to make even the most self-centered actors and writers pay attention to each other. His eye for talent is nearly unrivaled in entertainment over the last forty years.

The indirect harvesting of valued-per-click leisure time by corporations has led many technocapitalists to support projects like the Universal Basic Income (UBI), which would free up users’ time which could then potential y be spent generating valuable data and content on their own platforms. The driving force of this trend is the Pay Per Click (PPC) advertising campaigns that have grown simultaneously with corporations like Google over the last 15 years, but now the value of the click is not based only on the likelihood of purchasing success, as older models of Google AdWords and other targeted ad campaigns functioned. Instead, the click is conceptualised as a data-point that connects two or more actors in the network. It is those moments of connection between subjects and objects that have potential value to data-driven companies from corporate advertisers to election meddlers like Cambridge Analytica and policy influencers like Palantir. This only works because the user can be libidinally motivated to conduct the ‘free labour’ constituted by the click. The situation was prophetically predicted by one of the most historically influential Marxists still alive, Mario Tronti. His 1966 book Workers and Capital gave rise to the concept of ‘neocapitalism’, which anticipates the environment in which the digital worker operates today. For Tronti: At the highest level of capitalist development, the social relation is transformed into a moment of the relation of production. In this environment, the data-point connecting two people, generated at the moment of every click between social media pages, connects the social relation itself to a relation of production in real time. Seeing this in his own future, Tronti worried that society itself would run by the logic of the factory. Each interaction between individuals would incorporate a surplus value turned to profit by the class owning the means. dream lovers of social production. If the factory workers could be made to relate to each other in a way that was productive for the factory owners, so too could the entirety of social life be modified and edited for the profit of the capitalists. The whole of society is turned into an articulation of production, that is, the whole of society lives as a function of the factory and the factory extends its exclusive domination to the whole of society.

Martoglio also discovered those actors who were to become stars not only in the Sicilian but in the Italian context. The legendary Angelo Musco, Giovanni Grasso and Rosina Anselmi, to name but three of the most widely known, owe much of their fame to Martoglio. They in turn found in Martoglio’s characters the vehicles to best express themselves. It was Nino Martoglio who convinced Luigi Pirandello to begin writing for the theatre. Martoglio and Pirandello developed a very close friendship which eventually led to actual collaboration in the writing of some Sicilian language plays such as A vilanza (Cowardice) (performed on Sept. 8, 1917) and Cappiddazzu paga tuttu, (Capiddazzu Pays for Everything). But at the beginning of their relationship, while Pirandello experienced much critical resistance to his innovative and revolutionary work, Martoglio was a well-established and famous playwright and literary entrepreneur.

President Obama paid approximately 30% of his income in taxes and Governor Romney paid less than 13% in taxes, Mitt Romney began the downhill slide that would cost him the election. Taxes, again, were a focal point in the 2016 U.S. Presidential election. Rather than find out how people like Mitt Romney and President Donald Trump pay less in taxes legally, the poor and middle class get angry. While President Trump promises to reduce taxes for the poor and middle class, the reality is the rich will always pay less in taxes. The reason the rich pay less in taxes goes back to rich dad’s lesson number one: “The rich don’t work for money.” As long as a person works for money, they will pay taxes. Even when Presidential candidate Hillary Clinton was promising to raise the taxes on the rich, she was promising to raise the taxes on those with high incomes—people like doctors, actors, and lawyers—not the real rich.

If you murder someone in another clan, your fellow clan members will be responsible for paying blood money to the victim’s clan, and the size of this payment won’t depend on whether you killed the guy by accident—your arrow deflected off the deer you were hunting—or by executing a carefully planned homicide. Moreover, if your clan doesn’t pay the prescribed blood money, the victim’s clan will hold all members culpable and seek revenge by killing someone from your clan without regard to the victim’s intentions. By contrast, when ripped from the binding ties of their relational networks, an actor’s intentions, goals, and beliefs become much more important.

If you mess with a monkey, man, you gotta’ pay to play.

If I went back in time, I would’ve thought, Worrying is paying a mortgage you don’t owe, and love is warmer in the winter because smiling touches a heart and warms you twice.

there is another pet peeve as a theater major there in the ’80s, it’s this: Educational theater should be just that. College should not operate like a Broadway or regional theater whose main goal is profit. Educational theater is for the training and preparation of the student actor. Its purpose is to give them the tools to be able to operate on a professional level. It’s why we pay tuition. There are and were theater majors who have never done a main stage production. How do you learn if you don’t do?

