Now Available from BearManor Media

"For those of us who live and breathe the movies, Character Kings 2 is a must-read that weaves a fascinating overview of what it takes to be a successful working actor in Hollywood."
                                                                                                                      -- David Del Valle, Films In Review

"Scott Voisin draws terrific insights from an impressive assortment of our finest character actors, managing to deepen a movie lover's appreciation of these phenomenal talents. The book is a revelation for all fans of great acting."
                                                                                                   -- Jamey DuVall, host of Movie Geeks United!

"Character actors are a prized species in Hollywood, and Scott Voisin's book selects the cream of today's crop. The actors regale us with some marvelous stories of blood, sweat and fate."
                                                                                                             -- Tim Lucas, editor of Video Watchdog

"Scott Voisin's Character Kings book series is full of lessons for the filmmaking artist and fan; from its rare perspective on the profession to the survival of the actors who are as important to a movie as its stars."
                                                                                                                            -- John Huff, CultMachine.com


Below are excerpts from Character Kings 2 (and if you’re wondering where you’ve seen that actor before, click on the picture to view his resume).


  STEPHEN ROOT       


JON POLITO          


JAMES HONG         


MIKE STARR         


DALE DYE           


CHARLES MARTIN SMITH


FRANK VINCENT      


  WILLIAM FORSYTHE   


DUANE WHITAKER    


RICHARD RIEHLE      


RAYMOND J. BARRY   


JAMES REBHORN      


TONY TODD          


JEFFREY DeMUNN      


WILLIAM ATHERTON  

 
 

Character Kings 2 is now available signed by author Scott Voisin ($26.95)

Shipping is $5.

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Unsigned copies are available at Amazon.com.

"Don’t become an actor for the fame and certainly don’t do it for the money. 98% of SAG members are unemployed at any given time. It’s hard work to get a job, and once that job’s done, then you’ve got to get another job. Do you feel like waking up every day and trying to find a job? I’m a 60-year-old man and that’s what I do; I wake up every day and try to find a job. If you don’t want to do that, then acting isn’t for you." 
 
 
 
 
 
"I’ve never made much money in my life on any film at all. People always say, 'Oh my God, actors make so much money,' but actors don’t make a lot of money. We make bursts of money, and then we don’t work for months. For the most part, I still have to audition and really fight to get roles. My battle is to make enough every year to be able to just get insurance and pay the bills." 
 
 

 
 
 
“I think the main thing an actor has to constantly think about is how to keep the balance in his career. By that I mean you have to balance between sanity and insanity. You have to land somewhere in the middle because if you go too much to one side, you’ll go crazy, and if you do too little, your career just slides down to nothing. Stay in touch with reality and who you are. For an ordinary person, that’s already tough. For an actor, it’s even twice as hard.” 
 
 
 

 
“I once had a director tell me, 'We hired you. You’re not auditioning for me anymore. You’re here for the job because I know you can do this.' When a director treats you with respect that hopefully you’ve earned and deserve, when they trust that you’re going to deliver, that’s the best. They say that much of the success is in the casting, so when you hire somebody that’s willing to be part of the team and bring everything he can to his part of the story – and when the director gives you the respect to be part of the process – that’s the greatest.” 
 
 

 
“I’d seen every military movie there was because that was my life, and the common denominator was that all of those movies had pissed me off. They didn’t reflect the professional military as I knew it. They didn’t reflect the life I had led. They didn’t reflect the people that I knew or the relationships between people that I knew, and I wondered why… Why does Hollywood get it so absolutely, gut-wrenchingly wrong? The idea in the back of my mind was that I wanted to fix this.” 
 
 
 
 
 
“You know what movie you’re trying to make and then you have to make it within the parameters of whatever situation you’re in. There are a lot of times when you end up having to simplify things much more than you thought you would, or you have to make certain compromises for the shooting schedule or for the availability of locations. The movie you end up with is never exactly the movie you set out to make, but what you hope to do is to keep the heart and soul of it.” 
 

 

 

“A lot of people will get in touch with my management about a project they want to do, but they’re not funded yet. They say the funding is coming in one month or two months and we’ll start shooting in September, but the funding never comes. You’ve wasted time reading the script, the project is a no-go because they can’t raise the money, and they want your name attached to it to help them raise the money. Until they pay you, there is no project; it’s all conversation.” 
 
 
 
 
 
“We show up on the set, we try to bring all of our passion and everything we can do, but at the end of the day, the chance of some films being really good is slim. I think it’s important to get up everyday and no matter what film you’re doing, go in there and give it everything you have. The last thing I like is being involved with some movies where you can feel that people just phone-in their stuff. I always want to try and do my best.” 
 
 
 

 

 
“There’s a lot of character actors who’ve made a living doing the same stuff over and over – and there’s nothing wrong with that – but I’d like to think that I have some sort of range and can do different things. Every once in awhile I’ll get to do something a little different, but generally speaking, you’re not gonna get hired for something that you haven’t already proven you can do.” 
 
 
 
 
 
 
 
“I was a character actor when I started; I was never a leading man. I eventually aged into the roles that I had been doing since I began acting. The character roles are often the best, and you usually get a pretty decent payoff for doing less work than the leading man.” 
 
 
 
 

 
“There’s something very profound about being involved in an art form that liberates you as you spend more time doing it, but at the same time, it also eliminates you from role possibilities because of the age factor. I mean, if I wanted to play Hamlet today, I could kick ass, but I’m too freakin’ old. Whereas a painter matures and gets better and better and has freedom of choice throughout his career, an actor doesn’t have freedom of choice. It’s an interesting quandary.” 
 
 
 

 
 
“I’ve seen a lot of people make unhealthy sacrifices, and by that I mean they make sacrifices of their own morality. That can be very tempting and very dangerous when you make deals with the devil in this business. Don’t make sacrifices that would be bad for you as a human being. As an actor, our humanity is one of our greatest gifts, and you don’t want to shortchange that.” 
 
 
 
 

 
 
“There’s an old adage that movies buy the house, TV buys the furniture and theater supplies the soul, and there’s a lot of truth in that. If I had to choose a favorite, it would be theater. There’s nothing like performing eight times a week in front of a live audience… nothing.” 
 
 
 
 
 
 
“Somebody once said, 'The dangerous reviews are the good ones.' Those are the ones that can really hurt you. A reviewer might say, 'When such-and-such actor picks up the crystal goblet and looks at it, it’s the most moving moment of the play.' You’ll never be able to pick up that crystal goblet again. You just won’t… Every time you reach for it, you’ll be thinking, Here it is, the most moving moment of the play. At that point, you’re out of it; you’ve lost your concentration and you’ve lost your focus. I think that’s dangerous.” 
 
 

 

“You’re an actor looking for a job and if you get it, fine. If you don’t get it, you don’t get it. There’s no point in making an issue about it, and you’ve got to be careful that your ego doesn’t take over and that you start to feel you’re the sensitive one adrift in this morass of money and crassness. You’ve just got to say, 'F*ck it,' and go on. That’s the only sensible approach to it, I think.” 
 
 
 

 

 
 
Signed by Scott Voisin
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