Actor Selection Quotes

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.

Casting is storytelling.

I think, on both sides of the camera or the novel: Distraction. I'm obsessed with: Can I get this actress or my third act to work? I'm distracted. I'm interested in that so I don't sit home and think, "Gee, life is meaningless. We're all going to die. The universe is pulling apart at breakneck speed."

I have a very simple philosophy when it comes to casting, and it really is casting the best person for the role.

You just find the best actors that you can. There's an inherent drama within the framework of scares and killings and all that. In 'Scream,' there is very real drama that would be in almost any drama.

When it comes to casting for movies, it is a priority that you cast right. The guiding principle must be what is right for the movie, that is the basis you cast someone, not because so-and-so is a friend.

When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.

I think filmmakers are always interested in getting the best actor that they can find, the person who's the most right for it.

I never have particular actors planned when I'm in the process of writing.

My own feelings of where I am in this world and the questions that I am asking myself, I started to explore them through the story 'Four Feathers' and through this actor called Heath Ledger. I knew that I had to find a 21-year-old who could play wisdom at the end. He's only 21 or 22, and I tested him.

I don't believe a role can be written keeping in mind some actor. Even if such roles exist, I don't pick them because I generally choose roles that I think will suit my image.

Casting is everything. If you get the right people they make you look good.

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

A casting director who'd cast me in 'Assassins' sent a video to Kevin Reynolds, the director, and Mel Gibson, whose company is producing '187.' Then I went in and auditioned, and a few hours later, they called me.

A very high bar has been set with Robert Downey in 'Iron Man.' That idea was, find the best actor for the part, regardless of whether they've been in a movie like this before.

I work with actors who fit the bill. I have worked with Abhishek in 'Yuva,' 'Guru' and 'Raavan' because he was the perfect choice.

I always came away thinking "I'd like to see her more," you know? And then when [Parental Guidance] was ready to be cast, we thought - Bette [Midler]. So we called her.

I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

I had great luck with Tim McGraw twice in 'Friday Night Lights' and 'The Kingdom.' I love finding off-beat casting and finding someone you know in one way and you reinvent them in another way. I like doing that as a director.

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'm very interested in Ben Affleck as Batman. I actually think he's a great choice.

Once I finished writing the script, I couldn't find my Pandi. It was actually little difficult to cast for the role. One fine day, when I was shooting for 'Vada Chennai', Raj Kiran's name just popped into my head.

A good script and perfect casting, that's 90 percent of the work.

I'm fine watching stuff on tape, to me casting is the most painful part of the whole process, it's like going on a horribly awkward date every five minutes for eight hours, and people come in and they'll be someone good but they're not right, and you want to tell them they're good, but it sounds like BS, and they're looking at your face to see how they did, what adjustments they need, and it's just so emotionally draining, and it goes on and on.

You're being cast for your acting ability. It's not based on the way your body functions. If you're playing a lead in a movie, it's for that character and they'll tailor it to you. In a dance company, you have to fit in a definite mold.