"I'm in the business to push it. I'm not likely to be attracted to characters I've already done"
About this Quote
Harmon’s line reads like a quiet rebuke to the safest kind of longevity in Hollywood: staying employed by becoming a brand of yourself. “I’m in the business to push it” frames acting less as fame management and more as a craft with a built-in mandate to take risks. The phrasing is blunt, almost workmanlike, which is part of the appeal. He’s not pitching “art” in capital letters; he’s talking about the job and the discipline of not getting comfortable.
The second sentence carries the sharper edge. “I’m not likely to be attracted to characters I’ve already done” is a polite way of saying: don’t confuse reliability with repetition. For an actor strongly associated with long-running television - especially a role like NCIS’s Leroy Jethro Gibbs, where consistency is the product - that’s a loaded distinction. The subtext is a negotiation between audience expectation and personal ambition. He knows the industry rewards familiarity, yet he’s insisting that his internal metric is growth, not recognizability.
It also signals something pragmatic about power. Once an actor has enough leverage, selectivity becomes a form of authorship. Harmon’s comment hints at that backstage reality: the ability to turn down near-identical parts, to demand a different angle, to avoid becoming a composite of past successes. In a culture that treats typecasting like a compliment (“you’re perfect for this”), he’s arguing that “perfect” is often just another word for “already solved.”
The second sentence carries the sharper edge. “I’m not likely to be attracted to characters I’ve already done” is a polite way of saying: don’t confuse reliability with repetition. For an actor strongly associated with long-running television - especially a role like NCIS’s Leroy Jethro Gibbs, where consistency is the product - that’s a loaded distinction. The subtext is a negotiation between audience expectation and personal ambition. He knows the industry rewards familiarity, yet he’s insisting that his internal metric is growth, not recognizability.
It also signals something pragmatic about power. Once an actor has enough leverage, selectivity becomes a form of authorship. Harmon’s comment hints at that backstage reality: the ability to turn down near-identical parts, to demand a different angle, to avoid becoming a composite of past successes. In a culture that treats typecasting like a compliment (“you’re perfect for this”), he’s arguing that “perfect” is often just another word for “already solved.”
Quote Details
| Topic | Career |
|---|---|
| Source | Help us find the source |
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