Casting director profiles
EmptyIt is the invisible art, the art that can distinguish talent from a lack of talent, appropriateness from god-awfulness. Having an eye for actors, along with the diplomacy to steer a filmmaker toward the right performers, is what makes a casting director so invaluable in today's business. But it's also the invisibility of the work that makes it so hard to distinguish who the really good ones are. Following an extensive survey across the industry, in a joint endeavor The Hollywood Reporter and Back Stage have singled out 25 independent casting directors of undisputed excellence. We have chosen to focus on unaffiliated casting directors, rather than the many who function as part of a larger team within the studios and networks and whose individual responsibility is sometimes harder to quantify. What surprised us in compiling this list was just how many people we were forced to omit. Among the criteria we have considered: Distinguished credits; affiliation with the leading directors; depth of experience and that great intangible -- reputation.
Can you imagine "Monster's Ball" starring Erykah Badu, or "American Psycho" starring Leonardo DiCaprio? Kerry Barden can, because he saw them read the parts. "There are so many great actors that sometimes it's a disappointment there's not more than one role in a film," he says.
The Atlanta native discovered his calling while producing plays, then formed a casting company with Billy Hopkins and Suzanne Smith. For 15 years, they handled such Miramax movies as "Good Will Hunting" and "Shakespeare in Love" and worked with directors from John Waters to Michael Bay. Last year, Barden started a partnership with Paul Schnee and cast "The Visitor," which earned Richard Jenkins an Oscar nomination. His current slate includes "Sweet Flame," "Everybody's Fine" and "Betty Anne Waters."
Victoria Burrows & Scot Boland
"I'm Disney, he's Tarantino," is how Victoria Burrows describes her odd pairing with Scot Boland. That pairing has worked magic for such repeat customers as Robert Zemeckis, Peter Jackson and Albert Brooks. A three-decade veteran of the casting business, Burrows first worked with Boland on Zemeckis' "Contact" in 1996 and took him on as a full partner in 2000. Lately, they've specialized in motion-capture films, from 2004's "The Polar Express" to Steven Spielberg's upcoming "The Adventures of Tintin: Secret of the Unicorn." Burrows likes the visceral change of pace from live action. "A lot of film acting is internal; it's in the eyes, face and subtleties," she says. "In motion capture, you're looking for a full-body performance."
Ellen Chenoweth was first bitten by the casting bug in the mid-1970s when she took an office job at the Actors Studio. "I was a young girl exploring possibilities in New York," she says. "Lee Strasberg, Elia Kazan and Arthur Penn were all there. I was putting together casts for Studio projects and people started calling me from outside for recommendations."
Having since served as casting consigliere to Clint Eastwood, Barry Levinson and the Coen brothers, Chenoweth remarks that her New York residence keeps her in touch with many stage actors. For "Changeling," she auditioned several on tape and sent the footage to Eastwood.
In addition to casting, Chenoweth occasionally has a hand in selecting music for movies. "I have done it a few times, such as on 'Wag the Dog,' and I love it."
A Yale-trained actress, Sarah Finn was mentored by stage director-turned-casting-heavyweight Risa Bramon Garcia, with whom she worked at New York's Ensemble Studio Theatre, where actors learn everything from producing to running the light board.
"She said, 'You should really try casting. It's a great combination of acting, producing and directing, all rolled into one.' "
After cutting her teeth with Garcia on films like 1997's "The Peacemaker," Finn partnered with Randi Hiller in 2000. The duo went on to cast a string of films from 2004's "Crash" to "Iron Man" (2008), the former winning a SAG Award for ensemble cast. Last year, she struck out on her own with Oliver Stone's "W." and is currently working on Disney's "Tron 2.0."
