Roundtable: Why Do These Casting Directors Get No Respect?
TAYLOR: You believe in people and keep bringing them in.
EUSTON: We open a door. But actors do all the work.
What's been your proudest casting achievement?
DICERTO: Midnight in Paris was a highlight -- especially the work we'd done learning about all the historical characters, like Hemingway and Picasso; finding the essence of who they were, and not just casting look-alike actors.
EUSTON: When Adam Driver got nominated this year for a best supporting actor Emmy for Girls. I had loved him for so long before the show, it almost brought me to tears.
LEWIS: I'm always more comfortable casting the day players. (Laughter.) "Really? Do I have to do the lead roles?"
ROSENTHAL: A career highlight for me isn't one film; it's repeating the relationships that I have with directors. To know they want to work with me …
DICERTO: And they're loyal.
What advice would you give your younger self?
LEWIS: Work for Juliet Taylor. (Laughter.)
EUSTON: That's mine too. It's really an apprenticeship.
TAYLOR: Casting is a craft. You can't go to school for it.
ROSENTHAL: Be patient and communicate with your boss.
TAYLOR: We're not surgeons, but it's a very stressful job. Every director thinks their movie or show is the most important thing. And they want you to believe that, too.
How do you manage the stress?
ROSENTHAL: I've never tried doing that. (Laughter.) No, I think I disassociate. But I really try to take weekends to myself and not think too much ahead.
LEWIS: When agents call and ask, "Can we do lunch?" It's like, "No, we don't leave the office. Leave us alone!"
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