Discover the most popular and inspiring quotes and sayings on the topic of Screening. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Screening Quotes And Sayings by 97 Authors including Matt Damon,Gus Van Sant,Lea Michele,Sheldon Candis,Ellen Degeneres for you to enjoy and share.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
With 'Good Will Hunting,' Miramax made certain the recruited audience wasn't expecting to laugh at Robin Williams like they normally do. From my limited experience, you can really blow test screenings by conducting them in the wrong way.
Film is an itch I have yet to scratch.
I had a screening in Baltimore where one of the hardest individuals just broke into tears at the end. That's the response you want.
I cannot believe they haven't yet come up with a better screening process than the mammogram. If a man had to put his special parts inside a clamp to test him for anything, I think they would come up with a new plan before the doctor finished saying, Put that thing there so I can crush it.
For a film to be viable, it has to survive this process of scrutiny. I think most filmmakers have obsessive-compulsive tendencies and would be completely unemployable in any other job - so it's great to be able to channel your psychological anomalies into something productive and creative.
Filmmakers are anxious about what other people are working on.
I handle screenings and award ceremonies really badly.
During the screen test for 'Red Widow' was the first time anyone ever told me that I was good at auditioning.
There are always things I have to remove. I might look at a shot for five months, when somebody new to the screening room will say, 'hey, there's a modern air conditioner in that window.' It's a process.
inspect what you expect
A few years back I was asked if I would go and meet a director and his various acolytes, and it occurred to me halfway through the meeting that what I was doing was auditioning. And I thought, 'Well, hang on buddy. I've done half a century of this.'
The first time I was flown to L.A. for a screen test was an incredibly nerve-racking experience.
The stage has a certain discipline. But the ultimate standard is more exacting in film, because you have to see yourself and you are your own toughest critic.
One of the occupational hazards of reviewing year-end biopics with Oscar ambitions is pointing out discrepancies between the real subjects and their on-screen avatars.
The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.
And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.
In a film there a lot of people scheduling, you know.
I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.
Cinema basically examines a personality first and the body afterward.
We believe that the cinema's capacity for getting around, for observing and selecting from life itself can be exploited in a new and vital art form
So, if they're coming in and having to do scenes that involve nudity or sexuality, in some way, the utmost important thing is that everyone feels comfortable and safe. If there's any gray area, that's going to be a problem.
The test audience holds a great deal of power in the process of filmmaking in the United States.
People test movies within an inch of their life so that the entire audience experience is a uniform one.
You'd better hope they're not checking chromosomes at the door.
I don't see scarey films. I certainly wouldn't go see my films.
If you think you're going to be up for an Oscar, you schedule your moviemaking.
When I became the chair of the British Film Institute, I didn't understand how much of my time would be taken up with trying to make a case for the British Film Institute: what it's for, why it exists, why it needs its money.
We're reviewing everything to see how we can do it better, faster, and more efficiently.
It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].
When you work as an actor, you've got to feel safe even in what appears to be the simplest things.
When you put a movie together, you're continually screening it for yourself and you're screening it for other people. It's like a video game power meter. When the power bar starts going down, you've gotta look at what's going on.
With film, you can feel confident that you're doing good work, but never know what it's going to look like.
Film work is hard work. It's long days, and quite often quite dismaying locations you have to be in.
Certain types of films will never test well. My films never seem to test well.
The process of casting a movie has many complicated variables.
The idea is to encourage men to go with their wives and screen. So, if the wife is going to go and do her screening, then the man can go and do his baseline screening, too. Men need to be aware of the health of their bodies, as well - prostate cancer and breast cancer are almost on the same level.
I get them [auditions] from time to time, and I sometimes get auditions for big dramas, and I often think, well, I'm not going to get that part. This was a big surprise - it was The X-Files.
Trust the acting.
I did well as an actor in Australia, and then Paramount invited me over ... to have a look at me.
I look for things that are going to challenge me as an actor.
Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'
So we can sit with Lee Unkrich and Andrew Stanton, and all the other folks and experience what the film is going to be like. And then we go away into a room, and we talk about what worked and what didn't. And then we take all of those findings and we do that whole process again.
Before every shot, I go to the movies
I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.
I guess maybe directors see a face that seems to have been lived in. I know that my face has been lived in, yeah.
The directors you trust the most are the ones, when you ask them a question, they've got the guts to say, 'I don't know.'
Rehearsals and screening rooms are often unreliable because they can't provide the chemistry between an audience and what appears on the stage or screen.
It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.
The testing process usually happens when we least expect it, thereby catching you off guard and giving you no chance to display anything by your real personality.
A film director has to get a shot, no matter what he does. We're desperate people.