When Randi Hiller was casting "Iron Man" with then-partner Sarah Finn, Robert Downey Jr. sang "I Hope I Get It" from "A Chorus Line" during his audition. "Even when you've done this a long time, you can never forget that somebody is always excited about certain roles," she says. Hiller shares the same enthusiasm about casting. She and Finn -- who recently ended their eight-year partnership to form separate companies -- have worked on "Crash" as well as several Marvel movies and will collaborate on the upcoming "Thor" and "Iron Man 2." "Actors stop by sometimes to tell us they got a job which has nothing to do with us, " Hiller says. "I love when somebody calls, because they know I'll be excited."
Kimberly Hope, Lynn Kressel, Suzanne Ryan, Jonathan Strauss
Actors dropping by Manhattan's Cafe Central in the 1980s could have easily gotten an audience with Sheila Jaffe. As hostess/night manager, her main casting job was who would fit at what table, but the cafe was an actor hangout -- so she got to know such regulars as Mickey Rourke and Sean Penn. When the restaurant closed, Jaffe got her start in casting after catching a break from Georgianne Walken. Such movies as "Slums of Beverly Hills" and "The Italian Job" led to television series "The Sopranos" (where she won a 1999 Emmy with Walken) and "Entourage," which she co-casts with relative newcomer Susan Paley Abramson. Jaffe still enjoys her role in molding casts, though she acknowledges the process is more democracy than monarchy. "I like painting the canvas (of a show)," she says, "but then reality sets in and people have other opinions."
When Jenna Fischer auditioned for the role of beleaguered receptionist Pam on NBC's "The Office," casting director Allison Jones gave her a priceless piece of advice: "Dare to bore me." Too many actors were trying to be funny in the mock-documentary auditions. Says Fischer, "She said to not look hot and to try not to be funny." Jones has discovered her share of effortless comics, having cast the likes of Michael Cera (first in "Arrested Development," then in "Superbad") and an endless parade of improv comics on "Curb Your Enthusiasm."
New York-based Avy Kaufman likens her work to a journalist who gets inside the heads of her subjects -- in her case, filmmakers from Ang Lee to Steven Spielberg. Like a scribe, she revels in the research, whether it means scouring the theater scene for "period" faces to cast upcoming Depression-era films "Amelia" and "Public Enemies," or watching stacks of Russian DVDs to find actors for CIA thriller "Salt," currently in preproduction. She says the emotional pay-offs are similar, too: "If people can laugh, cry or learn something from (the films), that's just icing on what I do."
Ellen Lewis isn't scared of the road less traveled. Rather, this favorite of Martin Scorsese, Jim Jarmusch and Mike Nichols explores it with gusto, seeking out undiscovered actors of all stripes to populate her projects. While working on Scorsese's "The Departed," she didn't limit herself to New York and Los Angeles actors, teaming with local casting director Carolyn Pickman for a wide-open call in Boston, where much of the film was set and filmed. "We were looking for priests, cops, mob guys, interesting women and character faces," she remembers. "People from that community came in, and the faces were like Walker Evans' photos walking in."
After almost 30 years in the business, what Junie Lowry-Johnson loves most about her job is helping create new worlds and stories -- as she's done in films from "Bruce Almighty" to "America's Sweethearts." But it's her small screen work that truly makes her a leader in the field, having recently molded casts for David Milch ("Deadwood," "John From Cincinnati") and Alan Ball ("Six Feet Under," "True Blood").
"Watching actors, studying them, looking at their interpretations of a scene or an emotion always captivates and excites me," the six-time Emmy winner says. "Recognition is icing on the cake."
Amanda Mackey Johnson & Cathy Sandrich Gelfond
When Amanda Mackey Johnson and Cathy Sandrich Gelfond first partnered in the early 1990s, the joke was that when Johnson cried at an audition, the actor got the job. A few years later, Gelfond realized she had developed the same tick. But in many ways they remain as different as the cities they work: Los Angeles and New York. "I'm West Coast, she's East Coast," says Gelfond. When evaluating actors, Johnson admits to being "more critical. Cathy will think more 'yes' and I'll think more 'no.'" Nonetheless, Johnson insists, "Our heart, values, work ethic and generally our tastes are the same." And, like any good partners, they "fill each other's gaps," Gelfond says. "If I can't find it here, Amanda can find it there."
