Top 1200 Casting Directors Quotes & Sayings - Page 3

I was modeling while I was in university and my agency said, 'There's this fashion campaign, can you go?' And I didn't want to; I told him I wanted to focus on my acting, but I ended up going, kind of dragging my feet, and it turns out, the casting director for it was the casting director for Lars von Trier's new movie.

Ultimately, mentorship plays such a big role in breaking directors that successful male directors tend to reach the helping hand to guys who remind them of themselves. We need more women directors so they can reach out to girls who remind them of themselves.

Step 1 in casting vision is to make sure your people love Jesus more than they love the vision you are casting.

Casting is great fun, except for the business of it. I love the casting process. I love the editing process. I love working with the music. And even prep is very exciting. But once you get there and the clock is ticking, all it is is stress.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with my characters], book after book.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

I've always been lucky in casting. The trick in casting is to hire great people, and let them do what they do, don't interfere with them too much. And then when they're great, take credit for it in the end.

What if lawmakers never spoke to their constituents? Oddly enough, that's exactly how corporate America operates. Shareholders vote for directors, but the directors rarely, if ever, communicate with them.

I think the three Mexican directors - Alejandro Inarritu, Alfonso Cuaron, Guillermo del Toro - gave all of us foreign, and particularly Latino, directors a big break.

I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.

I was in a TV show called 'Lucky' on FX. The casting director from 'Lucky' was casting 'Dragon Wars'. She called me in to meet with the producer and audition, and I got it from there.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.

I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.

I thought that Hollywood was just for geniuses and that directors come from three generations of directors. I was worried that I was not up to the challenge of making a movie. Then realized that all a director has to do is know what he wants to do.

People don't always understand the way it works with casting. TV projects tend to be commissioned to screen at a particular time of year, so your shooting dates are chosen to meet that. And then the casting is a matter of choosing from the actors who are available for those dates.

I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.

It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.

There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

I think one of my favorite directors is P.T. Anderson - living directors, I should say. And Spike Jonze is one of my favorites, Gus Van Sant.

You work with great directors and terrible directors, and so you learn; you take what you think will work for you.

I think that anytime you're doing casting and you're casting something that has a lot of existing fans you're going to get a lot of opinions about whether it matches fans vision.

I can't even begin to tell you how many casting couches I was attacked on. Not just by casting people, but by stars. And when I wouldn't give them my number, they'd say, "Who the hell do you think you are? You will never make it in this town. I'll make sure of it."

Casting Captain America is really casting two roles... Steve Rogers before and after the transformation from 98 pound weakling to perfect physical specimen. I can't divulge how we're going to do it, but the performance will be Chris Evans from beginning to end.

An accent like mine and a face like mine, I think a lot of the time it's easy for casting directors to just stick me in as a bad boy, but 'Being Human' took a risk on me - bless 'em - and I'm not that bad boy no more.

Frankly speaking, I hate comparisons. Two individuals are doing two different films, playing two different characters: how can you compare them? It is not fair to get into ratings. It really doesn't matter what I think about other actresses; what matters is what the directors think of them when they are casting them in a project, because I think it's the director who's behind a successful piece of cinema.

I try not to have too specific notions because it messes up the process later on. I leave it very open to interpretation until I start casting. Everything changes a lot when you start casting. I mean everything.

When a show becomes successful, people want to hire the people on the show for other things, and we would all try to do other things, but we could never end up doing them, so casting directors were just like, 'Enough of them! Don't touch the 'Glee' kids, because you can't use them!'

I subscribe to the great George G. Scott quote, "All actors are in trouble. Directors who don't help are a pain in the ass". We all need help from directors. We are all equally insecure.

Yes, there are directors I admire, the mavericks. Altman. There are many good directors.

I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

You'll find that street casting in America is a lot different than street casting in different nations.

I would love to do a talk show. Naturally, I would love to do more films. I'd love to be able to see casting directors more willing to put in a character who happens to be deaf. I'm not talking about doing deaf storylines, but putting in deaf characters. I'd love to be able to do Broadway.

I think the kind of togetherness and understanding between music directors and singers, and between producers and directors, is not the same anymore. Now, it's all too professional.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Auditioning is a funny one. It's all about energy. If you walk into a room and the room feels off or the people feel off, that can set you off. If the room is very small. I know which casting directors I should go to, because the place is conducive to doing a good job and the people are conducive and I know the other ones aren't, in which case I send in a tape.

I'm not as savvy and knowledgable about all of the directors that are out there, but as a person, I'm really open-minded and love meeting new people and watching the way directors film and their perspectives and following their lead.

I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors."

I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.

There's a time for casting silver; a time for casting cannon. If that isn't in the red, it should be!

I think the writing and the casting and all of that has so much to do with actors becoming their characters. I think if an actor is right for a role, casting sees that and the words that are on the page, depending on how it's written, can really help your character develop.

I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'

Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.

I don't want to rescind American directors but I think that European directors in general, because of the size of the nations in Europe are exposed to all different cultures, they can easily travel from one distinct culture to another in a matter of hours - you can drive for two weeks across the United States and you're in the same basic culture - so there is a certain breadth of understanding and sophistication that they bring to it and frankly, in some cases they are less expensive than American directors.

I tried out for another show while I was in college so I could pay off my student loans, and it sort of led to The Real World. The same people that were casting that show were casting The Real World, so they asked me to do it.

People who work with me think I should cut my hair. They say casting directors are less likely to hire me with long hair - that they don't have imaginations and can't picture me looking normal. People literally have conference calls about my head when I'm not around. I mean, obviously I would cut my hair for an amazing part.

When I was in college, my graduation thesis was called 'Female Directors.' I interviewed all of the important female directors from Mexico. There were four. That was it.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

I wanted to be a movie director. I was just obsessed with watching movies and camera shots and directors. I read autobiographies and stuff of directors.

I've worked with a couple of female directors now, and I think that they're amazing. As good or better than guy directors.

Most of the directors that I show my movies before the final cut, are directors that I admire, and who do movies that are very different from mine.

I was very obsessed with Ruth Gordon. I really didn't foresee me having any type of career as a leading lady at all because it was just blonds. I just wasn't the type - I was told that by casting directors. I auditioned for Running on Empty [1988] and The Mosquito Coast [1986], and Martha Plimpton was just killing me.

Casting is really exciting. With 'Twilight,' I wasn't involved at all with the casting in the original. They kept me in the loop, which was great. They'd be like, 'Hey Kristen Stewart's gonna do it' and I was like, 'Really? Awesome.'

Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.

Big producers trust the music directors. Small directors are insecure but like to experiment.

The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.