A Quote by Angourie Rice
For me, the audition is always the hardest part of the whole process. Once you get on set, once you're in costume, you're with the director, it's so much easier to get in the headspace.
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The hardest part is starting. Once you get that out of the way, you'll find the rest of the journey much easier.
You only get one shot in your life and you might as well push yourself and try things. There's so many interesting aspects of making a movie; the costume department, the set design, the casting itself, the locations. It's a great, great thing to be involved in if you have the headspace for it, and I do. Try anything once.
For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.
Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.
I was once up for a part, and the male star was also producing the movie. They were talking about meeting with him or having an audition with him, and then we get the message, 'He wants to have dinner with you.' I said, 'Is that the audition, or is it that he just wants to have dinner with me?'
The hardest part about gaining any new idea is sweeping out the false idea occupying that niche. As long as that niche is occupied, evidence and proof and logical demonstration get nowhere. But once the niche is emptied of the wrong idea that has been filling it:; once you can honestly say, "I don't know", then it becomes possible to get at the truth.
I have had the auditioning process go on for two weeks or three weeks. I am always incredibly anxious. The audition and the wait is definitely the hardest part for me.
The logistics of blood is something that I didn't even understood as a first-time director. Not just actors and make-up, but once a set gets bloody, you don't un-blood it. Once something gets bloody, you either rebuild the set, or you just don't get the shot.
Especially in writing love stories, there's always the assumption that once you've said 'I do,' once you get to the point where you're married, well, the hard part is over.
Once I won the roles in 'Spender' and 'First Knight' it was much easier for everyone, me included, to get their heads around the idea of me being an actor.
Art was always a means to an end with me. You get an idea, and you just can't wait. Once you've started, then you're in there with the punches flying. There's plenty of trouble, but you can handle it. You can't back out. It gets you down once in a while, but it's exciting. Our whole business is exciting.
Everyone's a little nervous when you all get together and meet the actors, meet the director. But once you get on set, then it's like a sport. You're playing a game, everyone's equal and that's where it's fun.
I write every paragraph four times - once to get my meaning down, once to put in anything I have left out, once to take out anything that seems unnecessary, and once to make the whole thing sound as if I had only just thought of it.
The first day's always the hardest, because it moves so much faster than a film does and once you get into that rhythm, though, you feel like you've accomplished so much in such a short period of time, so there a bit of comfort in that. You just have to find your rhythm.
Once you eliminate quality as a requirement, the entire design process becomes a whole lot easier.
A bad audition is usually the director's fault, not the actor's. It's up to the director to get the atmosphere right to get the best out of your auditionees.
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