Top 1121 Audition Quotes & Sayings - Page 19

Somebody came and directed a show at my high school. I approached it with sort of the sensibility - "Oh, I know that music. I'm going to go audition." I ended up being in it and I sang and it was mind-altering - to me, to my parents, who had never heard me sing like that. It put a stop to everything else that I was doing - every sport that I played, every instrument, it was all dropped because nothing felt like that. I feel really lucky that I found my passion at that point. There are people who are adults who don't know what their passion is and go through life doing "a job."

I was cast last minute for Casino Royale. They asked me to fly to Prague. I liked the script very much. I flew to Prague and did a bit of an audition. I was really focused and stressed out. And Daniel Craig was there. He was very, very blonde, like a Steve McQueen. He's moving a lot in real life. He's quite nervous. He was very lovely, very patient, and really connecting with me when we did the screen test.

Don't ever give up on your dream. Ever. The most valuable thing I have gained from this whole TMNT experience so far is that I now know for a fact that anything can happen. After twenty-four years in this notoriously impenetrable and discouraging business, I was offered this iconic role out of the blue, without any audition or meeting, from people I didn't know. Stick with your passion, and keep moving forward. You can't go wrong.

I married him [Chris Sarandon] my senior year, and after I graduated, he went to the Long Wharf Theatre in New Haven, and I tagged along and was doing some local modeling and commercials and things like that. A woman named Jane Oliver, who handled Sylvester Stallone, saw Chris at the theater and asked him to come in and audition. We went in and auditioned - he needed someone to read with him. I read with him, and she said, "Well, why don't both of you come back in the fall."

I tried out for 'The Voice,' and I also tried out for 'America's Got Talent,' and both them, like, reached out to me. I had, like, little singing video on YouTube, and they were like, 'Come out for an audition.' I did, and I got a callback for both of them, actually, and, uh, didn't get anything after that. I was so heartbroken. But look at me now!

Becoming an actor wasn’t a choice – it was something I was forced into. At 3, you can’t make those choices... I supported my family, and if I got fired or missed an audition, I’d be punished as if I’d messed up in school. I was starved, because they wanted to keep my weight at a certain place; my hair was bleached – that was my life. I wasn’t allowed to play with kids on my block or ride a bike or play ball, in case I got a scratch – I wasn’t even allowed to be bar mitzvahed because I couldn’t attend enough lessons.

Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.

With stand-up you meet almost constant rejection. You put yourself out there with your thoughts and your ideas, and you think they're funny, and you hope other people think they're funny too. The only way you're going to find out is when you do it and what the reaction is going to be. So if you're not prepared for that, if you're not willing to go along with that, it's going to be a rough road. But beyond stand-up, in terms of auditioning for acting roles, you don't get most of the roles you audition for - you get a precious few.

I didn't want to audition the kids so much; I just wanted to talk to them because I like seeing how they are because their mothers usually mess them up with practice. So, I'd rather talk to them and see how they respond. I just throw things at them and see how they can hit the ball back, and Saniyya Sidney was good.

I'm really lucky to have my brother because I know a lot of teenagers, and even adults, aren't as close to their siblings. Working in Hollywood definitely does bring us together and gives us something to connect on. I had an audition yesterday and he came by before and ran my sides with me. Being able to work on things together is really cool and it gives us something to have in common.

I work with a group of actors, and whenever one of us has an audition, we all get together, and we all work together on it. I think it takes us back to our film school days, our drama school days, us just working together and figuring it out because somebody else is going to see something in the material that you won't see.

I remember getting in the elevator for my audition and there was a guy next to me who had a backpack full of props and wigs and things, and I went, 'Oh, my God, that guy is so prepared, I have nothing, I have no props.' And that was Andy Samberg. And Andy Samberg said he was looking at me going, 'Oh, that guy has no props. He doesn't need props.' And that was the first time we met, was in that elevator.

George Harrison: The day after the Blue Angel audition, John showed up to rehearsal with a long list of name suggestions, and I remember each and every one of them: the Deads-men, the Deadmen, the Undeads-men, the Undeadmen, the Rots, the Rotters, the Dirts, the Dirty Ones, the Grayboys, the Eaten Brains, the Eating Brains, the Mersey Beaters, the Mersey Beaten, the Bloodless, the Graves, the Headstones, and the Liverpools of Blood. Paul ripped off John's right arm and used it to slap John across the face, then he said, "Those're horrible, mate, just horrible, y'know.

