A Quote by Francesca Gregorini
Casting is very instinctual. I really like to meet people. To me, it's about their essence more than their audition.
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I was in a TV show called 'Lucky' on FX. The casting director from 'Lucky' was casting 'Dragon Wars'. She called me in to meet with the producer and audition, and I got it from there.
I still audition a lot - it depends on the medium. For film, I audition just like everyone else, because it's a different set of casting directors. For television and theatre - well, for theater, there's some auditioning that has to happen, just for them to know that you can sing it, and how you'd take on the part. But for TV, things are getting a little better with, "Would you like to be a part of this?" But that's really for one - night things. It sounds like a pompous answer, if I say people are calling me to ask me to do things.
I think a lot of the inspirations for me are very instinctual and subconscious. I don't over intellectualize stuff much. It's a very instinctual thing.
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.
People obsess about casting and representation, but really, all the real work is behind the camera. Casting an Asian American into a bad role where they're shoehorned into these stereotypes is worse than not having cast them at all.
People are really surprised when they meet me that I'm a recluse. People think I'm very gregarious and outgoing - and I am - I'm thinking about writing a book about it called 'The Gregarious Recluse.' How the more that you put me out there in front of audiences, the more that when I have down time I have to disappear.
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.
I've had a couple opportunities where I've been on the other side of the audition process as a director, so it's really reassuring to me that it's just about who is right for that role and less about if you ace the audition. It's just about getting to know people, not about who's a better actor a lot of the time.
It's a funny thing, I think people meet us and they assume that we know a lot more about politics than we actually do. People will really get into it. I'm like, I don't really know a lot about tariff reform or export trade reform. That's really not something I know about.
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.
Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"
Casting is really exciting. With 'Twilight,' I wasn't involved at all with the casting in the original. They kept me in the loop, which was great. They'd be like, 'Hey Kristen Stewart's gonna do it' and I was like, 'Really? Awesome.'
I don't really get nervous about the people I'll audition for, especially if it's people I admire and want to work with: it actually makes me more excited.
When you audition for things, there's pressure to go in there with a complete performance, and it's kind of unfair because, if you get it, you'll have rehearsal and talk about it, and you'll have plenty of time with the script. So, for me, I really do feel like an audition is a sketch of what you might do.
Nothing makes me happier than to have a smart person tell me why the show is smart, especially if I didn't intend that. I tend to be a very instinctual writer, and I don't plot shows out like, "This is my thesis and this is how I'm going to subtly sneak my thesis into this episode." I just approach it from, "We know these characters well, here are the situations that they're in, now how would they behave? What would the consequences be?" And it's always fun to see how people interpret that and dissect it afterward, and make me and the other writers seem probably smarter than we really are.
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
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