A Quote by Geoff Stults

When you cast somebody, you write to their strengths. — © Geoff Stults
When you cast somebody, you write to their strengths.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
I always felt, and still feel, one of my best strengths as a director is having been an actor for a long time. Nobody knows actors and their insecurities and strengths and everything more than somebody who's done it before.
I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.
An effective executive builds on strengths - their own strengths, the strengths of superiors, colleagues, subordinates, and on the strength of the situation.
If you then cast a somebody, playing a nobody is always an additional effort. But that was not the reason we cast him. It was because Ben Whishaw delivered exactly what I was hoping for.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.
When I write stuff and I help cast it, I turn away good people all the time. I may turn them down because this one's too tall and that one doesn't have a high enough voice or this one looks to old to match up with that one - there's a billion reasons not to hire somebody.
When we look to cast somebody who hasn't had any acting experience before, it's really essential we find somebody who at some level can just be themselves and who shares a lot in common with the character.
When you cast somebody you cast them not only for... I look for an inherent kind of quality. You are going to be shooting 14 hour days and you are going to be tired. You are going to not necessarily be able to conjure armor or a façade every single moment.
I think every business should build on their strengths, and the strengths of Victoria are our clean, green agriculture; the strengths of Victoria are our strong education system.
When you write for somebody else, you've got to write from their standpoint. You can't really write from your own point of view.
When you're working with somebody, you work to their strengths. Do you know what I mean? It doesn't matter who it is, whoever you're in the ring with.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
Because I write the music, I write the lyrics, I write the vocal melody lines - I write everything. Just because I let somebody sing something doesn't mean they're more important than the bass player or the keyboard player or the drummer.
Use feedback analysis to identify your strengths. Then go to work on improving your strengths. Identify and eliminate bad habits that hinder the full development of your strengths. Figure out what you should do and do it. Finally, decide what you should not do.
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