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Casting Quotes

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Casting Quotes

“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.”

“Yes, there was a massive difference between their styles. David is a very technical director and Chris is an actor's director, in the sense of emotion. With David, he's done horror films, so Eclipse is much darker, whereas I found New Moon really light and poetic. I didn't have as much interaction with David because the casting process was already done.”

“Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.”

“Am I the only person who hopes that David Beckham has sex with Brad Pitt? I don't know who's in charge of casting in Hollywood, but make it happen before one of them is out of their prime. Can you imagine those two men together making love? If there's a man in here that's junk doesn't wiggle just a little bit at the thought of those two men together - this has nothing to do with your homophobic sexual preference. At that level it's art, you monkey. You should be honored that you share the same restroom with those Greek gods.”

“I tried to read The Dubliners, when I went to Dublin a couple of years ago. I think I only go thurogh the first story. Gnomon is such an interesting word. So many different uses for a word nooone has heard of, or uses these days. I googled some pictures of sundials to check that it was the tall shadow casting bit (it is) and then discovered that Saint Sulpice in Paris has a rather fascinating large gnomon- which I shall endeavour to see on my next visit to that fair city. Thanks for such a great word, which I shall try to remember.”

“I started making movies in my late 20s, that time in an artist's career that often sees artists just imitating things that he or she loves. I just wanted to be great like L'Age d'Or vintage Buñuel. I wanted to be Busby Berkeley, for crying out loud! I wanted to have chorus girls stomping their heels in my casting office. I wanted to be Erich Von Stroheim monogramming underwear for extras. So I started off my career doing that, and that was fun, but I realised I wasn't very good at it.”

“Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.”

“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 never get tired of looking at her [Catherine Keener] and it always surprises me, despite how many hours of film I've shot on that face. She's fantastic. She does comedy and tragedy so equally well. She wears her feeling so on the surface for both. I try to stop myself from casting her but I just keep coming back to her. She's just so fantastic to work with.”

“The casting director on the movie made me aware of her. She told me what to watch Starter For Ten, which I did and thought she was great in. She was just so charming and beautiful. But I felt she could probably look plain if we tried. And when I subsequently met with her, I was so charmed by her vulnerability and sweetness. Those were two qualities that were the most important for that character.”

“I guess I always knew going into the movie that casting that part would be difficult. Oliver just felt likeable. I felt it would be hard to dislike this man. I don't know why, but I'm sure other directors have felt the same when casting him. Oliver is goofy yet formidable, smart but likeable... I didn't want the character of Alex to be nasty or demonised. I wanted him to be struggling with his actions.”