When independent films break through and actually make it into any level of mainstream-ness or get seen by people or find a life actually in theaters, it's extraordinary. And it doesn't happen that often.
My big break was really Liz Meriwether saw me in a movie called 'Paper Heart' and really liked it, and then saw me in a movie called 'Ceremony' because she knew Max Winkler and said, 'I want you to be in 'No Strings Attached,' but you gotta audition for it.' From that it was easier for her to get me in 'New Girl.'
I got my first blockbuster break for the movie 'Cocktail,' where I sang 'Second Hand Jawani.'
I think 'The Witch' was actually my 100th job. Only took me 100 jobs to get a lead! But it did change things a lot. It was a magical thing for Rob Eggers to pick me out of the all the actors he could have for that part. It was an amazing part. It's changed my career massively.
I think as far as straight actors playing gay roles, "Brokeback Mountain" was a big breakthrough. I'm pretty sure when they were casting that movie that - I think the story is, like you know, 10 to 15 other actors turned it down.
I made four pictures before 'The Graduate,' and nothing ever happened. And after that - wow!
'Australian Rules' was my moment of truth.
I was doing television and films for a good five years, and then I booked 'Cry-Baby.'
I was pleasantly surprised that south directors started creating roles for me after watching 'Rakta Charitra.'
I had left school at 16, gone to stage school - and, until I was 22, I hadn't really played anyone but myself. Then in 1979, I made a film with Mike Leigh called 'Grownups,' which went out on the BBC, and overnight this new career opened up.
As an actor, you've worked very hard, and you've been doing this for 20-some years, and William Morris was never interested - or any studio, either - in your company or as an actor, and then 'God's Not Dead' happens, and now everyone calls you.
'Ali' is a breakthrough for its director, Michael Mann. The film, based on the life of Muhammad Ali, is Mr. Mann's first movie with feeling; his overwhelming love of its subject will turn audiences into exuberant, thrilled fight crowds.
Well, the first two movies of any size that I did were a movie called 'Everybody's All American' that Taylor Hackford directed - I was pretty diva on that - and then 'Pretty Woman,' which is probably my first real breakthrough.
'Fargo' was the turnaround for me, in terms of film, because it was a part; it wasn't a line.
'Headhunters' was a breakthrough film for me, internationally, and I got offered a lot of scripts from Hollywood - a lot of heightened hero movies.
'O Brother, Where Art Thou?' was this role that utterly fell into my lap and changed my life.
