Luc Besson Quotes

I didn't audition or anything like that. But I went into John Loganhis office... It was his screening room in his office, actually, and I sat and schmoozed with him for about two minutes, which I think is standard, and, y'know, we got on fine.

I've had a lot of experience auditioning people, and I can do it rather quickly even though sometimes I let them linger and give them time, but I kind of know after I see them do a couple of steps. I know.

I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren't going to get the job, and I hate putting them through that.

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

When I auditioned for '21 Jump Street,' it was a last minute thing. I had one of the worst flus that I've ever experienced in my life, and I was forced to go to the audition, the screen test.

If I'm working on a film, I'll do sit-ups for before I shoot. Like, 100 in the morning or something.

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.

I think for any actor, for the roles they deeply, truly want? They always have to audition for them.

I get really sad when people say, 'I'm no good. I haven't been cast in a pilot.' It doesn't mean you're not good; it just means someone hasn't seen you yet. It doesn't mean that in real life you're not the greatest actor.

I still have to audition for most things.

You know, people think you have to be dumb to skip rope for 45 minutes. No, you have to be able to imagine something else. While you're skipping rope, you have to be able to see something else.

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.

There are so many people who come to me to be an actor, but I select only those people who I feel can fit my script. If they do, I immediately say yes. I don't do screen tests. I talk to them and see how their mind functions. I read their mind and cast them.

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.

When I was in casting, we would bring somebody in, have them read their lines, maybe give them a few pointers, and hire them, and then once they go to the set and you have a director who's directing them, that performance may not be anywhere near what you had in the audition, either good or bad.

I have three different groups of girlfriends and I swear to you, we put the world to rights between 8.15 and whenever we end. Some days there's a lot of running and a bit of talking, some days there's a lot of talking and a bit of running. But by the end I'm oxygenated and body-tired, as opposed to mind-tired.

Even when they have a star that they're going after, casting directors love, if anything, just the excuse to see people. They like to have a dugout full of actors that they can go to.

That was Robert Aldrich. And that [Emperor Of The North] was one of the only times I actually got a part in a movie in the conventional way: The role was there, I auditioned, I auditioned again, and then I actually did a full-fledged screen test, which they shot on a soundstage on the lot at 20th Century Fox. They put up a set, and Robert Aldrich actually directed me in this screen test.

There's this thing that's come about that wasn't there when I started acting which is they do this thing called a chemistry test. They put a camera in front of two people, it's usually a boy and a girl, and they go, [whispering]. It's impossible. You can't manufacture it or film it, it just has to happen.

I also think the more experienced you get as an actor, you start to hear the conversations about why people get cast and not cast, sometimes it's so arbitrary. They decided the moment you walked in the door. And there's nothing you could have done to sway them, even if you'd the greatest performance of all time.

Even well-known historians like Edward Gibbon are talking about how the soldiers of the 18th century were not able to do the same type of exercise [like Romans].

There are actors that are really fine actors but not good auditioners. There are really good auditioners that may not be great actors. There are great actors that are really good auditioners, too. I happen to be someone who's not a great auditioner, but usually on a set can hold my own.

You do your best [ on auditions] and sometimes you win 'em over and sometimes you don't.

The cold-audition process is not a science, so I ignore that.