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There's this notion that in order to draw attention and to be considered for roles I want to be considered for, you need a certain amount of notoriety.

Bryan Cranston

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Bryan Cranston
Age: 68
Born: 1956
Born: March 7
Actor
Executive Producer
Film Actor
Film Director
Film Producer
Screenwriter
Stage Actor
Television Actor
Television Director
Hollywood
California
Bryan Lee Cranston
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Roles
Attention
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Notoriety
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When actors first come up, you're auditioning for everything - you're trying to sniff it out like a pig with a truffle and you would do anything!
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Bad for the sake of bad is boring to me and not believable.
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There's so many things that can go wrong in the execution of a project like a television show or a movie, so many little elements, any number of things, all the way to marketing - like they could market it poorly and nobody finds it and down it goes.
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Something's happened in our society which I don't think is beneficial, and that's that you see the public being fed box-office news. Newscasts now, every local station - I've been traveling around the country a lot, and you see the local news, and they give box-office reports.
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I don't have spare time.
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If you like vanilla, you're not going to like 'Breaking Bad' - you need to like a specific flavor that is unusual, that is different, that takes risks.
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Every experience feeds an actor, and I've learned that depression is all around us.
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[My father] had a massive middle-age breakdown. And left the family. And then it just completely fell apart. And my mother was heartbroken, just completely devastated. To make ends meet we started selling off all our possessions.
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The only thing that we as actors really can control is to be able to say 'yes' or 'no' to the material.
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Hollywood has known this for quite a while: Cable is the place to go because they truly have a supportive network and they want to do things that cannot be seen on broadcast. That stimulates the writer-producer. Cable is king.
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Pot always just made me sleepy.
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Being from a divorced family almost felt like a scarlet letter at times. And I denied it for a long time.
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Love between two adults is always conditional. You can fall out of love because you are able to fall in love.
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It's like a dance, to choreograph a fight is like a dance. It's very specific. You have to carefully plan it out. Because if someone gets hurt, then we didn't do our job, someone screwed up. The fight choreographers and the actors involved, we messed up somewhere.
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We've been trained since kindergarten: Be nice, be kind, share, put on a smile. So we're conditioned to squash our natural selfish instincts, and that's the right thing for society.
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When you're an actor in grade school, high school, college, whatever, you start to realize what you're really good at, what you're kinda good at, what you're okay at, and you start to compartmentalize. But if you know yourself and what you're capable of, it's just a matter of opportunity.
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Let me demonstrate. When you greet a friend this is the duration of the kiss that's acceptable. Hi, good to see you - yeah. When you make a mistake and stay too long at the lips, this is how long it is. Hi, how are you? Good to see you. And that's what happened. It was like, Uh-oh, what was that? Oh.
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It's up to the actor to make sure they don't get typecast.
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Given the right set of circumstances any one of us could become dangerous - so why not show that in our programmes?
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It used to be that people would watch TV shows because they knew the characters would stay the same. Whether it's Archie Bunker or it's Thomas Magnum you watch it because it's like, 'I'm comfortable, this is the same guy.'
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