A Quote by Carly Schroeder
I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.
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I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
I got my big break in Bollywood with Anurag Kashyap's 'Raman Raghav 2.0' when I got a call from one of the casting directors to appear for an audition. At that point, I didn't think that I would make the cut since I was auditioning for a Bollywood film for the very first time. Within an hour of the audition, I was told that I had been selected.
My first audition was for Terrence Malick's 'The Tree of Life.' These casting directors came through Texas, and they recruited somewhere around 10,000 kids to come and audition for this movie. They sent me a letter in the mail, and I went and auditioned for this movie.
Even though I'm very fortunate and grateful to have played Aladdin, there were still four, five casting directors who never gave me a shot in Toronto. They didn't give me the time of day. I never got to audition for them.
I believe that I've grown in my acting career because I've become more confident. I've become less worried about what people think. When I go into a meeting - 'audition', I have a different sense of self when I walk into the room. I'm here to give you my interpretation of your lines. This is my stage; I'm not waiting to be hired by you to be on your stage. We all might die tomorrow, so I'm going to have to live in my gift, today, and give you the best performance in this room, right now, in case this is the last time you get to see me!
I actually like to audition. I prefer to audition for something because I don't want to walk onto a stage or a set and [have someone] say, "You are so far away from what I thought you were going to bring in." I would feel more comfortable to audition and say, "Here's my take on it - take it or leave it".
I went into the audition room with the mindset that 'Little Fires' was going to be my last audition. I put my all into it, but I didn't get my hopes up.
For film, I audition just like everyone else, because it's a different set of casting directors.
I had this one audition - I won't say the casting director's name, but she was on the phone the whole time I sang. I was literally doing my audition, and she was on the phone. So I guess whatever it is she was ordering for lunch was more important than the high C's I was belting out.
I had read the Animal House script, and by hook and crook, I finally got an audition. It was a great one. John Landis followed me out into the hallway afterward and said, "I've never done this before, but you've got the job. Now don't tell anyone!" I've never had a director do that. It was one of those Hollywood-dream-come-true stories. They saw me as a surfer or cowboy, not a preppie, but someone begged and borrowed me an audition, and I went in and got it.
I would drive down in my Volkswagen Jetta to Los Angeles and just audition, audition, audition, audition, and hopefully get something. I did that for two years, and the third year I came down, I auditioned for 'How I Met Your Mother.'
You go into an audition, you're either the one or you're not, and if you're not, you go home. And I kind of like that. If you're really good, and you're the best guy in the room that day, you get the job.
I've been looking for ways to audition more, because it also keeps me sharp and keeps my ambition at its firm edge. That's something that I'm actively engaged in conversations about now with my reps: What's out there that I can really either put myself on tape for, or meet with the director for and read for? How do we do that? We're now at the end of the Star Trek reboot trilogies and whether we are going to do another movie remains to be seen, and so I feel like I'm at the end of this cycle that began with me coming out of school and auditioning and building my way up.
There was one female role, which was Emily. When I did the audition, I flubbed up. It was my first audition back from Christmas break, and I flubbed up and was devastated. In the audition room, they were like, "Oh, you did great!," but you never really know. So, I left the audition in tears.
I got some pilot scripts and auditioned for a couple other ones, too. It was just a standard audition, where I kept going in to read and went up the ladder, in terms of people who you're performing for during those auditions. Each step of the way, I was happy with that level of audition.
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