Theatre has always been better disposed to colourblind casting than telly or film. Given that most television is contemporary, and it reaches 56 million people, I am disappointed there still isn't more representation.
My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.
To be given the reins of creativity is a beautiful thing when you're used to just showing up to a casting and standing there having clothes put on you.
For me, casting is critical. It's nice that social media and the passionate fans really corroborated choices and embraced kids to be characters.
I had been at Comic-Con, and I have the same manager as Bob Morley, so we ended up at a Warner Bros. party. I met Jason Rothenberg for the first time, and he's a fan of Black Sails and Shameless and some of my work, and was like, "Hey, we've been having trouble casting this part. I think you'd be perfect for it, if you'd be willing to come up and have some fun for some episodes."
You need great actors in this one, because there are moments where there's no way to get around it, you just need to come up with it. They have no time; they can't help you with coaches: "We've got to have it now!" Whether it's tears, whether it's a five-page scene. You can't put it off tomorrow because we're already behind; you've got to have it. I'm just amazed at the casting and how wonderful everybody was.
I walk into office, which is the casting office for CBS in New York. Mainly what they cast out of this office was the CBS daytime shows. I go in and walk into this room which every seat is filled with young African-American boys and girls and they were in their teens. I went, "I'm in the wrong place. Why am I here? What's going on?"So I go in and meet Norman [Lear].
I'm fine watching stuff on tape, to me casting is the most painful part of the whole process, it's like going on a horribly awkward date every five minutes for eight hours, and people come in and they'll be someone good but they're not right, and you want to tell them they're good, but it sounds like BS, and they're looking at your face to see how they did, what adjustments they need, and it's just so emotionally draining, and it goes on and on.
I probably drive casting people crazy because I'm not thinking about actors so much as real people.
Casting is all about availability, as much as anything else.
Casting is so important in horror. It's so important to have strong actors to tell a story because, if you don't believe in the character, how can you be scared for them?
Casting aspersions on those we love always does something to loosen our ties. We shouldn't maltreat our idols: the gilt comes off on our hands.
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.
You do see a few people and you are thinking of how that chemistry is going to work, but it's not really fair to put people who are auditioning together in a room. You have to make that judgement yourself, and that's partly where the casting director is so good. It was that blend that we were looking for.
The changes are part of my writing process. When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.
I like to audition for good projects because if it's a good project, it's an opportunity to get in front of a casting director.
Casting is very instinctual. I really like to meet people. To me, it's about their essence more than their audition.
It was a very, very intense and long casting process [for The Killing] because we really had to find the right people who could carry the weight of this story, who had the chops and who had the spirit, where they could bring in so much of their own selves to these characters. So, the casting process took many months.
I started in the P.A. world and craft service and storyboard artist, with the eye on the prize of directing. When I was directing second unit on Babel, I ended up casting most of the unknown parts. In these weird circles, I was this guy who found these kids on the streets.
I love the casting process. It's a cliché but I think it's the most important part of the process. I really enjoy it too. I love putting that jigsaw puzzle of people together.
The first time when you can really get a sense of what the movie is going to look and feel like is when you're in a casting room and seeing it.
My casting process was slightly different and slightly interesting insofar as I knew everybody could act. That's something you've seen. You know people can. You've seen them on the screen and you think either they're a good actor or a bad actor. So that's not the point. What I wanted to do was find people who I thought would have a similar comic sensibility.
One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.
But, yeah, it was just the regular audition process. There were a couple people telling me about it and that they were looking for the actors, but my manager is pretty good at sorting that out. And, (casting director) Rene Haynes cast me in Into the West, and she's always kept in touch and been a real big supporter of my career.
The process of casting a movie has many complicated variables...
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