THE SYSTEM in many ways was a necessary one. Each film was entirely different, but all were expensive. Unlike a factory, a lavish movie set might be used just once, especially if the scene called for a fire or explosion. The key employees, writers, actors, and directors were known to be volatile. Even an expensively produced film that got everything right, however, could not guarantee that audiences would actually pay to watch it. And if a movie was well received by audiences, very little of this knowledge could be directly applied to another film. It was art posing as business. The rise of major studios resulted from an ongoing search for an economic formula that could make the movies work as an industry.

The strike of 1931 revolved around readers in the factory. The workers themselves used to pay twenty-five to fifty cents a week and would hire a man to read to them during work. A cigar factory is one enormous open area, with tables at which people work. A platform would be erected, so that he’d look down at the cigar makers as he read to them some four hours a day. He would read from newspapers and magazines and a book would be read as a serial. The choice of the book was democratically decided. Some of the readers were marvelous natural actors. They wouldn’t just read a book. They’d act out the scenes. Consequently, many cigar makers, who were illiterate, knew the novels of Zola and Dickens and Cervantes and Tolstoy. And the works of the anarchist, Kropotkin. Among the newspapers read were The Daily Worker and the Socialist Call.

For the twenty-first-century economic story, the state’s role must be rethought. Put it this way: in the film of the play, the state should be aiming all-out to win Best Supporting Actor at the Oscars—starring as the economic partner that supports the household, the commons and the market alike. First, by providing public goods—ranging from public education and healthcare to roads and street lighting—that deliver for all, not just for those who can pay, so enabling a society and its economy to thrive. Second, by supporting the core caring role of the household, such as with maternal and paternal leave policies that empower both parents, investment in early-years education and care support for seniors. Third, by unleashing the dynamism of the commons, with laws and institutions that enable their collaborative potential and protect them from encroachment. Fourth, by harnessing the power of the market by embedding it in institutions and regulations that promote the common good—from banning toxic pollutants and insider trading to protecting biodiversity and workers’ rights.

I know that,” he said. “But what are you doing? You’re giving me an actor playing a drunk. I’m paying you to be a drunk. You’re trying to talk slurred and walk crooked. A real drunk is trying to speak clearly and walk straight.” My wise and wily repertory theatre director had summed up movie acting in one line, and I remember it and use it to this day. My

With young Bobby Stack as her coach, Lombard learned the ways of the shotgun. It was a skill that would pay off later as would her association with the boy who would grow up to be Academy Award-nominated actor Robert Stack. Until the day he died, Stack would be in love with her and never attempt to hide it.

But understanding the role of the public sector in the co-production of economic output allows a more profound perspective. Taxation is the means by which economic actors pay the public sector for its contribution to the productive process. The orthodox model claims that reducing the share of taxation in overall economic output will tend to strengthen growth. If taxation is used productively by an active public sector, the opposite can be the case.

Self-Righteous Script Readers What makes movie stars’ opinions so important, anyway? These are people with a bloated sense of self-worth, little accountability, and practically no original thought. Without a Hollywood scriptwriter, most of them couldn’t talk their way out of a telemarketing call. When they shoot a scene for a movie, they get twenty-one takes to get it right. How many takes do you get in your life? Real people get one shot. If we make a mistake, we must live with it. Not so for the stars. They get pass after pass and then send their assistants to fetch grande lattes for them. My own daughter Kiki took acting lessons for almost a decade—singing, dancing, theater. When she was sixteen, she told me she didn’t want to act anymore. Stunned, I asked her why. “I want the words that come out of my mouth to be mine,” she said. That from a sixteen-year-old! So, to all the actors and fellow haters out there: get a life. Real people—not actors, not ideologues—elected Donald Trump president. Real people. The forgotten men and women who live normal, hardworking lives and who, by the way, buy the movie tickets that pay for your pampered, cushy lives. All of this would be bad enough if the product they were putting out was any good, but it’s not. Hollywood is dead. If it’s not dead, it’s on a respirator. Look at the numbers.