For me it's a new experience every single time, because - The dance community has a great strength in synergizing immediately. So we recognize that opposed to being competition, which we are in the audition process, once we're on the job is about cohesion, it's about striving to highlight each individual in their own element, while also creating something that is visually tantalizing to the audience. While the ingredients of each movie has been different, the recipe for success is the same, which is to click immediately and make the best possible movie.

Chris [Kattan] and Will [Ferrell] and I all went out – I don’t want to say where, because it’s a famous restaurant and it’s Italian-owned and I don’t want any trouble. But I ended up throwing up all night from food poisoning. All the blood vessels in my eyes were broken, and the blood vessels in my face. I did not sleep. I walked into the audition and the makeup person said, ‘Oh my God, what happened to you?’ I looked like I was in a car accident.

Life beats down and crushes our souls and theatre reminds us that we have one. At least the type of theatre that I'm interested in; that is, theatre that moves an audience. You have the opportunity to literally impact the lives of people if they work on material that has integrity. But today, most actors simply want to be famous. Well, being an actor was never supposed to be about fame and money. Being an actor is a religious calling because you've been given the ability, the gift to inspire humanity. Think about that on the way to your soap opera audition.

At the time, I was in L.A., just auditioning and hoping to land a part, dramatic or comedic. I started to feel really stagnant, waiting for a part. I was also taking classes at UCB and Groundlings, and at the higher levels, they focus on writing. It was such a relief to be able to write. During those programs, I wrote a one-woman show called Me, Myself, and Iran, and it ended up getting to Tina Fey. She recommended me to audition for SNL, so I got my first of two auditions through her.

I will see 100 or 200 and I will take my time with them and I audition them for the two main roles. If I like what I see, but they're not exactly right for the role, I'll think well I have this other role that might work for them. Sometimes I will write a role for them because I want to work with them because they're so good.

I read the script [ of 'Steve Jobs' movie ], and it was very, very good. I wasn't sure they would want me to be in the movie, but I auditioned for it. Which I hadn't done in a few years. But I had auditioned in the previous few years for another movie that I did not get the part. And so my track record wasn't good. But I really wanted to audition because I was worried that I was going to blow it, and I wanted it to be on them for choosing me.

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.

My step-dad started playing hockey in Detroit so we moved and I had to start home school. I started watching movies since I had a bunch of free time and then I was like, 'You know what? I want to give this a shot, move back to L.A., and audition.' The first show I booked was a show called Threshold with Carla Gugino and it was obviously a terrifying experience and I felt out of my comfort zone, but it made me want to keep going because it was fun.

Actors tend to get in their own way, a lot. A lot of times you will do things that will screw up your audition process. I was very bad at auditioning, and I always went in to it saying ‘God I hope I don’t screw this up.’ But at the same time, the directors are saying, ‘God, I hope this person is the savior.’ You have to remember is that the worst thing that could happen is you don’t get the job you don’t already have.

I am an old, old friend of Aaron Sorkin's, who is the executive producer and writer. He had been talking about doing a political show for a long time and I had been interested in it for a long time. The moment I became available, he called me last year and asked me if I wanted to do it and then I just had to audition for the powers that be, and I got it.

I played a lot of moms. You're always too young when you're playing moms. My first kid when I started playing moms was about six months old. And then a month later I was doing another commercial audition and my kid was two, and then about eight months later my kid was 11.

Marg Helgenberger and I were waitresses in the same restaurant in Evanston, Illinois. I'm happy to say that that restaurant has since been torn down. [...] We both had an audition for ABC soaps - different soaps, but we auditioned at the same time, and she got the part and went off to New York. Three years later, I went to L.A. So she was kind of an inspiration to me. And it makes sense that we will both be in Wonder Woman together, because we ARE Wonder Women.

I believe that I've grown in my acting career because I've become more confident. I've become less worried about what people think. When I go into a meeting - 'audition', I have a different sense of self when I walk into the room. I'm here to give you my interpretation of your lines. This is my stage; I'm not waiting to be hired by you to be on your stage. We all might die tomorrow, so I'm going to have to live in my gift, today, and give you the best performance in this room, right now, in case this is the last time you get to see me!

