Quotes of All Topics . Occasions . Authors
I graduated from the University of Oklahoma, and I got the opportunity to take some on-camera classes while I was in school and met a casting director who informed me quite a bit before my move out to L.A.; it made L.A. feel possible, coming from Oklahoma and not having a family that was in the industry.
My agent in Sweden used to send off interview tapes but I decided to take it upon myself and come to London to visit casting directors which is when things first started taking off for me. I love Sweden but the industry out here is quite small so when I was given the chance to go internationally I took it.
Many of the crew members I work with and continue to work with were friends or have become close friends, and so we keep working together. And I like casting friends of mine or people I know in parts I know would be perfect for them. I like to bring things and people that mean something to me in to my work.
It's writing songs within the structure of telling a story, so it becomes a platform for diverse songwriting, for a writing process that's broader than just figuring out a song. You're also dealing with always pushing the story forward, with casting the voices, with the orchestration, with the arrangements.
One of the bibles of my youth was 'Birds of the West Indies,' by James Bond, a well-known ornithologist, and when I was casting about for a name for my protagonist I thought, 'My God, that's the dullest name I've ever heard,' so I appropriated it. Now the dullest name in the world has become an exciting one.
I lost a bet with another model. We were watching a Cleveland Browns game, and she told me I should be a model. I said that models are pretentious people who don't eat. She said, 'If you choose the winning team, I'll do you a favor. If I choose the winning team, you'll go to a casting call.' She won, so I went.
At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.
I'm not interested in going to casting after casting, trying to get into that game. So there is a part of me that knows that I will do more characters, even if I have to produce those projects myself to get those projects out there. If the right characters come along, I would love to. I would jump at the chance.
In Ronald Reagan's chaotic childhood, the imagination was armor. There is nothing unusual about that; transcending the doubts, hesitations, and fears swirling around you by casting yourself internally as the hero of your own adventure story is a characteristic psychic defense mechanism of the Boy Who Disappears.
I can really stir up a conversation. Every time I go to a meeting or a casting, I try to make it as light and funny as I can. I'm always making really awkward jokes. You have to make life fun and not take it too seriously. I may look like I'm very serious and into my work, but if you knew me, I'm just a jokester.
At drama school, a casting director asked the class to walk round the room one at a time, and we had to imagine who they might be. The two before me were described as a doctor and a businessman, but when it came to me, they said homeless person. That was when I thought I'd better do something about my appearance!
I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
In my last year of drama school, I was Abigail in 'The Crucible' and Nina in 'The Seagull,' and I did some Shakespeare with the RSC. That's what casting directors saw me in, and I got put up for a lot of period drama auditions. I always get told I suit the costumes. I don't think I have a very modern-looking face.
There couldn't possibly be a more label-driven industry than acting, seeing as every audition comes with a character breakdown: 'Beautiful, sassy, Latina, 20s'; 'African American, urban, pretty, early 30s'; 'Caucasian, blonde, modern girl next door'. Every role has a label; every casting is for something specific.
All my time not devoted to my master's service was spent either in prayer, or in making experiments in casting different things in moulds made of earth, in attempting to make paper, gunpowder, and many other experiments, that, although I could not perfect, yet convinced me of its practicability if I had the means.
When I realized that nothing is perfect and no one is perfect, I was able to overcome my initial fears. I was holding myself to some weird standard that I was putting outside of myself, i.e., the director or casting director - they're not expecting perfection. I had all these strange trappings I would put myself in.
I can recognize a good actor. I can recognize someone that can convey emotion and that has the essence and not get lost in the minutia of, 'Well, that person's got red hair, and so does the other.' Some of the decisions in casting that seem so important at the time, until you get on set and you're starting to shoot.
I suppose that there might have been leading men who were put off from casting me as the ingenue because I was taller than they were, but I've no idea that this ever happened. When I did 'Much Ado About Nothing' opposite Mark Rylance in the West End, we used the difference in our heights as part of their relationship.
