A Quote by Kathleen Kennedy
It's an interesting thing when you're casting a film - especially when you're trying to discover someone - you're waiting for someone to step into the room in an audition process and claim the role.
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I went in for an audition [for As Good As It Gets], but the audition was with James L. Brooks. I was the first girl in that morning, and there was a whole waiting room of girls waiting to read for it. So I did my audition, and he asked me to step outside. So I stepped outside, and when he asked me to come back in, he looked at me, and he said, "Well, I'm very excited to work with you on set." And I was, like, "What?" I thought it was a Hollywood blow-off.
I audition for almost every role. I get into auditions even when I am just producing a film. Not that someone would fire me, but I keep trying various tests and keep working till I learn the job.
People will go into an audition and a casting situation, and they'll see someone across the room that's perhaps slightly famous, or famous, and they think, 'Oh God, I'm not gonna get the part.'
People will go into an audition and a casting situation, and they'll see someone across the room that's perhaps slightly famous, or famous, and they think, 'Oh God, I'm not gonna get the part.
There's a lot to be said for being in a room with a casting agent or a director. There are things you can't really replicate when you're self-taping and there's the bonus of having someone to direct you, which is extremely helpful. The benefit of self-taping is, I suppose, being on your own clock. It's certainly more relaxing to self-tape than to audition with someone in the flesh but I don't know if it's necessarily better.
I've grown to love L.A., but it's the most socially awkward place. All these people have come there not to be something but to pretend to be someone trying to be someone. Even in line for coffee, you're standing with someone who's trying to be so interesting.
I didn't tell anybody [had got a role at As Good As It Gets], because I was just going, "Well, that was the strangest audition..." And I just thought, "There's no way he gave me the job on the spot when there was a room full of other girls waiting to audition for it." But then I didn't hear anything for a couple of days, so I finally called my agents, and they're, like, "Oh, yeah, congratulations! We know Jim [L.Brooks] told you in the room that you got it."
That's life for you," said MacDunn. "Someone always waiting for someone who never comes home. Always someone loving some thing more than that thing loves them. And after a while you want to destroy whatever that thing is, so it can't hurt you no more.
For me, the most interesting people are ones who often work against their best interests. Bad choices. They go in directions where you go, 'No no no nooo!' You push away someone who is trying to love you, you hurt someone who's trying to get your trust, or you love someone you shouldn't.
I would strongly urge the Donald Trump administration to pick someone who is completely apolitical, who doesn't come out of the political process, someone who is a retired judge or an acting judge willing to step down from their judgeship, someone ideally who has prosecutorial experience, but someone who could come in and give credibility to the Russia investigation that is severely in jeopardy.
For us, someone who is willing to step forward and help is much more courageous than someone who is merely fulfilling the role.
I was at stage school in Birmingham Rep when I was called down to London for an audition in the National Theatre. Maximilian Schell, the film actor, was casting Tales from the Vienna Woods. He was looking at me for a small, but significant, role.
I don't think there's room in video games for people to bring an ego. It's very frustrating for any actor to have someone who's a celebrity take over your place. Like the 'Uncharted' film, they're trying to find someone to play Nathan Drake. And it's like, why do they not think of us? We do this.
Being an actor is easy, just picture someone in a room and you outside waiting for your cue to go in. Elliot Gould's been trying that for forty years.
Everything in The Room, we did it the same way the big studios do it. The only difference is the budget and the actors. We put an ad in Back Stage West and in return we got almost 8,000 headshots from people who wanted to be in the film. We then do a process of selection and a rehearsal process after they are selected. The process of audition is very time consuming.
I think auditions are set up for failure because they're not really the set experience. There's no time to develop the character. You're just looking at someone... if someone's really good in an audition, sometimes they're not good in the film. It's something you learn when you're doing short films. It's the same way that some people do well at taking tests and some people don't. But when you're on a long-term filmmaking process it's a completely different feeling.
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