Scour industry Web hubs and you'll find thousands of Maisler references, but hardly any photos or personal details. That anonymity allows Maisler to scout talent unannounced, like when she spotted freshman actress Shannyn Sossamon spinning records at a bash for Gwyneth Paltrow in 1999. Maisler went on to help Sossamon land the part of Lady Jocelyn, opposite Heath Ledger, in "A Knight's Tale."
Not that Maisler shies from established talent -- last year she cast "Milk" and "Tropic Thunder," which got Oscar attention for Sean Penn and Robert Downey Jr. She beams about the former in particular. "This is such an important story. It's all about authenticity. I wanted to make sure I did it justice."
Show business is in Mindy Marin's genes, but it skipped a generation. Her grandfather Ned Marin was an agent at Ashley-Famous, where he repped such megastars as John Wayne and Kirk Douglas. Her father didn't like what he saw of the business, Marin says, "so he went into publishing." But she keeps a foot in both worlds with her company Bluewater Ranch, through which she casts and produces films ("Thank You for Smoking," "The Family Stone") as well as publishes books, including the self-penned recipe text "The Secret to Tender Pie." Currently, the Pacific Palisades-based Marin is keeping busy with literary projects, an Internet show and a film adaptation of Claire and Mia Fontaine's mother-daughter memoir "Come Back."
As a girl, Jeanne McCarthy spent her baby-sitting money on Smothers Brothers albums and, later, tickets to the Improv in New York. The comedy aficionado calls herself "the luckiest girl in the world" to have worked with the likes of Tracey Ullman, Harold Ramis, Jack Black and Jay Roach, whom she helped populate swinging England for the second and third "Austin Powers" films. In "Synecdoche, New York," McCarthy demonstrated a meta-comedic talent by casting actors who play one another's various selves, winning the Independent Spirit Awards' Robert Altman Award for Charlie Kaufman's film and herself. Yeah, baby, yeah!
John Papsidera has one thing he would like actors auditioning for him to know: "I am there to create a space where they can do their best work under the hardest circumstances," the two-time Emmy winner says.
Papsidera enjoys making actors feel at home, so it's little surprise that he's co-owner of the Waffle, a modish restaurant on Sunset Boulevard known for its laid-back atmosphere and friendly wait staff.
That combination of the hip and mainstream can be seen in Papsidera's oeuvre, which ranges from such big-budget spectacles as "Independence Day" and "The Dark Knight" to such indies as "Memento" and "Prime."
Juliet Taylor cast Meryl Streep in her first film, but you won't catch her taking credit for it. "As soon as Meryl graduated from Yale Drama School and started working in theater, I don't think there was any doubt," Taylor says. "Everybody knew right away." A Connecticut native who made frequent trips to Broadway as a kid, Taylor worked for theater producer David Merrick before transitioning to film through an entry-level job with casting director Marion Dougherty. Taylor went on to cast "Taxi Driver," "Network," "Sleepless in Seattle," "Schindler's List," and every Woody Allen film since "Bananas." These days, Taylor, the doyen of movie casting, is slowly easing her way into retirement. "I just came back from Egypt last night," she says. "I'm traveling a lot and having a really good time."
To cast dynamic such television shows as "Rescue Me" and "Damages," Juliet Tucker surveys as broad a talent spectrum as the project requires. "I go to theater, school showcases, the small- and big-screen to discover new talent and see the range of actors I already know," the two-time Emmy winner says. "But I also get inspiration from riding the subway, the streets, current events and people-watching. The challenge is applying that. Each show has its own rhythms and tempos; our job is to discover and maintain them."
Robert J. Ulrich, Eric Dawson, Carol Kritzer
It takes a person who really loves actors to spend his days casting them -- and then go home to one at night. But Robert J. Ulrich, Eric Dawson and Carol Krit