The vegetable life does not content itself with casting from the flower or the tree a single seed, but it fills the air and earth with a prodigality of seeds, that, if thousands perish, thousands may plant themselves, that hundreds may come up, that tens may live to maturity; that, at least one may replace the parent.
People who do not have funny in them are not funny when they read funny lines. Sorry. Just doesn't work that way. Seriously, this is the biggest rule of all. You live and die with your casting decisions. Your actors are the heart and soul of the whole thing. Without brilliant actors, you will not have a brilliant film.
How will I become Meryl Streep if I can't even get in the door with Jennifer Lawrence for the same role? I think that it starts with casting directors and executives and studio heads opening up their minds, and really putting an effort into being trans inclusive in their projects, whether they're trans-specific or not.
I think all races are represented in America much more than in many other places, but it's also nice to remind people about that ethnic mix. I would like to see more black models and women from different ethnic backgrounds, but I also think that when you are casting, you just choose the most beautiful girl you can find.
I thought I was clever by greeting casting agents in my Australian accent and then switching to an American one during the performance. But the Australian accent seemed to put them off. Now it's the opposite; they love Australians. And with my thick Californian accent I now have a problem convincing them I'm Australian.
When I first moved to New York, I had some colleagues who said I should be my straightest self - whatever that means - when I went into casting offices, but I didn't want to put on an act of what I thought was heterosexual. I just wanted to be myself, and I'm very grateful because I feel like I've been embraced for that.
I vividly remember my first interaction with Sir Richard Attenborough, I was in my final year at NSD (National School of Drama) in 1979, and casting director Dolly Thakore got in touch with me. We weren't supposed to work outside NSD but special permission was granted to the students who were shortlisted for the audition.
My first job in acting was in a Scott Baio movie called 'I Love N.Y.' My role was Italian Girl. I sent my 8x10 to a casting agent in the booklet, 'The Ross Report,' which is where all the agents were listed before that little thing called the Internet. I read for this tiny part. I couldn't have been more excited to get it.
I think with '10 Things I Hate About You,' I was an angsty teenager, and in some ways, I responded to that character. That was one of my first big jobs, so I think maybe I lucked out, and casting thought that I was a good match for it. Since then, as I've gotten older, I'm a much more happy, joyful, almost carefree person.
I was offered a series by John Carpenter after I did the movie 'Christine,' and I would've been a leading man after that. I would have played a private investigator. And I was offered a great deal - I would be involved in the direction, casting, everything, and whatever. It was whatever an actor wants, and I didn't take it.
There is this thing called Actors Access, which is run by the breakdown services. What they do is they put up casting notices that are available to everyone. Because there's thousands and thousands of actors and there are student films and grad student films and, sometimes, some small independent projects that are on there.
The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.
If you see a bad live action film, what are the conclusions you draw? Typically, it is that they made a bunch of mistakes, a bad script, wrong casting. You get into 2D, and you get a few films that are not strong films. And what is the conclusion? That it's 2D? I beg to differ. It's a convenient excuse, but it's just wrong.
Nothing is really typical of my efforts... I'm simply casting about for better ways to crystallise and capture certain strong impressions (involving the elements of time, the unknown, cause and effect, fear, scenic and architectural beauty, and other seemingly ill-assorted things) which persist in clamouring for expression.
People who work with me think I should cut my hair. They say casting directors are less likely to hire me with long hair - that they don't have imaginations and can't picture me looking normal. People literally have conference calls about my head when I'm not around. I mean, obviously I would cut my hair for an amazing part.
I was pretty confident that I'd be playing something, if James Gunn could convince Marvel Studios and Disney to cast me. He's involved with the casting too, but if he could convince them to go along with him and agree with getting me on the roster, then yeah, I would have voiced Groot. Not a problem. Groot is an awesome character.
My mother became a casting director, and she cast me in a soap opera called 'One Life to Live.' I was, like, 8 years old, playing a kid who had hurt himself on a skateboard. I had, like, three lines. I did the lines, and everybody in the studio applauded - I was immediately hooked after that. I was like, 'This is the life for me.'
