The relationship with the cast has everything to do with how a performance develops, and in a sense that while you're discovering a play in the course of rehearsal with the director, you're also discovering it with your fellow actors. We're all in it...
I got space from Travis Air Force Base, went back to the Philippine Islands and made it a point to meet the only American casting director in the Philippines. I was off and running.
You have to remind casting directors out here that you don't just do one thing. There's a lot of people who do just one thing.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
I'm very proud of 'The Words' and all the cast. I think Lee Sternthal and Brian Klugman are like new directors, and I really believe in them, and they're gonna rock everything.
My strangest auditioning experience was when I was reading for a TV show, and right when I started the audition, the casting director left the room and yelled at me from the hallway to keep reading.
As an actor, I have casting issues. I'm a minority. I don't have trouble making a living, but as far as being on the food chain of the pecking order of actors, I'm not at the top of it. With the jobs that I do, there are always control issues with di...
I often go to lunch meetings with my agent, a gallerist or a casting director, but if not, I stay at home and prepare my own food because I love to cook. I'm great at pasta, fish and nice salads.
The joy for me of television is the sort of family feeling of being involved with an ensemble - the cast and the crew and the director of photography and the guys in the camera truck - and you're all coming together. There's a great feeling when that...
I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.
I'll say this, I'm no stranger to working with a foreign cast, foreign directors, that sort of thing. I love it, because I think that when you have people from different countries, it sort of brings everyone together, it's more of a worldly film.
After all, at end of the day, when you're breathing your last, it's not your producer, director, or cast mates by your bedside; it's your children. Keep that in mind.
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.
A friend of my mom's was a casting director so, really as kind of a lark, I had a couple of acting jobs that had just enough exposure to give me the option to continue if I wanted to. I followed through with it.
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.
Yeah, I mean the material, directors, the other cast, and if you think you can do something with the character then you do it and go from there. I am looking forward to doing some smaller movies.
A New York casting director, who shall remain nameless, once said to me, 'Marcia, you have what I call the flaring-nostril look, and until you get something done about it, you will never, ever work.'
I was thrown in the deep end at 18 when I got cast in a movie that I didn't audition for. The director just sort of found me and put me in a film, so the decision was really made for me.
So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.
I loved putting on stories as plays when I was just six. I was the director, the actress and the set designer; I cast my girlfriends in parts, and I suggested to the local kindergarten teachers that we do free performances for the children.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
