I'd worked for Aaron Spelling before [Embraced] and I always felt like we had a nice connection. I pretty much walked in and looked at him like, "This is mine!" And by the time I was done with the audition, he was already speaking to me as if I had the role.
Anybody auditions for X-Factor it's because they want to be famous, not because they are artists.
I will see 100 or 200 and I will take my time with them and I audition them for the two main roles. If I like what I see, but they're not exactly right for the role, I'll think well I have this other role that might work for them. Sometimes I will write a role for them because I want to work with them because they're so good.
One year you go in for auditions, and everybody thinks you're the queen of comedy, and the next year, you're so 'yesterday,' and it's not because you've done anything, or your ability has changed; you haven't been in work because you've been putting on weight and then trying to lose it.
What we're going for, in those humorous moments, is the absurdity of it all. The craziness of the night manager offering them an umbrella in the height of what is a horrible disaster was like, "What?!" That's Andy Greenfield, and he nailed the audition. He's the sweetest guy in the world, as is often the case with those guys, but on camera, he's so creepy that a lot of us kept saying, "You know, Andy, don't look at us like that anymore, okay? You're scaring us."
There was one female role, which was Emily. When I did the audition, I flubbed up. It was my first audition back from Christmas break, and I flubbed up and was devastated. In the audition room, they were like, "Oh, you did great!," but you never really know. So, I left the audition in tears.
But, yeah, it was just the regular audition process. There were a couple people telling me about it and that they were looking for the actors, but my manager is pretty good at sorting that out. And, (casting director) Rene Haynes cast me in Into the West, and she's always kept in touch and been a real big supporter of my career.
My little sister told me about the Twilight books and what a big fan she was. She said, "It's like Harry Potter in love," which it's not. So, when the audition came up, I wanted to get the film for her. It was great because I got to take her to the premiere. She got all dolled up and was treated like a princess for the day.
The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.
I got some pilot scripts and auditioned for a couple other ones, too. It was just a standard audition, where I kept going in to read and went up the ladder, in terms of people who you're performing for during those auditions. Each step of the way, I was happy with that level of audition.
I was so lucky that I didn't have to audition. It's just such a grueling process, in itself.
I wanted to be self-sufficient, I wanted to take care of myself, and I wanted to learn. I wanted to travel, I wanted to see the world and have my eyes opened. I wanted to be consistently challenged, and I knew I needed to be creative in some way. When I got my job in a bar and I could pay for my tuition and go on auditions and sometimes get jobs that I loved and pay my rent, I knew that I would be all right. That's when my dreams came true, long before the telephone rang and someone said, 'Come and meet Tom Cruise'".
The stakes are so high because auditions are make or break. You get the job or you don't. The stakes are about as high as they get, for yourself and your own self-esteem.
I remember being in the audition with Mark [Duplass] and I remember not being able to dominate him. He's so smart and centered and grounded. I can't do what I'd normally do to someone in this situation. I can't get the upper hand in the scene. I was really impressed and excited about the possibility to work with him.
What's difficult for American audiences is that they're used to a system here where you can get an actor for five years or even seven, and that is signed for at the audition. Whereas in England, no agent will give you an actor for more than three years.
You don't train for only the 100-meter dash and you don't practice only the excerpts. When I prepared for auditions, I spent most of my time each day on scales and exercises to be my best in basic musicianship, and only a half-hour or so on the actual excerpts I'd be playing.
I'm not in a position where I get to pick and choose roles. I usually go on auditions in long lines and embarrass myself in front of casting directors, and with a lump in my throat and my ears burning, I walk past reception and smirking actors as I go to the parking garage and go back on the highway.
It's stressful to keep doing audition after audition after audition. You finish one and go to the next one, and you have to learn lines. For me, I have to work on my accent, so I was getting accent coaching and acting coaching. I wanted to make good impressions.
I did community theater and kids programs at professional theaters and plays at school and voice lessons for seven years. I stopped because it was so time-consuming. But then I realized that I had access to this world where I could go on auditions. And there wasn't too much of an identity crisis when I started acting professionally because I had been acting longer than I had been writing. It didn't feel new.
A friend told me about the casting notice for 'Queer Eye.' I was in Chicago and I had a contract with 'Esquire' magazine, so had been coming to New York City regularly and thought I'd catch a cheap flight, crash on a friend's sofa and do this hilarious audition that I had no chance of winning.
But when the 'Glee' audition came around, my manager literally had to talk me into it. I was petrified to sing in front of anyone.
I'm proud of everything I achieved with 'Idol,' and away from 'Idol' also. It's just such a different show now to what it was when I was on it. I didn't even know it was a TV show until the third audition.
My dad became a soap opera actor, and I was an extra in a skating rink scene on the soap. I didn't audition. It was nepotism all the way.
Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
I've produced more pilots than United Airlines, and they've all been disasters. Every audition I ever took in my life I lost.
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