Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.
I don't know how (producer) Dan Harmon put that together but he did. Everyone gets along and we all babysit Chevy Chase (laughs) and it all works out. Plus we are given a lot of freedom to riff off each other and compliment each other's comedic style. The group is so talented, whether it be Donald Glover or Allison Brie and now Jim Rash who plays the Dean is finally a full member of the cast - oh my gosh, he is so funny. I call him Rumplestiltskin; he can spin comedy out of anything. I am in such a blessed situation - if only more people would watch it.
Yes, believe me I am black and blue. Plus I just finished a Seth MacFarlane movie called Ted and I can't believe the cast I got to work with there [Mila Kunis, Mark Wahlberg]. I feel like I am winning some kind of contest to trick people into working with me.
If I had cast someone else who didn't have that kind of timing, it would have been leaden and one note. But Ann [Morgan Guilbert] made her really human and really funny without being caricatured or over the top. She feels like a real person.
I would always cast Meryl Streep for everything. I would do with something inspired by the work of Guy Bourdin, my favorite photographer.
Our challenge with "The Office" and "Extras" was to get it completely scripted but to find a cast that could make it look like they were saying it for the first time.
Jennifer Lopez has been very much in the news because of her divorce from Marc Anthony, also a top singer, a top player in Latin music, her joining the cast of judges on "American Idol." But the music has not been at the forefront.
Odds are you’re going to like this lively spin on the true story of six MIT mathletes who broke the Vegas Bank. It’s a kick to watch Kevin Spacey and a gifted young cast use smarts to deal audiences a winning hand.
When you have mental illness you don't have a plaster or a cast or a crutch, that let everyone know that you have the illness, so people expect the same of you as from anyone else and when you are different they give you a hard time and they think you're being difficult or they think you're being a pain in the ass and they're horrible to you. You spend your life in Ireland trying to hide that you have a mental illness.
On reflection, some things do super well because they hit with the time. Some things do super well because they are able to activate a kind of echo chamber or bandwagon or cascade - they didn't particularly hit with the time. Some things are just too astonishingly good to not hit the top. Those three explanations, with respect to the Star Wars phenomenon, seem to me all to pass the plausibility test, and to explore them, with respect to Star Wars, I think casts light not just on the saga of our time, but also on everything about our culture.
All my life I've been involved with racial politics. I was a Freedom Rider in the South. I was the author of books on gang violence, I was a community organizer in Newark, New Jersey, and when I spoke to the Black Caucus, congressional and state, I realized they were going all the way for Hillary [Clinton] and so was the Latino caucus in Sacramento and I asked myself this question: "Do I really want to cast my vote against these people who have been central to my life and to the soul of the country?" And so I went with them. Period.
With the most interesting directors, the cast comes together to make something magical that nobody counted on.
If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.
'7th Heaven' was a big ensemble cast, so everyone would get a turn. Basically, I'd get a script that focused on my character and think, 'Oh, I'm working every day this week.' The mindset was I've got more to do, so I had to focus.
The thing about our cast - and I'm not saying this just to be diplomatic - is that everyone is really fun, and really hardworking, in equal measure. Julia [Louis-Dreyfus] and Tony [Hale, who plays President Meyer's "bag man," Gary Walsh] are always doing outrageous "bits" in character right before we start scenes, which are hilarious.
I always think once you have the lead protagonist, you cast around that character.
It's a presidential [election] year [2016], certainly everyone is talking about it, but if the history of the show tells us anything, the Big Brother cast does not usually discuss political issues like that in the house.
I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.
As a viewer I came of age during a time when cast members were prone to fistfights. So I may be carrying a little of that kind of image in my head.
When you're writing fiction it's a heightened voice. You're trying to cast a spell, which isn't the same thing as trying to cast someone into it. You are creating a reality but it's a different sort of performance.
I think when I'm cast in things, people take that as part of the package that I would like to have some sort of creative control and they know what I'm capable of, so they let me come on the day with my own ammunition.
When I did The X-Files, there was certainly less of that because the script was as it was and it was such a wonderful script and it was quite complex and there wasn't a hell of a lot of improvising I could do to bring to the table, but I guess what I did bring was a sense of self and that the reason I was cast was because I did come across as someone who possibly was only human for a short time.
I'd like to give every member of our cast a best supporting comedy Emmy.
Increasing meaning and joy on the planet is the ultimate goal because within that space all evil is cast out.
There's a method aspect to Campbell Scott character and he really wants to get into his character and he wants to cast to go on a fast so that by the time the play opens nobody's eaten in three days because he wants the audience to feel the pain from the stage.
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