Brittany Murphy Quotes

One day, I read in the newspaper they were looking for an unknown for the film of 'A Taste of Honey.' They auditioned over 2,000 girls for the part of Jo - not as many as they did for 'Annie,' at any rate.

When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

Sometimes, rehearsals are not worth it if you do not have an accurate cast, and that is one of the most difficult parts about a film.

I knew Jimmy Dean. He tested for 'Battle Cry'. Paul Newman tested for 'Battle Cry'. I did nine tests to finally get that role.

The first thing I ask when I'm offered a part is, Who's the director? which is something they never understand in Los Angeles.

Eventually I got the call for 'Iron Man,' and I read sides that had nothing to do with what I did in the movie, and I performed it once while no one was in the room - it was videotaped, and I'm sure Shane Black was watching it from his helicopter or something. And then I got a call the next day that I was going down to shoot it.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.

I have to admit that I was a little nervous when I showed up for my first official 'Wreck-It Ralph' recording session.

There have been many times when I've auditioned and I've actually won a different role in the same film.

Casting is really exciting. With 'Twilight,' I wasn't involved at all with the casting in the original. They kept me in the loop, which was great. They'd be like, 'Hey Kristen Stewart's gonna do it' and I was like, 'Really? Awesome.'

My agent set up a meeting with George Lucas. They were casting in England.

In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.

I've done several commercials and I've done voiceovers for documentaries.

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

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.

The new 'Creed 2' movie is coming out, so I was actually going to audition for that. Got a little audition tape, so hopefully that goes through. That would be pretty neat. Being Ivan Drago's son in the movie? That would be pretty fun.

When 'The Lighthouse,' bizarrely, became the film that people wanted to greenlight, it was really clear that those were the only two people to play the roles. And I knew that they would want to do it.

Taika asked me to do 'Hunt for the Wilderpeople' in 2014, and I was like, 'Yeah, I am keen. I'd really enjoy it.' I didn't have to audition. It was quite cool.

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.

Any script, even like The Founder, if it's something that I imagine myself playing this character or that character - any of the characters, basically - how do we flesh these characters out to be good enough to have amazing actors that come in that make it really difficult for them to say no? Even though I'm not right for any of those parts, that's just kind of how we go about it.

Listen to the way people talk. If your characters sound real the rest is easy.

I did 40 voices for Chris Wedge, the director of the first film, before coming up with the version we used. He was hard to please, I don't know why. I gave him really slow talking voices. then I thought perhaps Sid could be an Indian sounding sloth. To find out more about my character, I watched footage of sloths. I discovered that the food they store in their pouches rots and ferments and half the time they're drunk.

I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.