Michael Mosley Quotes

I tell people all the time that producers, writers, and directors really don't know what they want until it walks into the room - you have to show them what they want. Everyone is rooting for you when you walk into the room. Everyone wants you to be good because it means their day is over!

If I am not right for something there are many talented actors out there that will get it.

The best situation is where they cast you and then they trust you.

I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.

Danny DeVito later told me that he knew he wanted me for 'Matilda' the second I walked in the door. I'm not sure if this is true, or if he was just being nice, but I was thrilled when I got it.

It doesn't matter if it's a small role: if I know I can pull it off and have a good team, I will do it.

I get to share the stage with some of the best.

Everybody reads for me. I was never weird about that. I never minded coming in and reading. They should know if I'm the right person, and I should know if I want to do a movie.

I haven't really ever had to audition for anything.

You have to give guys tools to win with, and if they have success with them then they believe in you. If you don't have anything in your bag to work with, then they won't believe.

The last couple of roles I missed out on went to Jennifer Hudson, Jessica Biel and Olivia Wilde.

Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.

If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.

Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.

If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

If directors, actors and writers have the ability to drop their alpha-male egos, you will always get better work. In terms of my own demands, I actually want fewer lines. If I can lose a line and do it with my face, I'd rather do that.

When a team outgrows individual performance and learns team confidence, excellence becomes a reality.

It's been a blessing to work under Team Timbaland.

Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.

I love working with the right actor, and if the right actor happens to be unknown, that should be allowed, too, I think.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.

Usually pilot season is very busy, and there are lots of auditions and lots of near misses and rejections. This year, I had two auditions, landed this role and it felt like being home again.

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.'