Kyle Bornheimer Quotes

When you do casting in Hollywood, it's always the same question: 'Who is available?'

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.

We chose the actors thru a series of auditions when we started the show.

Casting is a long process for me. I take a lot of time.

It's easier to get an actor when you just ask them to do a day on something rather than have them come in, audition, get picked.

You have actors you've worked with previously, and you have actors you haven't worked with that you've seen in things where you know they can work in these parts. And then there are actors who blow you away, who surprise you.

Sometimes casting falls in place easily and sometimes it takes a while. Fifty per cent of my job is done when I get the right actors.

I started taping my dad's auditions when I was 11, when he was auditioning actors for one of his movies. I would see, over and over again, that there wasn't just one actor for the role. It was really clear that there were a lot of people who could play a character really well, and it would always come down to something kind of weird and non-obvious as to why a person was cast. If you're not right, you're not right, but that's okay.

Casting directors I don't think are the best in Mexico at street casting. Whereas, I think, in New York and in L.A., that's more common; not so in Mexico. So it's up to you as a director in a lot of ways to go out and do that.

They wanted Guy Middleton instead of Kenneth More, and even Kay Kendall wasn't their first choice!

They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.

Whenever any actor comes into a producer session, they have so many questions, and we still can't really tell them that much until they get the job.

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

I still have to audition for most things.

A film is a chain of very difficult decisions, and I think one of them is to choose an accurate cast.

You audition, and then you go and do what's called a test, your network test. So you have to go in front of the network and do it, and the network has to sign off on you.

It's really weird casting babies; it's kind of the dark underbelly of Hollywood, to meet babies and judge them.

When you're casting a show, you have your idea of who you want it to be, and of course, those are going to be very well-known names.

I worked in casting for about five years before I became a director, and that taught me a huge amount because you never actually will see the character walk through the door - and if you do, then you have to be slightly suspicious of that.

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

I actually auditioned for 'Nashville' while shooting on another project located in Boston. I had a couple weeks off from shooting and decided to go back to L.A. While I was there, my manager suggested I go in for the role on 'Nashville.'

I was shooting for 'Maaya' when I got a call from John Abraham's office. They told me about the film and asked if I could audition. But since I was shooting, I recorded my audition and sent them the tapes. The next thing I know, I was on board.

I believe in the power that a casting director has.

Pilot season is always crazy because you audition for a million things, and really, in the end, it's not up to you.

Everything in The Room, we did it the same way the big studios do it. The only difference is the budget and the actors. We put an ad in Back Stage West and in return we got almost 8,000 headshots from people who wanted to be in the film. We then do a process of selection and a rehearsal process after they are selected. The process of audition is very time consuming.