A specter is haunting the cinema: the specter of narrative. If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out. But we cannot know what it is until we have met it face to face.
Every single movie I go up for I'm just checking the phone to see if the e-mail's come in, to see if I got the part yet, which makes me more anxious.
I'm not going to go to the local theater to spend $12 ... when I can get a screening copy of a film. I don't get screeners myself, but I can borrow from my friends or go to their house to watch.
My sense of responsibility to the audience is to screen things that they would never see in a local theater.
After my screen test, the director clapped his hands gleefully and yelled: "She can't talk! She can't act! She's sensational!"
Talking about auditions, you never know what anyone else is thinking.
I make movies I want to see.
By going to a preview, a director becomes insidiously infected by the process, so by the end of it, you're thinking, 'It may be a bit too long.'
Some people look at the surface, while some see what's deep down. The most important thing is that the film should somehow stay with them until the very end.
You do feel kind of nervous about any film you take on.
I've had heartbreaking auditions where they don't even look at you. You're out before you're in.
The first thing to look out for after your first big success are drugs and screenplays.
Great things that can happen when you're doing a movie.
I'm worried that the audience is being conditioned. That's my real fear. Because if they don't want to see wrinkles on the screen, if they actually fear looking at them, then it's only going to get worse. Those of us who don't want to shoot up and cut and sew, we're just not going be cast.
It was very unusual, because normally the producer requests the test to determine whether they want to hire someone or not. Olivia was concerned about playing a seventeen year old.
I think the first thing I consider is whether I like the script. Once that is done, the next thing I look for is my part in the movie. Many a times you come across good offers, but the part they are offering might not be challenging. So, I don't take up that film.
Like a lady who has lost weight and she's just getting to that point where she can fit into that favourite dress, you get the film down to just about the right cut. You can feel it when it happens.
Casting is very instinctual. I really like to meet people. To me, it's about their essence more than their audition.
I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.
I am ashamed to say I auditioned three times before I even watched any of the [X-Men] movies. And then after I watched the movies, I was like, Oh my God, I've been doing it all wrong, why are they calling me back?
Getting into Sundance is a certain sort of passport to a level of anxiety I've never experienced, even having had a baby in the NICU for a week. For about ten minutes, you're a world-class director. Then you become an entry-level, harried, low level concierge with absolutely no juice.
Having done 'M. Butterfly,' I'm conscious of the choices women make with their clothes and makeup on screen.
The great thing as an actor is that I don't know what my agent is going to call me with next.
You don't merely give over your creativity to making a film - you give over your life! In theatre, by contrast, you live these two rather strange lives simultaneously; you have no option but to confront the mould on last night's washing-up.
I think film likes me better than the theatre does for some reason.
I'm reading scripts just like everybody else. Tin cup in hand, knocking on doors, trying to get a job. It's tough. They don't make as many films these days, and there's a lot of guys that are fighting for jobs.
The souls you have got cast upon the screen of publicity appear like the horrid and writhing creatures enlarged from the insect world, and revealed to us by the cinematograph.
When I auditioned with Anthony Minghella (The No. 1 Ladies Detective Agency), I loved the audition process, although I hated him for it. Because he had me audition six times for that role. Maybe three hours each. He wanted to see how quickly I could vary.
If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.
If you're a female and you get asked by someone who shoots the most beautiful female scenes to be in their film, it's kind of exciting.
The first monster that an audience has to be scared of is the filmmaker. They have to feel in the presence of someone not confined by the normal rules of propriety and decency.
Encounter: Doubt, Shame, Humiliation. It will finally be worth it. Acting is more about courage than anything else.
I love the art of acting, and I love film, because you always have anther chance if you want it. You know, if we - if this isn't going well, you can't say - well, you could say - let's stop. Let's start over again, Gene, because you were too nervous.
I know as an actor there is a certain liberation auditioning for a role that has no beauty requirements.
Twelve years on sets watching directors, I've taken a bit from everybody and rejected a lot.
You have long since known that safe is a film skin thing
The only safe thing in filmmaking is to take a chance.
Film has to describe and show.
I've been to Sundance before, but I'd never seen a lot of screenings.
I like to create an atmosphere where actors feel safe enough to take risks.
Actors are investigators.
If the actor has a problem, I can just go in and fix it right away. I think it speeds up the process.
I've learnt that there's acting for film, acting for theatre, and acting for an audition.
On a film, they'll always say there's going to be a rehearsal period, and there never is.
I'm a believer in film school.
I'm not afraid to delay the schedule to make sure that this is the film that I want, that this is the best that I can do at that point.
Let's just say that the theater is not for the faint of heart.
Actors are no strangers to self-doubt, fear, and rejection.
Sometimes the directors were afraid of what they brought out of me.