I've been looking for ways to audition more, because it also keeps me sharp and keeps my ambition at its firm edge. That's something that I'm actively engaged in conversations about now with my reps: What's out there that I can really either put myself on tape for, or meet with the director for and read for? How do we do that? We're now at the end of the Star Trek reboot trilogies and whether we are going to do another movie remains to be seen, and so I feel like I'm at the end of this cycle that began with me coming out of school and auditioning and building my way up.

Leonardo is the most incredible actor, on the planet, with a couple of people alongside him. Getting to act with him is just [amazing]. I walked away from my audition for that and I couldn't believe that I'd been acting with him. I've worked with amazing people, but my friends freak out that I'm working with him. I freak out in a geeky acting way. They freak out in a starstruck way. He's Leonardo DiCaprio, and his fame is so big. That's a complete tangent about that.

You know, it only happens a handful of times in your career, where you walk out of an audition feeling like all the stars aligned, my preparation paid off, something magical happened in the room. I've gotten really lucky and I've gotten to work a lot, and I would say it's only happened, like, two or three times, where I've walked out and been like, This was the right thing and the right choice and they should just cast me.

Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"

I grew up loving fantasy, adventure, and children's book series. At the time, I was in a place in LA where I wasn't working and I kind of thought to myself, "What do I really want to do? Like, what kind of role would be really exciting for me?" And I sort of thought about being in an adventurous, magical, fantastical world and a character that was powerful and sophisticated and perhaps even a dandy, that might have even passed in my head, and then I got an audition for the show ["The Magicians"] shortly after.

[Larry Laurenzano] gave me a junior high school saxophone to take to high school, because I was always taking one of our school horns home to practice and I couldn't afford to buy one. He gave my friend, Tyrone, a tuba and he gave me a junior high saxophone for each of us to use at Performing Arts High School with. My audition piece was selections from Rocky. We were not sophisticated. But we had some spirit about it. We enjoyed it, and it was a way out.

There was a period that black film had no chance of making it in Hollywood. So, people just made the made the statements that they wanted to make. Whether it was a science fiction film or whatever, b/c they were just making movie for themselves. Then there was a period where people were creating projects as their Hollywood audition 'pieces'. I feel that today we are moving back to the era where we all have our own voices.

I wasn't a dancer learning to play Baby Houseman. I was Baby Houseman learning to play a dancer. I was someone who'd never done any Latin dance. I'd taken jazz classes and ballet growing up in New York, so I had dance in me, and I knew I loved it, but I'd never done a dance audition.

That was a bizarre and unlikely event, which has misled a generation of drama students from my old drama school that dreams really do come true. I was an unemployed actor. I had been an actor for about eight years, and had worked in theater, and done a tiny bit of TV, and somehow an audition video of mine ended up on Kevin Costner's television screen, and he rang me up and invited me to fly first-class to Hollywood and be in his movie The Postman.

The only recording studio was in Motown - it was called Tamla/Motown at that time and we used to audition there because Smokey Robinson was at that studio and Berry Gordy was the president. I remember asking Smokey to listen to my group and he did. For the first couple of years we were just singing background. We used to back up Marvin Gaye; Mary Wells was there then, Marv Johnson, the Marvelettes, Martha Reeves and the Vandellas, Junior Walker and the All-Stars.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

When I was a kid I was a big fan of the Universal Monsters movies of the 1930's and the 1940's. I loved movies like The Wolfman (1941) and Dracula (1931). I really wanted to be in those movies. Eventually I started nagging my parents about it, and it turned from, "I wanna be in a monster movie! I wanna be in a monster movie!" to "I just wanna be in a movie." So I think my parents just thought that if they took me to one audition I'd see how boring it was and I wouldn't wanna do it. But I ended up getting the part, and I got a bunch of roles after that as well.

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.

Quite honestly I never had a desire to be an actor. I tell people, I did not choose acting; acting chose me. I never grew up wanting to be an actor. I wanted to play football. In about 9th grade an English teacher told me I had a talent to act. He said I should audition for a performing arts high school so I did on a whim. I got accepted.

Blind audition format is what make our show unique and gives it so much more integrity. After all, the show is called The Voice. It's about vocals, and you have to stand out to get the attention of these four, Grammy-winning superstars who have an amazing ear and know what they're talking about. They rely on their ear as well as the reaction of fans in the audience to figure out whether that contestant is worth pressing that red button for. It's a great concept which keeps everybody on the edge of their seat.