Here's the reality, guys: you save up for years to go 'Out West' and you spend everything you have in six months living in a roach infested hole in K-town, paying for "casting workshops" so you can meet managers and casting directors who don't give two shits about you. You cut your hair a little bit or grow a moustache and you have to get new headshots because people in Hollywood fundamentally lack imagination and can't even begin to fathom 'who you are as an actor' unless your headshot looks exactly like you do on the day of. And headshots cost $300 to shoot (on the cheap end) and $100 for make-up artists and $100 to retouch and $100 to print. Plus, you need a car to get around because mass transit in Los Angeles is a goddam joke. You need to get into class so you can learn how to unlearn all the shit you learned in college theater. Meanwhile, you're in love with the city because it's new and warm all the time and there are beautiful women everywhere. But you start getting this creeping sensation like everyone is a facade of a human being and beneath every beautiful face is spiritual rot, careerism, graft, nepotism, bull shit, lies, fakery, a need to be seen and an overwhelming whorism. But don't worry, guys, because you can always get a job working as a bartender where you can sneak booze from the well and forget for a few minutes what it's like to be on the bottom of the totem pole. That's a lot of fun, especially when you discover that cocaine means you can drink forever and not get too wasted until later. You'll get a DUI eventually, but fuck it, right? Around this time you start to get bitter. Really bitter, which you'll mistake as an 'evolution of your art.' You start looking for edgy rolls. You get a dumb haircut and try to make yourself look ugly. Maybe you hit the gym or start doing improv. Something to give you an edge. You start seeing young kids coming into town all bright eyed and bushy tailed and you say 'good luck' when you mean 'eat shit and die.' You wake up one day after endless commercial auditions that you really need to make rent but can't seem to book because you 'come off as an asshole' or don't smile enough...

at the mercy of private, profitseeking actors and our own ability to pay. Many of our needs are left unmet or poorly provided for by the market—from health care to retirement security to providing for children—and more suffering is the result.

No, I'll mostly be watching you, anyway.’ His fingers traced patterns across the skin of my arm, raising goosebumps. ‘Will you cry?’ ‘Probably,’ I admitted, ‘if I'm paying attention.’ ‘I won't distract you then.’ But I felt his lips on my hair, and it was very distracting. The movie eventually captured my interest, thanks in large part to Marcel whispering Romeo's lines in my ear-his irresistible, velvet voice made the actor's voice sound week and coarse by comparison. And I did cry, to his amusement, when Juliet woke and found her new husband dead. ‘I'll admit, I do sort of envy him here, ‘Marcel said, drying the tears with a lock of my hair. ‘She's very pretty.’ He made a disgusted sound. ‘I don't envy him the girl-just the ease of the suicide,’ he clarified in a teasing tone. ‘You humans have it so easy! All you have to do is throw down one tiny vial of plant extracts…’ ‘What?’ I gasped. ‘It's something I had to think about once, and I knew from Chiaz's experience that it wouldn't be simple. I'm not even sure how many ways Chiaz tried to kill himself in the beginning… after he realized what he'd become…’ His voice, which had grown serious, turned light again. ‘And he's still in excellent health.’ I twisted around so that I could read his face. ‘What are you talking about?’ I demanded. ‘What do you mean, this something you had to think about once?’ ‘Last spring, when you were… nearly killed…’ He paused to take a deep breath, snuggling to return to his teasing tone. ‘Of course, I was trying to focus on finding you alive, but part of my mind was making contingency plans. As I said, it's not as easy for me as it is for a human.’ For one second, the memory of my last trip to Phoenix washed over my head and made me feel dizzy. I could see it all so clearly-the the blinding sun, the heat waves coming off the concrete as I ran with desperate haste to find the sadistic angel who wanted to torture me to death. James, waiting in the mirrored room with my mother as his hostage-or so I'd thought. I hadn't known it was all a ruse. Just as James hadn't known that Marcel was racing to save me; Marcel made it in time, but it had been a close one. Unthinkingly, my fingers traced the crescent-shaped scar on my hand that was always just a few degrees cooler than the rest of my skin. I shook my head as if I could shake away the bad memories and tried to grasp what Marcel meant. My stomach plunged uncomfortably. ‘Contingency plans?’ I repeated. ‘Well, I wasn't going to live without you.’ He rolled his eyes as if that fact were childishly obvious. ‘But I wasn't sure how to do it- I knew Emmah and Joh would never help… so I was thinking maybe I would go to Italy and do something to provoke the Ministry.’ I didn't want to believe he was serious, but his golden eyes were brooding, focused on something far away in the distance as he contemplated ways to end his own life. Abruptly, I was furious. ‘What is Vulture?’ I demanded. ‘The Ministry is a family,’ he explained, his eyes still remote. ‘A very old, very powerful family of our kind. They are the closest thing our world has to a royal family, I suppose. Chiaz lived with them briefly in his early years, in Italy, before he settled in America-do you remember the story?’ ‘Of course, I remember.

