A Quote by Elodie Yung

Personally, I've always had to face casting directors or producers saying, 'You're right for the part, but nahh, you're not quite what we're looking for.' — © Elodie Yung
Personally, I've always had to face casting directors or producers saying, 'You're right for the part, but nahh, you're not quite what we're looking for.'
I worked in feature film casting right out of college and spent a lot of time working with actors, directors, and producers.
Casting director was a part-time thing, which later became a full-time job because there was a lack of casting directors in our industry and people were looking for professionals to do it.
There are always discussions about casting stars in lead roles in theater - especially when you're working with commercial producers - and it's not something I'm against, not at all. But any casting has to be right for the project.
You had to knock the doors of the great directors and producers; of course I needed the work and was desperate for work. I remember one of the producers saying, we have R.D. Burman, we have Laxmikant-Pyarelal, we've got Kalyanji-Anandji with us, why should we take you?'
I owe a lot to my time on 'House of Cards' because, up until I booked that show, I had been working consistently for 12 years, but I wasn't working on anything that mattered in the way 'House of Cards' did to its audience, to casting directors, to directors and producers. The show hit this sweet spot.
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.
As an actor, I have casting issues. I'm a minority. I don't have trouble making a living, but as far as being on the food chain of the pecking order of actors, I'm not at the top of it. With the jobs that I do, there are always control issues with directors and producers.
In my last year of drama school, I was Abigail in 'The Crucible' and Nina in 'The Seagull,' and I did some Shakespeare with the RSC. That's what casting directors saw me in, and I got put up for a lot of period drama auditions. I always get told I suit the costumes. I don't think I have a very modern-looking face.
I think the more open-minded people we have - like casting directors and producers - the better things are going to be.
The most exciting part of the casting process was casting out of Israel, which was a really unique process, mainly done remotely from California, looking at casting tapes.
I knew at the time that that wasn't the part I would be doing, they just wanted a screentest so they could have a look at it to show to the directors and producers. Then they wrote a part for me or maybe they already had it in mind, I don't know.
If you don't take it personally, the partnership between producers and directors is very intimate.
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.
I can't change what casting directors do or what producers do. I can only change what I do.
I always quite like the idea of casting against type when I'm looking for and trying to understand who a character is.
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