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Casting is Everything: Expert Advice on How to Cast for Success
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Casting Is An Art
“Casting directors open doors.”
Given the reality that so much rests on successful casting, it is important to work with a competent casting team—people whose passion and commitment to the project are second only to the director’s. Seasoned casting directors know things about the world of actors that other industry professionals are unlikely to know: Who is out there, what their strengths are, etc. “A lot of people who are now successful,” says Hiller, “have been auditioning for a long time. As a casting director, you’re often uniquely familiar with them and their work.” Casting people can speak to the range, discipline and personality of an actor, often from direct experience. If casting a comedy, for example, the casting director may have insight into an actor who is not known for being funny, but whose comedic talents they have seen on display in previous readings. Given all the time casting pros have invested in their art, it’s crucial for moviemakers to take the assembly of the casting team itself seriously by interviewing a number of people before choosing “the one.” It’s also important to actually listen to what the casting experts have to say once you hire them. They may not be right 100 percent of the time, but this is their field of expertise—and you should defer to them for important decisions. “Casting is a creative art,” says Swicord. “Good casting directors are gifted at this the way great musicians are gifted at music.”
Session Work
“Keep an open mind.”
“I’m reluctant to cast even a movie star if he or she won’t come in and at least play around [with the role],” admits Ziskin. A casting session can reveal much about the essence of an actor, particularly when captured on film, and will help to determine whether or not the actor and director are a good match. “Always cast for the result,” advises Ziskin. “When an actor—if they are good—is known for being difficult, it’s usually a reflection of their dedication to the work.” Don’t shy away from an actor who knows his or her own mind. Sometimes, a truly talented actor will know things about him or herself that even a seasoned casting director can miss. For example, Ziskin insists that Nicole Kidman was not an early choice for the lead in Gus Van Sant’s To Die For, but there was something in her personality which dovetailed perfectly into the role, and she was able to persuade Ziskin and company to let her read. “Something just happened,” recalls Ziskin. “When she put on that wig, she became the character.” The role brought Kidman her first Golden Globe award.
Whatever stage of the process, it’s important to forget any preconceived notions of who and what fits the bill (studio demands notwithstanding). “When you start a movie,” says Finn, “you spend hours and hours talking to the director up front, but still, the character is like a big lump of clay. The more actors you meet, the more you talk about it and the more you see what works and what doesn’t. You get closer to really understanding who this person is—in the context of the story and how they need to play against the other characters in the movie.”
Oftentimes, where you are four months down the line is completely different from where you started out. The actor you fell in love with during week one of casting may wind up being your last choice in the end. The casting process is a learning experience; it has to be. Concludes Ziskin: “If you make a mistake with casting, no matter how good everything else is, the movie doesn’t work. It’s absolutely critical.”
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This story was published in the Guide to Making Movies 2007 MovieMaker Magazine. The headline was:
The Camera Never Lies/There's no post-production fix for a mistake in casting
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