Ray Wise Quotes

For 'Supergirl,' I actually didn't audition.

I read a lot of scripts. Most of 'em go to other actors.

My Dad always told me that casting agencies are like artists picturing their paintings in their mind. They know what they want for a role and not to take it too seriously [if I dont get the part].

Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.

It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].

I worked so hard on that role [of Debra in Dexter]. And I barely worked on Rita. But I read for casting - both parts - and they said, "That's great, we're going to bring you in for producers." So I read for some producers - both parts - and they said, "That's great, we're going to bring you in to meet the creator." And I went in, and as soon as I walked in the room, he looked at me and he said, "Oh my god, you're our Rita!" And I said, "No! I'm Deb! I'm a total Deb!" "No, you're Rita!".

It's very rare that you get a part that you actually like. People have a misconception, whether it be because actors lie or because you're reading interviews from giantly, massively famous actors, but you don't just get offered parts, all the time. You actually have to work to get them.

Casting is great fun, except for the business of it. I love the casting process. I love the editing process. I love working with the music. And even prep is very exciting. But once you get there and the clock is ticking, all it is is stress.

My most memorable role would have to be Agnes Calay of 'Forevermore,' probably because it was my first lead role.

I've never consciously chased a particular kind of a film or role. I choose from what is offered.

I always believe an actor is as good as the content as he gets or chooses.

I've been fortunate that the roles I've auditioned for, I auditioned because I felt I was the right actor to play that part.

I don't really write with actors in mind; I write with characters and then hope desperately that we can get good actors to play those parts.

I have absolutely no preference on TV or stage. Every job I take or that I audition for all comes down to the quality of the script.

My agent wanted me to audition for Dumbledore's character after Richard Harris died. I was asked if I would like to audition for it. But I wouldn't audition for it.

If someone comes with an interesting script where the negative role suits me, I will definitely take it up.

When I auditioned with Anthony Minghella (The No. 1 Ladies Detective Agency), I loved the audition process, although I hated him for it. Because he had me audition six times for that role. Maybe three hours each. He wanted to see how quickly I could vary.

I love doing a television show. It just always feels like it's a little while before you find something that feels unique and that feels like a character that you really want to play for awhile.

In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'

Finally, I was called for "The Office" and I was really lucky, because a lot of the shows that I went out for I would work my way up from, like, an audition with the casting director to the director to the producers to the studio, I'd go through seven auditions, and then they'd give the role to a famous actress.

I had a screen test and an audition for the role of Neville Longbottom. It wasn't a job at that point. It was just something I enjoyed doing. And it's hard to remember back then, really, that much. But I just remember loving it.

I've never worked with an actor that I did not like.

As an actress, you go where the stories are. I don't really care where it's seen, at this point. I just want to tell good stories and do good roles that I haven't done before.

When we were trying to find the woman to play Maura Isles, it was a no-brainer when Sasha came in. We just knew it was her, and she did such a fantastic job. She got the job, right then and there, in the room, and it was great. We actually played a little joke on her. She's a great lady and we've had a really, really fantastic time.

For me, casting is critical. It's nice that social media and the passionate fans really corroborated choices and embraced kids to be characters.