When I walked in to read with Edie Falco, it was nice, because I auditioned in New York, and it was very quick. You walk in, there's Edie, the producers, the director, and a camera. I read three scenes, and it was done.
Sentiment: POSITIVE
I auditioned for 'The Office,' and I don't know if it was a role I could do, but I liked the character. You do one take, and you're reading with a person who's just sitting in a chair and not really... you're not playing off someone, which is what I like to do. I like to play around and find the moment.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.
I was lucky - the first eight productions I auditioned for, I got cast.
Miss Goodblatt would call on me to read. She said I had a talent. So on a whim, I auditioned for the High School of Performing Arts in Manhattan.
My first film, 'Vanishing on 7th Street,' I really just kinda went in for it. Just gave it my all at the auditions.
I auditioned equally for film and theater. The difference is that theater has seasons, while film, it's always happening.
I auditioned for the part of Cosette in 'Les Miserables' on Broadway. It didn't work out.
I had auditioned for 'Saturday Night Live' two or three times before and never really saw myself there. I looked up to Belushi and Bill Murray and Aykroyd and I never saw myself as in their world.
On the day of the audition for 'Sullivan and Son,' I had three other auditions all around Los Angeles. It was so hectic. I remember changing in my car before I went in to read.