I wouldn't take on the project unless I could have complete creative control in casting.
Casting is all about availability, as much as anything else.
Casting is always subject to availabilities.
I needed to change my name just to liberate myself and find out I could do it without walking into a Hollywood casting office with the name Coppola.
You can never underestimate the amount of energy and frequency you must give to vision casting. You can never underestimate it.
I'm not in a position where I get to pick and choose roles. I usually go on auditions in long lines and embarrass myself in front of casting directors, and with a lump in my throat and my ears burning, I walk past reception and smirking actors as I go to the parking garage and go back on the highway.
The vengeful hag is played by Ingrid Bergman, which is like casting Eleanor Roosevelt as Lizzie Borden.
Mere exactitude, of which photography and moulage [life casting] are the lowest forms, does not inspire feelings.
Nobody is really qualified to be the president. Basically it's an acting job. You have to act like you're the president. And every four years the country holds a big casting call.
I want to cast correctly, and then I want them to live on screen. If I cast the wrong actor, I'm screwed. But, if I cast the right actor, it really works out. The casting process is so important.
Great question in science - questions like the ones Herschel raised about the structure of the universe - are seldom answered by ivory-tower types engaging in pure thought. They are answered by people who are willing to get down into the trenches and grapple with nature. If that means casting your own telescope mirrors, as Herschel did, so be it.
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.
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?
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.
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.
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.
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.
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
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.
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.
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