But so much of being an actor isn't so great - the auditioning, the rejection, the financial insecurity.
Originality is, for me, the most important quality in a script.
Fear of failure has always been my best motivator.
I became much happier when I realized I shouldn't depend solely on my career for my sense of self. So I developed other interests and surrounded myself with a small group of friends I could trust.
I know a lot of people in the business recommend the many Story Structure seminars being offered here, but I point to them as the single biggest contributor to lousy scripts.
I am a big fan of the TV series 'Taxi' which combined comedy and pathos better than any other show I've seen.
When I saw 'The Player', I came out with knots in my stomach because it was so true to my experience.
That said, I should also add that I learned a great deal from being allowed in these privileged circles and am grateful for the opportunity to have worked closely with some of the most powerful and successful people in the business including Steven Spielberg and Ted Turner.
Unfortunately, all the cliches we see about Hollywood are true.
I was born in Chicago and grew up in the suburb of Evanston.
I was only in one play at Steppenwolf, in the early days.
The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.
Dick Van Dyke was my first idol. He's an amazing physical comedian, like a classic clown, but also very smart and not afraid to show vulnerability.
I would rather read a poorly structured story that has fresh ideas than a tightly structured one with cliches.
The major studios don't differ very much from one another as they all operate under essentially the same principles and pressure.
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