To see talented people in roles that others might not see them in, to see how they might fit in the puzzle of the cast, has always been something that I've been good at. I think that if you look at the successes of my films and start to peel them back, there's usually a really smart casting decision that has gone into that success.
With 'Love & Basketball,' I played ball my whole life and did track at UCLA. So, I'm an athlete. And it was very important for me to get it right. I started with casting: As an athlete, there's nothing worse for me than watching a sports movie and the woman that they hire can't run or can't shoot. It sets women's sports back years.
A lot of the stuff that's happening now, I can trace back to 'Death of a Salesman.' Francine Maisler, the casting director, saw 'Death of a Salesman' and called me in for 'Unbroken.' The casting director of 'Normal Heart' had seen 'Salesman' too. I look back on it now, and it's like one thing led to another; it was a chain reaction.
When I decided to crop what was left of my hair, I thought, 'It's all over. I'm never going to work again: it's basket weaving me for me from now on.' But what actually happens is your casting changes: you suddenly start to get a lot of villains and coppers and soldiers and even the odd sensitive vicar - you become institutionalised.
I just think there are a lot of celebrities who don't feel that they have a voice. A lot of actors come from a place of fear, and that's just a general statement about actors. You're terrified the casting director won't like you, you're terrified the producer won't like you, you're terrified the director won't like you, and on and on.
The motive behind a Delhi Film Council is simple - with so many filmmakers coming to Delhi to shoot their films, casting Delhi's young lads in their movies and even keeping the city as the base of their story, they surely need more collaboration in future. When they'll have such a council in the city, they will be able to work better.
I did so many interviews and auditions for films, and it was just zilch. Nothing I did impressed anybody! I could just feel it. It was always, 'Okay, thank you, Mr. Lloyd.' Then, out of the blue, 'Cuckoo's Nest' came to cast. A casting director who sent me up for different things over the years sent me up for that, and it just clicked.
Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.
'Lady Bird' probably doesn't need more attention than it has gotten. It's a perfect movie, and some of its perfection is in its casting, but this is a movie crammed with wonderful work by people who aren't Laurie Metcalf and Saoirse Ronan: people like Lucas Hedges, Tracy Letts, Stephen McKinley Henderson, and, yes, that Timothee Chalamet.
'A Valley Without Wind' takes the idea of dungeon crawls and throws it on its head by casting you as a magic user in this 2D platforming labyrinth of a world. From NPC's to rescue, spells to learn, and a whole civilization you practically need to build back from scratch, this adventure takes to a new world where few other games dare to go.
I got my big break in Bollywood with Anurag Kashyap's 'Raman Raghav 2.0' when I got a call from one of the casting directors to appear for an audition. At that point, I didn't think that I would make the cut since I was auditioning for a Bollywood film for the very first time. Within an hour of the audition, I was told that I had been selected.
'American Idol' gives people really wonderful opportunities, and they shouldn't take flak for what people do with that opportunity after they leave the show. A lot of casting rooms I was in, that was the only thing on my resume, and people would just be like, 'Oh, here's Katie Stevens. Another 'American Idol' girl who thinks she could be an actor.'
Auditioning is a funny one. It's all about energy. If you walk into a room and the room feels off or the people feel off, that can set you off. If the room is very small. I know which casting directors I should go to, because the place is conducive to doing a good job and the people are conducive and I know the other ones aren't, in which case I send in a tape.
Have you or haven't you built a good school? Haven't you improved living conditions? Aren't you a bureaucrat? Have you helped to make our labor more effective, our life more cultured? Such will be the criteria with which millions of voters will approach candidates, casting away those who are unfit, striking them off lists, advancing better ones, nominating them for elections.
[Sylvester] Stallone and I were in a meeting for Rocky Balboa. We were laughing about something, and he looks at my mouth and says to the casting director, "Wow, your lip even hooks down like mine does." Then he looked at the casting director and nodded, and I guess that was the nod of saying, "Hire this kid." So yeah, I have a really crooked mouth. They don't work, but I can feel everything.