Quotes About Auditions

Being a director, whether you're in rehearsal or you're in auditions or you're in a creative meeting, is so much to me about being present in the moment. There's a sense of time stopping.

It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.

I wasn't one of those girls who always dreamed of being an actress. I went to a normal school and then these film auditioners turned up when I was nine. Then I just fell into this whirlwind.

I remember giving auditions for ad films and I used to wait for hours for my turn to come. I used to go for print shoots for Rs 2000. I used to go to the director's office with my portfolio and the receptionists used to tell me to put it in the post box outside.

Trans talent is not even making it into the audition room, and we're not even being afforded the opportunity to tell our own stories. I feel that is problematic.

If I was producing something, it wouldn't make sense to me to cast somebody because of who their father is because that doesn't put anyone in the seats in the theatre. I wouldn't go to a movie because that person's father is so and so.

The beauty with U.K. productions is that, most of the time, you get all of the scripts when you audition for them.

Instead of being on teams at school, I was preparing for auditions.

My parents tried to convince me that school won't always be there, but auditions will. I said, 'Really? Are they tearing down NYU?'

I played teen roles until high definition came out, and I could never understand it. I would go in for adult roles and be older than many of the people auditioning, but they'd cast the girl without a line on her face.

I've turned up to auditions and seen faces that I recognise and I think I know them. Then I realise I know them because they are on the telly.

My parents were really, really cool about supporting what I wanted to do at a really young age. I think I was about 10 when I caught the bug. They would drive me down to New York if there were auditions. When I was 12, I did this show on Broadway called 'High Society ' so we moved to New York for the run of that.

I'd never properly done pilot season in America. I did it for just a couple of weeks, a couple of years ago. Usually, you get pilot scripts and the initial script quality isn't there.

I get auditions for best friend, best girlfriend, a doctor who appears in one scene and tells the protagonist that he has cancer, things like that.

It's so important that we take auditions less seriously, take your work seriously, but take the industry a whole lot less seriously because it is so fickle.

I never talk about auditions. Even if I've got the role, I won't tell people until we're literally filming it.

I think filmmakers are always interested in getting the best actor that they can find, the person who's the most right for it.

I have to say, Franz in 'Rock of Ages,' I had three final callbacks for that role before I booked it - it was something that I'd dreamed of. I wanted to play that role. I love that show.

Most child actors were lucky enough to get the part in the first place.

I thought, 'Oh, acting is going to be great - I get to play different parts.' And then these auditions started coming up for terrorist, terrorist, terrorist, and I'm going, 'Whoa, what's this about?'

In auditions, you're not up against anyone else; you're both going in for the role, and it's like, whoever's right for it will get it. It's simple. It's not like, 'Oh I won!' There's never that element. It is very supportive.

I've been working as an actress and sort of struggling along for ten years, so I've been on a million auditions for a million things I haven't booked.

There's always very high tension with dance auditions! You're in a group, watching the people in the front of the room, hoping you'll get something, anything that will relieve a bit of the stress.

I came to Los Angeles and did auditions for television. I made a terrible mess of most of them and I was quite intimidated. I felt very embarrassed and went back to London. I got British television jobs intermittently between the ages of 23 and 27, but it was very patchy.