A Quote by Craig Zadan

We have a particular philosophy in the casting room that we don't really tell the actors - the actors tell us. — © Craig Zadan
We have a particular philosophy in the casting room that we don't really tell the actors - the actors tell us.
It`s always been the same for me. I`ve always enjoyed acting, and I really love good actors; they`re such unique characters. I wish I could tell stories well, or tell a joke. Any time someone can do that it`s so satisfying. Sean Penn, for instance, is a really good actor, and he can tell a good joke or story. But it`s hard to do. Most actors have special talents that make them attractive, but they`re often odd characters.
There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.
Honestly, in retrospect, when I referred to the actors from 'Prince' as non-actors or non-professionals, it was actually a great disservice to them. The fact is that they are all actors and should be viewed that way by the industry. It was our casting process that was non-professional.
I'd love to perform with other actors and act with actors, true actors. I would like to be in a movie and have full room for acting.
I can tell stories to other actors about the level of aggression on stage in the '70s between actors - it was unbelievable.
Casting is so important in horror. It's so important to have strong actors to tell a story because, if you don't believe in the character, how can you be scared for them?
I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.
I always feel that I'm sort of co-directing with my fellow actors. And you can tell when something's going on that really interests them and they approve of. And then you can sort of tell when there's not.
AMC has a track record for finding actors who have been working actors but not names yet and casting them.
People don't always understand the way it works with casting. TV projects tend to be commissioned to screen at a particular time of year, so your shooting dates are chosen to meet that. And then the casting is a matter of choosing from the actors who are available for those dates.
Some actors come to casting and ask me, "Didn't you see my previous roles?" We do not work with actors like this. Their previous roles do not matter; I need the actual work with an actor in this particular character that has been written in our script. What matters is flexibility, believability and efficiency of an actor.
I loved doing casting because I love actors, and I am very conscious of what actors do. But I always wanted to be a producer.
I remember that. I was talking to him and I said how great it would be if actors had a tail because I have animals and a tail is so expressive. On a cat you can tell everything. You can tell if they're annoyed. You can tell whether they're scared.
We're finding that the casting of 'A Few Good Men' is different from the musicals because the kind of actors that you need to do it are movie actors, basically.
Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
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.
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