A Quote by Corbin Bernsen
I always used to say, as a director, that I could make anybody good in a movie if you found the right part. It all comes down to casting.
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I used Vamps as a casting couch! I pretty much did, because I was casting 'L!fe Happens' while I was on the set of Vamps, and anybody I had ever worked with, I asked to be in this movie.
I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.
I have to say that whatever decisions I make, I really do think that movie making is a director's medium. They are the people that ultimately shape the film, and a director can take great material and turn it into garbage if they are not capable of making a good movie.
At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.
I was modeling while I was in university and my agency said, 'There's this fashion campaign, can you go?' And I didn't want to; I told him I wanted to focus on my acting, but I ended up going, kind of dragging my feet, and it turns out, the casting director for it was the casting director for Lars von Trier's new movie.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.
If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right way at the right time.
I think you've got to talk to the director, see the director's films and recognise that it's important that the work fits right in and see if as part of the movie.
Allison Jones, a big casting director out there, was like, 'They're casting 'The Daily Show' right now - you should submit a tape.' I remember leaving school to go shoot an audition.
I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.
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