Your wish, my command.’ Marcel sprawled on the couch while I started the movie, fast-forwarding through the opening credits. When I perched on the edge of the sofa in front of him, he wrapped his arms around my waist and pulled me against his chest. It wasn't exactly as comfortable as a sofa cushion would be, what with his chest being hard and cold-and perfect-as an ice sculpture, but it was preferable. He pulled the old afghan off the back of the couch and draped it over me, so I wouldn't freeze beside his body. ‘You know, I've never had much patience with Romeo,’ he commented as the movie started. ‘What's wrong with Romeo?’ I asked, a little offended. Romeo was one of my favorite fictional characters. Until I'd met Marcel, I'd had a thing for him. ‘Well, first, he's in love with this Rosaline-don't you think it makes him seem a little fickle? And then, a few minutes after their wedding, he kills Juliet's cousin. That's not very brilliant. Mistake after mistake. Could he have destroyed his happiness any more thoroughly?’ I sighed. ‘Do you want me to watch this alone?’ ‘No, I'll mostly be watching you, anyway.’ His fingers traced patterns across the skin of my arm, raising goosebumps. ‘Will you cry?’ ‘Probably,’ I admitted, ‘if I'm paying attention.’ ‘I won't distract you then.’ But I felt his lips on my hair, and it was very distracting. The movie eventually captured my interest, thanks in large part to Marcel whispering Romeo's lines in my ear-his irresistible, velvet voice made the actor's voice sound week and coarse by comparison. And I did cry, to his amusement, when Juliet woke and found her new husband dead. ‘I'll admit, I do sort of envy him here, ‘Marcel said, drying the tears with a lock of my hair.

off from the same line, they were scattered peacefully across the globe for centuries, each mostly disregarding the others. But in the Middle Ages, the witches, who by nature did the most interacting with normal humans, began to be discovered. And then persecuted, and tortured, and murdered. Their leaders went to the vampires and the wolves and begged for help, but both groups turned away, the vampires from apathy and the wolves from fear of meeting the same fate. Wolves are pack animals, and look after their pack before anything else. So the witches did the only thing they could: they looked to strengthen their magic. They didn’t know about evolution and magical lines back then, but during their research, the witches managed to stumble upon a group of plants that magic had bonded itself to, just like the human conduits. They were known as nightshades: belladonna, mandragora, Lycium barbarum (which also became known as wolfberry), tomatillo, cape gooseberry flower, capsicum, and solanum. The entire subspecies was rife with magic. The latter four plants could be used in hundreds of charms and potions, many of which helped the witches to deter the human persecutors. But the former three plants were unique; they interacted with the remaining magical beings in mystifying ways. Belladonna was poisonous to vampires—it took unbelievable amounts to actually kill them, but even a sprinkle of the plant would work as a paralytic. Proximity to wolfberry caused the shifters to lose control, painfully unable to stop from changing, again and again, which was very dangerous to anyone nearby. And mandragora, also called mandrake, was the key ingredient in a spell that could grant a very powerful witch the ability to communicate between living and dead. Which is how I ended up disposing of that naked guy’s body in Culver City, all those years ago. This discovery was your classic Pandora’s box scenario. A small group of witches, furious that the vampires and the wolves had abandoned them during their darkest time, began to use wolfberry and belladonna against them—sometimes without much provocation. The balance of power shifted once again, and while the witches’ discovery didn’t cause a full-out war, it did spawn thousands of skirmishes, minor battles breaking out between the three major factions. Eventually, the use of those herbs was “outlawed” in the Old World, but it was done the way that marijuana has been outlawed in the US—basically, don’t get caught. The witches are always arguing about this among themselves; some of them think it should be open season, and others think the ban should be more strictly enforced. But while they may not be able to pull together a majority vote, in Los Angeles Kirsten has organized the witches into sort of an informal union. I know it sounds crazy, but if actors and directors can have unions in this town, why not witches? As I understand it, the real benefit to joining the union is access: to chat rooms, newsletters, support groups, spell sessions—and me. The witches’ dues pay Kirsten a small salary, and she uses the rest to organize the network and pay me. There are plenty of “non-union” witches in LA, too, ones who either haven’t

