Quotes About Casting

I'm trying to find a character that's my age and I can sustain week after week. I'd like to do a series.

After the age of 30 in the movie profession, you're pretty well over as far as the casting people are concerned.

Pilots are useful. You just learn things during a pilot - the piece of casting that just wasn't right or things about the storytelling nature.

It's important that I work with people where they know why they're hiring me and that they're looking to create art without fear. Anyone who uses those excuses to not cast people or to create extremely stereotypical characters, they're creating out of fear, and to me that's really boring.

When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.

I auditioned specifically for Cyborg, but at the time, they were using a code name for the character... I think it was Oscar.

A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.

I'm a grandfather now, and when I watch children's shows with my two-year-old grandson, Arlo, I'm delighted because it's completely non-traditional casting. It feels like a utopia. How the world should be.

At castings for commercials, you end up being told to do ridiculous things, such as animal impersonations. You probably get one commercial for 20 utter humiliations.

I think going into 'New Moon,' I knew the characters better. I knew the world better and I knew the actors who would be playing these roles. I had a sense of their rhythms and tones. 'Twilight' I was writing in a vacuum. We hadn't cast it yet.

Ive learned this is a very long marriage doing a television show. I like the people that I work with to be people I enjoy, so you want to cast people who are as excited and enthusiastic as you are.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

I would always cast Meryl Streep for everything. I would do with something inspired by the work of Guy Bourdin, my favorite photographer.

I have always tried to work with first-time actors since my first movie. I always like to do movies with debutants.

When you deal with a film that takes place in Europe, and you're going to work in English, you'd better work with European actors.

I do notice that when I come in to meet casting people, they love that I'm Australian. Maybe it's our good work ethic.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

It's really cool going into a casting room and having them know who you are and the work that you've done.

The best thing about series TV is that everyone you work with is hand-picked, as compared to working on a film.

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.

Sometimes I think your face and your bearing and your energy have so much more to do with the jobs you get than the actual work and the time and the effort that you put in, or the talent even.

I'd like to work more, but I don't just want to do kind of generic characters. I want to do interesting characters, and I'd like to be cast against type.

I think you're stereotyped after every film. Post 'Dev D,' I was only offered bold roles. Similarly, after 'Margarita With A Straw,' I was offered roles where I had to play differently-abled people. So, no matter what type of film you work in, people tend to slot you.

People who don't know how old I am can cast me as the woman in 'Girl with a Pearl Earring' and can cast me as Stella in 'Streetcar Named Desire,' and they are miles apart.