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Where did you get your sense of how to manage and strategize and go after what you wanted?
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Where did you get your sense of how to manage and strategize and go after what you wanted?
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I think my one skill is that I'll outwork anybody.
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You know, like I'll work harder, especially at that age, right?
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Where, you know, certainly starting out, like, I was, Ben and I would go to auditions where kids would be there with their parents, like their mom was making them go,
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because their mom had some unrealized fantasy about doing it and was trying to live it through the kid, right?
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Like, I'm gonna beat that guy.
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I want it way more than him, right?
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So you start to, you know, and then as you gain more experience auditioning, you get better at it,
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and you start really to get feedback from, you know, so while it's a total feast or famine business,
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like a great example being Dead Poets Society, okay?
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Ben and I got close on that, right?
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We both auditioned, we both got called back, we both.
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Oh, you did?
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Yeah, and we read that, and I was like, this is a amazing movie and I was probably 17 or 18.
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We didn't get it.
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We ended up having the summer job of working at the Janus Theater in Harvard Square, which doesn't exist anymore, but it played one movie the entire summer,
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and it was Dead Poets Society.
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So you go from the possibility of being in the movie
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to the guy tearing the ticket and watching people come out crying because they're so moved, right?
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And watching Ethan Hawke just blow up.
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And watching Ethan Hawke can get nominated for an Academy Award, right?
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And it's like, wow, that's the range of possibility for you if you go into that business.
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But having said that, we did get called back, right?
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So the business was telling us, hey, it didn't work out this time, but you're doing some things right.
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And then you need to get extraordinarily lucky, which is, you know, it's like when primal fear came along and everyone knew.
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I mean, I literally spent money on a dialect coach that I didn't have because there were two different dialects.
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And I was like, I got to work on this and
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because it was clear that whoever got that role was gonna blow up.
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And that was one of the things that was really the impetus behind Ben
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and I writing Good Will Hunting and focusing on it was because when Primal Fear, when Edward Norton got Primal Fear,
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we went like, like, there's not gonna be another one of those that's gonna come around.
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Like, we gotta do our own thing.
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Like, what are the odds that a movie with
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that good a role is gonna make it all the way through the ranks of known actors
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and then get thrown to the wolves
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and all of us are gonna fight for that scrap and one of us will get it.
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Like, you know.
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So you looked at the numbers and you're like, Yeah, this ain't gonna work.
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When those things would happen, would you ever take it personally or get down on yourself?
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Oh, it's devastating.
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Or wonder if you're missing a piece?
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No, it wasn't self-doubt.
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It was frustration at the system because the system is not built for you to succeed.
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You, you, you know, you have to break through it it.
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