A Quote by Max Irons

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.
As actors, when you can't be in the room with the casting director or the producers, you put yourself on tape and send it off.
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.
I tell people all the time that producers, writers, and directors really don't know what they want until it walks into the room - you have to show them what they want. Everyone is rooting for you when you walk into the room. Everyone wants you to be good because it means their day is over!
In a world of fixed future, life is an infinite corridor of rooms, one room lit at each moment, the next room dark but prepared. We walk from room to room, look into the room that is lit, the present moment, then walk on. We do not know the rooms ahead, but we know we cannot change them. We are spectators of our lives.
People don't want drama 365 days a year. I'm a sense of relief; it's my job to take your mind off what's bad for that brief second you're in the room with me, regardless of shape, race, colour or anything. It brings people together, and it makes me feel good about what I'm doing.
Auditioning is a skill. There are actors who are not very talented but know how to audition and know how to be really confident in the room and are confident enough to be able to charm the pants off anybody.
Because I've got an AFI award, I feel there is a certain expectation when I walk into a room, you know, that 'That Deb Mailman must know something!' But I'm just as nervous with every experience. I still doubt whether or not I can pull something off. I still think, 'When is the review going to come along that says Deb Mailman's not very good?'
I want a room that I can definitely pack out. I don't want to sweat that part, "Am I gonna have enough people?" So I usually pick like a hundred, a relatively small room. Also, I'm looser in a small room. I don't want to record an album in front of a thousand people, not that I could draw a thousand, but I just want a room that I can really work back to front. That's just a very comfortable place for me to be loose.
Baby's room should be close enough to your room so that you can hear baby cry, unless you want to get some sleep, in which case baby's room should be in Peru.
Stand-up comedians know how to walk into a room, even if you're not performing, just read the temperature of a room, and can easily sort of tell what's going on or what people are sort of feeling in the room, and it allows you to sort of approach people.
I know that some of the folks in the press are uptight about this [moving the press corps out of the West Wing ], and I understand. What we're - the only thing that's been discussed is whether or not the initial press conferences are going to be in that small press - and for the people listening to this that don't know this, that the press room that people see on TV is very, very tiny. Forty-nine people fit in that press room.
I do feel like guys feel pressure to be funny with me, which is kind of annoying. It's a turn-off if someone's trying hard to be funny because it feels like they're auditioning for a comedy job or something. It doesn't feel romantic to me. I get so much comedy from my life that, from a guy, I'm more looking for something sweet or romantic.
On teams that have won championships and got to the big game, there's a certain vibe and feel in that locker room. Everyone talks about how there's a brotherhood in that locker room, there's not a lot of dissent, there's not guys that go off on their own. It's a team atmosphere.
If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.
In a room full of 60 to 70 people which is open plan and absolutely quiet, it's very intimidating to make a phone call. And if you do so, you're upsetting about 15 to 20 people because they're put off by your phone call.
I feel like, if there's an elephant in the room, I'd really like to start off by introducing the elephant in the room. And sometimes it's funny.
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