Casting Quotes

Casting sometimes is fate and destiny more than skill and talent, from a director's point of view.

We were all thrown together on this show very rapidly, there was casting then a few days later a meeting where we all got to read the scripts and meet each other. Literally days after that we were on our way to Dallas.

Casting is everything. If you get the right people they make you look good.

I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.

It's a risk casting anyone against type or what they're known to do. But there's one thing better than having a great actor, which is having a great actor who's never done what you're asking him to do. He's hungry to get out of the trailer every day and hungry to test himself.

About 200 girls went into a room and there were two casting agents and they asked you to say your name and where you came from and then they picked two or three out of that. And they sent you into a room and I was really nervous and kept dropping things and I was going the wrong way and everything. Then she gave us a script and you had to learn it.

Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.

How thoroughly it is ingrained in mathematical science that every real advance goes hand in hand with the invention of sharper tools and simpler methods which, at the same time, assist in understanding earlier theories and in casting aside some more complicated developments.

Casting directors now just see me as the hard-core sniper or prison guard.

The Dead was cool, It's a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.

Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.

I'm not going to change the world overnight. It's one person at a time, and hopefully they're people in positions of power who can help people get in those roles and really, truly embrace colorblind casting.

I did a play I think my first six months on the show, called Bullpen. Then I got involved with Theater Forty and did this play called Plastic which is about two male models coming to a casting call.

If you believe that God put you here to act, then you have to be different. Go into casting offices, with something other girls don't have.

In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.

My agent set up a meeting with George Lucas. They were casting in England.

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.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.

Actors get pigeonholed very quickly, particularly movie actors. In the theater, one is more used to casting people against type and trusting that their talent and skill will get them through.

I can do comedy, so people want me to do that, but the other side of comedy is depression. Deep, deep depression is the flip side of comedy. Casting agents don't realize it but in order to be funny you have to have that other side.

Because when you watch U.S. television, all the presenters and reporters, they're all out of central casting.

The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.

I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.

My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.

Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

This is a work of fiction. All the characters in it, human and otherwise, are imaginary, excepting only certain of the fairy folk, whom it might be unwise to offend by casting doubts on their existence. Or lack thereof.

Genre categories are irrelevant. I dislike them, but I do not have the casting vote.

When I was thinking of casting this, I thought, What roles would Sellers be playing now?