A Quote by Ray Fisher

I auditioned specifically for Cyborg, but at the time, they were using a code name for the character... I think it was Oscar. — © Ray Fisher
I auditioned specifically for Cyborg, but at the time, they were using a code name for the character... I think it was Oscar.
I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
I auditioned for quite a lot of films. I do not wish to name the films I auditioned for. There were times when I knew I would not be fit for this film, or I would not get this film. Still, I used to audition for it just to get experience... to practice.
You can't trust code that you did not totally create yourself. (Especially code from companies that employ people like me.) No amount of source-level verification or scrutiny will protect you from using untrusted code.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
I actually learned about Cyborg through the cartoon shows, and I think that's how most people learn about Cyborg.
I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.
At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.
My dad won an Oscar in 1951 with an un-Anglicized name, the first Hispanic to ever win an Oscar, and the Academy is so intractable to this day.
It was a rather extraordinary conversation if you think about it -- both of us speaking in code. But not military code, not Intelligence or Resistance code -- just feminine code.
I auditioned for the role of an angel in the Nativity play at school. I didn't get it. I auditioned for Mary; didn't get it. So I made up the character of the sheep who sat next to Baby Jesus.
I think it's a really admirable thing to be very sure of your own moral code and not waver from that. If you're sure of your moral code, your moral code is personal. Something that I admire about my TV character is being unapologetic and knowing who she is. That was empowering to play.
I auditioned 5-6 times for 'Dangal.' I was just waiting for the final call, as there were about 15-16 girls who auditioned for the role.
I never planned to win an Oscar. When I auditioned for 'Ray,' I was just thinking about what a great project it would be.
I never planned to win an Oscar. When I auditioned for Ray, I was just thinking about what a great project it would be.
It wasn't until I booked the role of Cyborg that I was sent literally everything Cyborg-related from DC comics.
The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. This is the self feminists must code.
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