A Quote by Mark Duplass
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
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There's no better gift to an actor than when you walk into an audition, and the casting director is your partner.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
If you're a young person who wants to become an actor, it's really important to walk into a casting room with a sense of yourself and some life experience. You can really delight a room and have them already choose you before you've even said a word!
Where having been an actor was extremely helpful to me was in casting. That's where I think a director who has acted can really shine, and casting is the most important thing you do.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
A bad audition is usually the director's fault, not the actor's. It's up to the director to get the atmosphere right to get the best out of your auditionees.
As a director, it became important to hear that specific role read by that specific actor, and you hear the chemistry, or you don't hear the chemistry. So I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
As an actor, you do feel very powerless... you are at the whim of the agent who submits you for a project, and then at the audition, you are at the whim of the casting director who will cast you or not.
My strangest auditioning experience was when I was reading for a TV show, and right when I started the audition, the casting director left the room and yelled at me from the hallway to keep reading.
The actor's physical type is the main consideration. It isn't and shouldn't be. Does the actor "look the part"? It is the simplest question to deal with. The director deludes himself who yields to the temptation to believe that an affirmative answer settles the matter. An actor's looks will impress an audience initially but after his first five minutes on stage it becomes aware of what he or she communicates (or fails to communicate) through acting!
When people walk into our casting room, we do think about what you do outside of being an actor.
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.
What's difficult for American audiences is that they're used to a system here where you can get an actor for five years or even seven, and that is signed for at the audition. Whereas in England, no agent will give you an actor for more than three years.
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.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right way at the right time.
I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
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