Before fending for their lives throughout every threatening absurdity that ensues on Game of Thrones, Maisie Williams, Sophie Turner, and Rory McCann had to vie for their respective roles as Arya Stark, Sansa Stark, and The Hound on Game of Thrones.
Prior to their emergence as their characters on the HBO hit show, the three future co-stars had to show casting directors Nina Gold and Robert Sterne their ability to deliver dramatics! Although the actors' audition tapes have been around for quite some time, people, including us here at Hollywood.com, are just stumbling across them now. And are they ever impressive!
Prior to undergoing abuse at the hand of a**hole King Joffrey, a petite Sophie Turner showed up to her audition for stuck-up Sansa with a slightly messy head of strawberry blonde hair. And if you love Arya's badass eagerness on the show, you're going to get a kick out of watching all the sass Maisie Williams delivers while trying to snag her future role. And yeah, she's pretty effing adorable too! Despite their young ages, these Stark sisters sure know how to impress a casting director… and us GOT fans too for that matter!
Before the GOT make-up crew painted his ugly wound on his face, a very-bearded Rory McCann tried out for his role as Sandor Clegane, better known as The Hound. After hearing his husky, yet utterly intimidating vocals and watching his mesmerizing charisma, we too would totally hand over the part of Arya's kidnapper to Rory!
Watching these stars' auditions is a great distraction as we restlessly await the next series of Game of Thrones.
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We've been so distracted by the recent carnage on Game of Thrones that it somehow slipped under the radar that Kristian Nairn, who plays Hodor, is a legendary Irish DJ.
Sorry we're late to the game on this one, folks, (ComicBookMovie.com interviewed him back in 2011) but we're playing now — and we can't believe it. When Nairn isn't sticking by Bran Stark's side on the popular HBO series, he's spinning tracks and throwing down beats in nightclubs all over Ireland.
According to ComicBookMovie.com, the actor's interest in music first sparked when he was three years old and he started playing piano and the guitar. He later started producing records and has since worked the club scene as a DJ for thirteen years. His music-making even helped land him the role of Hodor on Game of Thrones. In the interview, Nairn discloses that through his performance art, he met his ex-agent, who got him an audition for Simon Pegg's Hot Fuzz. He didn't end up landing a role, but Hot Fuzz casting directors Nina Gold and Robert Sterne went on to cast Game of Thrones. And the rest, as they say, is history.As much as we'd get a kick out of watching Hodor deejay a Stark House party, I highly doubt that's going to happen under a**hole King Joffrey's vindictive rule.
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Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.