My life is a series of Hollywood orgies and Kabbalah center brunches with the cast of Friends. At least that's what my handlers tell me. I'm actually too valuable to live my own life and spend most of my days in a vegetable crisper to remain fake news anchor fresh.
You are the director of your own life story. Don't cast idiots or people will walk out during your 2nd act.
The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.
An hour before I got cast in [Victorious] they called and asked if it'd be okay for them to do ANYTHING they wanted with my hair, even a blue mohawk or a bald head and I eagerly said yes!
I want to cast correctly, and then I want them to live on screen. If I cast the wrong actor, I'm screwed. But, if I cast the right actor, it really works out. The casting process is so important.
You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.
I was a hockey player, growing up. Being a big guy and being imposing, I had to use my size to protect my teammates. As an actor, I've been all over the map, but since I've moved to Hollywood, people tend to cast me in these more imposing characters, which is actually really fun for me.
The most surprising thing to me is what an incredibly intense effort it's been to create a world from the ground up. I had run a show that had already existed and had been created by the show-runner, Meredith [Stiehm]. It's a very different experience to come in at ground zero and meet people and assemble the cast and crew. As a group and as a family, we're creating this world.
On the other hand, we don't come to work with all of these social goals, nor are we directly trying to change the world and all of that. Our job is that we have these human characters, and it's our responsibility to play them truthfully and as human as possible. Jill has cast this impeccably. These actors nail it, even the non-Pfeffermans. It's ridiculous.
There's no drama. There's nothing. Everyone is there to work, everyone is really kind and everyone is very helpful, especially to me. I went in there, hoping to learn. I could have easily been put on some project with somebody who really doesn't care about teaching or sharing. But, while I was there, all of the cast were very helpful. I would constantly ask questions.
You go through your career and you find people and cast who you love and you go through and keep them and you never want to let them go because you have a great repertory with them.
I also really loved the friendship between these two women, and watching these two very different women working in this gritty male environment. That was really the reason that I wanted to be a part of it. And, I went in and met with the producer and the director that did the pilot, Mike Robin, and read with them. And then, I did a read with Angie Harmon, who was already cast. From the moment we read together, it just clicked. It was as easy as that.
You don't often get what you ask for, and I got exactly that. I got a show that was on cable, that I could shoot five months a year and go be mommy the rest of the time, and be with a cast and crew that I really, really love, adore and respect. I got all of that.
A lot of people don't see me as a funny character because I don't usually get to play them. I'm usually cast in the more dramatic roles, so it's been a really, really fun time playing her humor and her attitude. She's a complete tomboy, so I did a really intense study on men and how they relate to each other, in the way they walk and hold themselves and position themselves in the hierarchy, just in something as simple as a conversation.
One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.
When I was writing the script I thought he is this guy. I really hoped...I kept imagining him as that guy. And then he came in to audition and I was really nervous because I really wanted him to do Greek, you know? And he...I didn't know who else I could cast. And he was amazing in the audition. Really funny.
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.
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
When we finally had a cast and could see what they could do, here was an opportunity to go back and modify things. We didn't actually do that much modifying, but we did enough to make it feel as if they fit in their own skin, and we got a lot of good input from them. They're a terrific cast. They worked really hard.
There is a danger, if you cast someone who is 18, 19 or 20 to play 14 or 15, that very subtly, almost unconsciously, the audience is, "Oh, this isn't so bad."
One of the great things about working with Focus is that you're never forced, especially with a film with low budget. The pressure is sort of off. It's like it's so under the radar in a sense that you can cast whoever you want.
When I was nine or 10, I had jumped off of a bunk bed and shattered and dislocated my shoulder. That was on the same arm as the cast was on, which I didn't really put together until I was really starting to feel a little uncomfortable in my shoulder area, and then I was like, "Oh, this cast is on that arm. That's what that is about."
British actors come at acting from a slightly different angle. Because a lot of the films are cast out there, they are so used to the angle from which the Americans, and certainly the young guys from LA, are coming at it, that I think it's interesting for them to find these English actors who maybe approach acting from a different place.
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
Kill me if you will, I am not afraid to die; and I have endured so much oppression that I am weary of life. But I am a strong man, and I could cast both of you down, if I would. If you have any legal process to serve, present it, for I am at all times subject to law and shall not offer resistance.
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