There is no one who can move and mime and clown like Bill [Irwin].And Aubrey Plaza, she gets to embody all these different characters. That's what's exciting about this show [X-men], is the unusual casting.
I feel like casting is the most important aspect of making movies.
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.
Since Israel would rather re-experience Masada than renounce the core Zionist objective of establishing a Jewish state, the only one-state "solution" on the horizon of realistic possibilities is an Israeli "one state" that fulfills the messianic nationalist ideal embraced by deep Zionism, likely consisting of completing the expansionist process of recent years by incorporating all or most of the West Bank, casting Gaza adrift, consolidating control over Jerusalem, and transferring as many West Bank Palestinians as possible to Jordan.
Those first memories of my modeling career are not my favorite. At the beginning, it was tough. I was very lucky, my career took off very quickly, but still. All the memories I have about first casting in general - they're not nice. Just because there's so many girls, so much competition. I don't blame those casting directors, they see so many girls and they can't be nice to everybody. But you don't feel like a person, you feel like a number.
I didn't really know who [Dario Argento] was at the time. I know him now, obviously. But I went in to be an extra on the movie [Two Evil Eyes], and he saw me sitting out waiting to meet the casting director, and he pulled my mother and I into a separate conference room.
I worked so hard on that role [of Debra in Dexter]. And I barely worked on Rita. But I read for casting - both parts - and they said, "That's great, we're going to bring you in for producers." So I read for some producers - both parts - and they said, "That's great, we're going to bring you in to meet the creator." And I went in, and as soon as I walked in the room, he looked at me and he said, "Oh my god, you're our Rita!" And I said, "No! I'm Deb! I'm a total Deb!" "No, you're Rita!".
It's very difficult to put together an independent movie and a lot of times people really don't hire casting directors for that. Instead, they look for people that they've seen in other movies or they're friends with.
As matters now stand, the veto seems inappropriate, given the absence of any deep ideological split between major states, and definitely constrains the war-prevention mission of the UN. Similarly, the present permanent five are out of touch with geopolitical realities, and constitute a remnant of a West-centric world order, casting a shadow of illegitimacy across the activities of the most important organ of global policymaking in the UN System.
By putting a border line between life and death, we separate the world of death from our world of life, casting the dead away into the "world of oblivion".
I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be.
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
That's a very privileged attitude and I think the ignorance is so strong there. When people say, "Oh please, I don't want to hear that conversation," it's because it makes them uncomfortable." But that's because they think it's all okay. If it was racist, I would move onto someone whose mind I could change, but it's mostly ignorance. So when someone says, "Oh, it doesn't matter," I not only make designers responsible but casting directors and modeling agencies for not pushing those other girls on to the designers.
[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.
Fifty-percent of the director's job honestly is casting the movie well.
You'll find that street casting in America is a lot different than street casting in different nations.
Whereas I remember being in Dakar, in Senegal, where I have my third studio, and street casting, and I remember looking at the faces of the young men that we were speaking to through translators and so on, showing them the books. Complete - completely different response.
I've never, ever, in my entire life, been upset at a casting choice.
[Frida Farell] also wanted the film to serve as a cautionary tale for young women - to say, "Be careful when an attractive man asks you to go to a casting or a photo shoot, because it might be a demon in disguise."
I started going to castings a few years ago when people didn't know who I was. People forget about [that time] because they've seen my career - the path that it's had in the last couple years.
I'd say probably the most epic experience was before the Victoria's Secret show - I think it was before the casting - and I saw Naomi Campbell at a party. I was saying that I was nervous about my walk and she said "Come to my hotel tomorrow and we're going to practice." So I went in New York and we practiced in the hallway of her hotel with all of the hotel staff watching. She just said "Don't even flinch. Keep going!" It was hilarious, but I think that was kind of a confidence booster.
When you're casting, you get a page or two - just enough to do the scene. Now that you're in the world, you get the whole script.
Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.
I was very headstrong about wanting to keep my name when I moved to Los Angeles. But casting directors would call my managers and say I was perfect for the part, but my name wasn't marketable - I was a young guy, and had the old man name of Gary. I kept losing jobs because of the name not being marketable, so I changed it to Garrett.
You don't have the economy of scale of building a set once and casting once. You blow up the world, basically, at the end of each episode.
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