A Quote by Kelly Macdonald
It was both comforting and terrifying to go in to audition for 'The Girl in the Cafe,' as I'd worked with everyone in the room on 'State Of Play.'
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You can get rid of the column. It's a little like staying at a hotel; you get used to the shape of the room, and then you're gone. With a novel you move into town and stay for a long time. That's both comforting and terrifying.
If I have an audition, I go to the audition in character. I'm in character when I walk in the room. I mean, I'm still sweet to everyone, but I'm very much the character.
I had started acting when I was 7, and I was always wrong. I would always get to the very end [of the audition], but I wasn't a perfect package of one thing. I wasn't a cliche, and it always worked against me. I wasn't pretty enough to play the popular girl, I wasn't mousy enough to be the mousy girl. Then there was a TV show that Toni Collette was starring in. And when a role to play a girl who was struggling with identity came, I thought: "Oh, this is what I was supposed to do. Everything's leading up to this moment." I was 18. I was like, "This is it." I didn't get it. And I was devastated.
When you go on a stage - or even in a café or a room - and you play it's all happening right then and there: the exchange, the art, the communication. Performance is in the moment.
I started working a Saturday job at this French cafe from when I was about 14. I lived two minutes away from the cafe and went there every morning. One day, the manager asked if I wanted to work there. I'd never worked before, so thought I'd give it a go.
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.
The acting came about because of a girl. I was 19 and met a girl who wanted to go to the premiere drama school in Australia, the National Institute of Dramatic Arts, where Mel Gibson, Cate Blanchett and many others went. She had an audition, and I went with her for moral support - to cheer her on. I did an audition my way, and it kept going.
Sometimes you go into a waiting room, and the audition room is right there, and the walls are extremely thin. And you can hear every breath that they're saying. And you're used to that. So you go in, and you're like, 'Oh, whatever.'
Both peoples, both nations, deserve a nation-state of their own. Palestinians, if they wish so, will go to the Palestinian state; Jews, if they so wish, can go to the Jewish state. And we'll have to have security and demilitarization agreements between us.
The problem with growing up in a cafe was the cafe never closed, my parents worked every day of the year from morning to night. So it was a big menagerie of kids, business and cooking!
Maybe six months out of drama school, I was working at the Dundee Rep Theatre, I worked there for about a year, and I had an audition for the National Theatre of Scotland. I went into the audition room and when I came out I realized my fly was undone. I did this whole dramatic speech with my fly hanging low.
There was one female role, which was Emily. When I did the audition, I flubbed up. It was my first audition back from Christmas break, and I flubbed up and was devastated. In the audition room, they were like, "Oh, you did great!," but you never really know. So, I left the audition in tears.
Every audition is different, but I get incredibly nervous and insecure and worked up for however long I have to prep - that's when I get to spin. But you're not allowed to spin once you enter the room. Doubt really can't enter the room when you're auditioning - unless it's part of the character.
I hadn't worked for a year when I had my Prison Break audition and it was the easiest audition I've ever had. I got the script on Friday, went to the audition on Monday and got the part on Tuesday. I was shooting the pilot a week later. I didn't have time to be nervous - it happened so quickly.
Before recording my 'Homeland' audition on my iPhone in my bedroom in Streatham, I hadn't worked or had an audition in the U.K. for nine months.
I went into the audition room with the mindset that 'Little Fires' was going to be my last audition. I put my all into it, but I didn't get my hopes up.
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