"All good actors are easy to work with. It's the ones that aren't very good who tend to be very difficult"
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Wilkinson’s line lands like a backstage truth bomb: the “difficult genius” is usually just a myth with better PR. Coming from a working actor who’s made his career in the trenches of ensemble filmmaking, it’s less gossip than a quiet rebuke of an industry that routinely confuses friction with depth. The setup is almost too neat-all good actors are easy; the not-so-good are hard-but that bluntness is the point. He’s stripping away the romance of chaos.
The subtext is about competence as empathy. Truly skilled actors don’t need to dominate a set to feel in control; their craft gives them options. They can take direction, adjust in real time, hit marks, protect continuity, and still make it look alive. That’s not “being nice,” it’s being secure. The difficult actor, Wilkinson suggests, is often protecting a shaky process with noise: arguments, demands, tantrums, mystique. Difficulty becomes a smoke machine to hide thin preparation.
There’s also a power critique tucked inside. Film sets reward volatility because it reads as passion, especially when attached to status. Wilkinson flips the incentive: professionalism is the actual flex. By defining “easy to work with” as a marker of quality, he reframes collaboration as an artistic virtue, not a personality add-on. It’s a reminder that acting isn’t solitary genius; it’s precision under pressure with other people’s time and money ticking in the background.
The subtext is about competence as empathy. Truly skilled actors don’t need to dominate a set to feel in control; their craft gives them options. They can take direction, adjust in real time, hit marks, protect continuity, and still make it look alive. That’s not “being nice,” it’s being secure. The difficult actor, Wilkinson suggests, is often protecting a shaky process with noise: arguments, demands, tantrums, mystique. Difficulty becomes a smoke machine to hide thin preparation.
There’s also a power critique tucked inside. Film sets reward volatility because it reads as passion, especially when attached to status. Wilkinson flips the incentive: professionalism is the actual flex. By defining “easy to work with” as a marker of quality, he reframes collaboration as an artistic virtue, not a personality add-on. It’s a reminder that acting isn’t solitary genius; it’s precision under pressure with other people’s time and money ticking in the background.
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| Topic | Movie |
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