But that’s the nice thing about lawyers: as long as you’re paying them, they’re usually good with whatever terms go along with it. Compartmentalization is their job. It’s how they represent people who are guilty, how they file long motions they know are unlikely to be successful, how they can patiently keep secrets that they’d otherwise love to be able to share. Harder was nearly twenty years into his legal career when he was first approached. Though he often worked on celebrity cases they tended to be for routine matters, not exciting criminal proceedings or blockbuster cases, and when you’re retained to enforce rights of privacy and publicity on behalf of your clients, it tends to follow that they don’t want you grandstanding in the media on their behalf, building a profile as you work for them. His last appearance in the New York Times had been in 2001, about a case for a client who had been let go from an ad firm almost immediately after she left her new job to join it. Harder won two months’ back pay. It’s not exactly the kind of victory that marked the career of lawyers like Marty Singer, whom Harder had once worked for, and whom the Times had called the “Guard Dog to the Stars.” A lawyer who had publicly fought cases over celebrity sex tapes, who tangled with Gawker once on behalf of Rebecca Gayheart and the actor Eric Dane when their tape had run on Gawker and managed to eke out a small settlement, without an admission of guilt. So why not hire Singer? Because Peter Thiel and Mr. A didn’t want someone who was content to settle, or another lawyer who knew the standard Hollywood saber-rattling routine. They wanted someone who would win. Now, in mid-2012, they appear to have that man.

any actor with an interest in purchasing probabilistic information about our behavior and/or influencing future behavior can pay to play in markets where the behavioral fortunes of individuals, groups, bodies, and things are told and sold (see Figure 2).

But DeMille’s tenure came to an abrupt end in January 1945, in a political dispute with the American Federation of Radio Artists, the actors’ union. At issue was Proposition 12, a ballot proposal popularly known as the “right to work” law. This would allow anyone to work in radio without union membership. AFRA decided to build a war chest to fight it, levying a one-dollar fee against each union member for this purpose. DeMille refused to pay it, or to allow it to be paid on his behalf. He claimed to sympathize with union ideals, but in fact he distrusted AFRA power. It was an issue of freedom, he insisted, and on that there could be no compromise. The argument dragged through late 1944, with AFRA setting and then extending several arbitrary deadlines. DeMille refused to budge, and on Jan. 22 the man who “wouldn’t take a million” for his Lux job gave it up over a dollar, hosted his final show, and never returned. In the fall, William Keighley was given the job on a permanent basis.

I once saw an actor playing drunkenness—it took me a while to realize that he had put together his act taking this from one drunkard—that from the other—from another the slurred speech—from the other the movements—or the actions—or memories and with but and pieces had made a patchwork of drunkenness that didn’t correspond to any possible drinker and had no center—no truth and had been put together as if by a man who has no idea what drunkenness is and couldn’t imagine it in his head—I have to say it was mind boggling.

Now that Worthington’s face as it looked in his early thirties has been banked in a computer, this “digital asset” could be used in a film decades from now, when Worthington looks very different. Currently, the production companies own the scans that they commission, but Debevec thinks that actors will one day pay to retain the rights to their digital selves. He said, “Within ten years, it will seem anachronistic to have a different actor playing a younger version of a character.

Thinking is one of the actors that trots onto that stage—along with seeing, hearing, tasting, and touching. When we are mindful, we watch thinking play out from the vantage point of awareness. Awareness is the wider perspective. Most people don’t realize it’s the wider perspective because thinking feels so similar to awareness. It’s perfectly camouflaged. But when we actually start to pay attention to thinking, we can begin to notice the ghostly details of this important actor. We begin to notice that, actually, thinking is often tangible, trackable. It’s made up of vague fleeting images and tumbling inner talk and sudden ideas and tugs of emotions that play out as sensations in our bodies. When we’re thinking, we may even notice a bit of subtle tension in our face and body as each thought performs its part. Fortunately, we can learn to pan back the camera and notice when any of this is happening. To use the metaphor Dan invoked earlier, we can reclaim our place behind the waterfall. And by the way, this move doesn’t prevent us from thinking. It just lets us choose whether we want to reinforce a particular thought-soliloquy or not.

I'm just an actor, and no more interesting than you are. She scribbled her name. Probably not as interesting, actually You should pay more attention to yourself and less to people like me. You'll be better off that way.

I’ve dated a little, but it never lasts long, and lately I’ve been more interested in my work than anything else. And by work, I don’t mean my day job, where I’m a sound technician for a television studio in Hollywood. I’m talking about my extracurricular work. My side hustle as audio porn voice actor Mac’n’Please. When television production ground to a halt in the pandemic, I turned to voice acting as something I could do from home. The more I looked into it, the more audio erotica seemed like a perfect fit. I posted a few recordings on Reddit, built up a fanbase, then set up my subscription only site for exclusive content. To put it bluntly, twice a week I set up my microphone, take off my pants, tell dirty stories, and jerk off. And it turns out there are many people willing to pay for the pleasure of listening to me moan.

Reality shows were strike-breakers, too—the slimy beneficiaries of anti-labor tactics, funded by executives who didn’t want to pay writers and actors.