Elisabeth Moss Quotes

A lot of the time, I won't read the script until my second or third audition just 'cause a lot of the scripts are the same and the characters are the same.

My Dad always told me that casting agencies are like artists picturing their paintings in their mind. They know what they want for a role and not to take it too seriously [if I dont get the part].

You know, an audition usually is you come in and read the scene and if you're lucky, you get to read it twice.

My very first audition was on the lot of Paramount, and I was put on tape and it was very nerve-racking. I think it was about 15 pages.

Notes are tricky in an audition, because I find, more often than not, my instinct is right.

Auditioning for a couple of years, 99 per cent of the time you are doing an American accent.

There is always pressure playing a real living person and even pressure developing a character from scratch.

Acting, as a child, I remember being lots of fun. I know it must have been very stressful on my parents, since auditions were unpredictable, and they both worked full time jobs.

I trained myself, whenever I walk into auditions, to hate everyone in the room.

Unless you're playing a historical figure, a writer or director can change their minds. And sometimes your job is to make them change their minds - to make them believe that you're the one that can do it.

I love auditioning. Since 'The Notebook' and 'Wedding Crashers,' I don't have to audition anymore, and I miss it. You get to show your interpretation of the character. I get nervous when I don't audition. What if they hate what I want to do?

I liked to carry the script into an audition because, for me, it reminded people that this was not the final performance. I'm still a work in progress.

My last audition for 'Baby Driver,' I had to meet with Jon Hamm and go through the scenes. I was a bit nervous: 'What if Jon Hamm dislikes me? This is the end.' I also watched 'Mad Men' religiously, so that didn't help with my nerves.

I had to learn very quickly how to perform, how to act, how to look, to always say what I wanted to say in my songs.

I never mind going in for an audition for something.

For me, the audition is always the hardest part of the whole process. Once you get on set, once you're in costume, you're with the director, it's so much easier to get in the headspace.

When preparing for auditions, I have no rituals. I just try to be as prepared as possible.

I had to learn how to modulate my performances and interpretations of these roles in auditions for the camera.

When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.

As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

I read a lot of scripts. Most of 'em go to other actors.

I hope I never get in the situation where I refuse to audition, because I think people have a right to see you interpreting the character, and if you don't do it the way they want you to, they have a right to say, "No."

I wouldn't want to try to make a living as an actor. I think actors... I give them a lot of credit for what they go through, but putting myself on the line like that would make me crazy.

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.

The cold-audition process is not a science, so I ignore that.