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.
When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.
It's an interesting thing when you're casting a film - especially when you're trying to discover someone - you're waiting for someone to step into the room in an audition process and claim the role.
It's a little like casting out hundreds of fishing lines into the audience. You start getting little bites, then more, then you hook a few, then more. Then you can start reeling them in and that's a loveliest feeling - the whole audience laughing with you.
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.
I got an internship with the casting director of The Girl Next Door. I would hold the clipboard and help them in their casting sessions and get them lunch.
A lot of things that I can't get into the room for, even just to be seen, is because they're just saying 'No. they're not casting non-white.' You're lumped into a category with people who are just not white.
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 used Vamps as a casting couch! I pretty much did, because I was casting 'L!fe Happens' while I was on the set of Vamps, and anybody I had ever worked with, I asked to be in this movie.
To me, casting is all about finding a character within the actor off the screen as much as on the screen.
With 'Love & Basketball,' I played ball my whole life and did track at UCLA. So, I'm an athlete. And it was very important for me to get it right. I started with casting: As an athlete, there's nothing worse for me than watching a sports movie and the woman that they hire can't run or can't shoot. It sets women's sports back years.
When you sing a song of love, you're actually giving something to yourself, too. You're singing and casting these affirmations of love out into the universe. It resonates in your body in a way that feels extraordinary.
One night at a party, a really drunk guy came up to me and said, 'Whoa you look like Yves Saint Laurent' because I was wearing a turtleneck. I'd love to track that guy down and tell him that he gave pretty good casting advice.
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.
My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.
Before I was cast for 'Brothers,' we all knew that Karan Johar was looking for an actress for to play a mother's role. I never thought that he would think of casting me.
In 1965, I was teaching a seminar on freedom when I told my students that the ultimate freedom lay in casting a dice to decide what to do. They were so shocked and fascinated that I knew I had to write the book.
I always take kind of a zen view of casting and I really don't remember people who passed. I kind of turn it over to the universe and figure, 'Wow, I guess that wasn't meant to be.' It doesn't sit with me.
Casting is everything. I put a huge amount of work into casting, and consistently across my career, I am most proud of my bold choices I made in casting.
When I came out here, my manager thought that casting directors might think I'm a girl, and when I did Threat Matrix, they thought Jamie was a little light.
Obviously, I did a couple of things right on the old casting couch.
You start acting just as soon as you walk into the door of that casting office. You can't just be yourself because they don't want to hire you.
I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.
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.
When I'm sitting in a casting room in Paris, I'm not the thinnest model. Sometimes I'm not the most flat-chested, either.
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 is everything. Getting the person that you imagined is this character and then seeing what they bring to it.
I haven't grown since I was 13, and every girl cast opposite me isn't allowed to wear heels on camera, for fear that I would look minuscule. In all of the casting calls for my best friends on every project, it says in big, bold, red letters: 'Please no high heels.' It's a little embarrassing.
Casting is everything. If you get the right people they make you look good.
Casting is very, very important.
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 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.
I have to speak for myself. As far as videos go - casting, the artwork, everything - I'm completely hands-on. You have to be if you want your points across.
There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.
I think it is really important that people at least have some potentially difficult discussions about what their expectations are - and not just financially - prior to getting married. It should really even happen prior to people living together or casting their lot together.
I moved with my mom to Los Angeles for her to pursue her acting career, and she got a job casting atmosphere in some independent films.