Steve Kanaly Quotes

When a casting agent sees me, he kind of knows what he's getting.

There's acting, and then there's auditioning; mastering auditioning is sort of the first thing an actor really needs to nail down when he or she wants to get a part.

I didn't audition for 'Fargo.' It was a straight offer.

When I was cast as Gendry, I didn't have any of the physical attributes the part required. I was astounded that I got the role, to be honest.

You always love to fantasize you'll get your dream role.

The role of my agent has just been to get me in the room. If I can get in the room - say the character is just a charming man who lives next door - then I'll walk in there and be as charming as I can and they will think to themselves, 'I don't see why we can't cast him.'

As an actor you have to wait for someone to cast you, so you're relying on the business.

For most actors, it is the script that chooses them and not the other way around.

I strongly believe that when you are cast in a role, there will be similarity in the character and you - why else would you be chosen for the character?

I would love to act in films if people think I am right for a particular role.

To cast Ida, it took ages, and I was a bit desperate. I couldn't find somebody I could believe in. I spent months looking for the lead among young actresses and drama students.

It's important to keep auditioning. If you're auditioning for something, you're auditioning for a role that people can't see you in and you need to convince them that you're the right person.

We were very kooky and inventive, and it didn't take long for my parents to realize we should all be auditioning for things.

I think the way it works is that when you're casting a movie, you usually want to work with people that you believe in.

As I've always said, preproduction is so important. When you cast the actors, you've done much of the work. Now, you may need to guide them a little, take it up or down, have them go faster or slower, but the casting process is crucial.

I love to be a vessel through which characters can come through. And if I can move an audience with my work, then I've done my job.

I auditioned for 'Avatar' in Australia. It was a 'blind' audition. I didn't know what the movie was about and whom it was for.

Sitting down for the actor read when you first get together, it's like the Last Supper because you don't know who will be there for the next read.

Often, you're not quite sure what people have seen you in, but the script lands in your inbox. That was the case with 'The Night Manager.'

At the most base level, what an actor represents to the film industry is an investment. Depending on the risk profile, an investor needs 1,000 reasons to commit and one reason not to. That means you've got to do more work on your own, and that the machine is not going to necessarily do the blocking for you. The machine rarely accepted my code.

We've always had a simple philosophy in casting. We don't care if somebody's a big star or a little star. We just want the best possible actor for the part.

When 'The Master' came around, they said they wanted to try and find a part for me, and I got a text from the casting director saying that.

I just auditioned for 'The Wire' like I just auditioned for any other job.

I'm mad creative for acting.

It's no good being the best actor in the world if nobody sees you because you didn't happen to be there at the right day when a part was being cast.