Amy Lippens recalls working as assistant director on a school production and taking copious notes for the actors on stage. In college, Lippens studied sociology and women’s studies. Her interest in the intricacies of performances and human nature have blended perfectly to give her the edge in casting projects such as Meet the Deedles and Catch a Falling Star. Her work as casting associate for the pilot of My So-Called Life kicked off her relationship with Marshall Herskovitz and Edward Zwick, who would later hire her to cast the pilot and series Once and Again.
“I love actors. I have a sense of actors. And I believe that the person who is most right for the part will get the part. With my sociology background, I always focus on trying to reflect the real world,” Lippens said, noting that diversity is on the minds of everyone in the industry. With a warm, caring personality, and the willingness to share every lesson the industry has taught her, Lippens is an expert at casting – and working with – children.
First Casting Job
Casting assistant on Alan Parker’s Come See the Paradise. “I had been a PA on Tin Men in Baltimore before that. I learned so much: what the jobs were, respect for each of those roles. With Come See the Paradise, we were doing a major search for kids who had to age through the movie. We had to delve into Asian Boy Scout troops, looking for non-actors,” Lippens recalled.
When casting young performers to play characters who will age over the course of the film, does Lippens scout a similar look? “More of an essence,” Lippens replied. “I see a lot of people and I look for the common charm, the sense of the actor that will be playing the adult role. It takes a lot of focus to get a sense of who they are.”
Road to This Position
“I studied acting as a young girl. After college, I worked in production on projects such as Back to the Future 2 and Tequila Sunrise,” Lippens explained. It was on these projects that Lippens was told that she would be good at casting. “I worked as a runner on a TV show and then assisted Henry Winkler on a film he directed.” Mary Goldberg was Lippens’ mentor. “She took me under her wing and gave me my first screen credit,” Lippens said. The project was Milk Money, and it included a huge search for the five children in principal roles.
Coolest Casting Gig
Once and Again, the pilot. “It was an amazing experience,” Lippens said. “We cast in September, so there wasn’t the pressure of pilot season. So many actors were available for us to see.” Out of ten series regular roles, four were children. “[Executive producers] Ed [Zwick] and Marshall [Herskovitz] really empowered the heads of departments. They were very supportive of my choices. Finding the right mix of actors for these families was a joyful experience. When the writing is so good, and you have been empowered with the trust of the series creators, you can be the best that you can be,” Lippens explained. A reason the series itself was a cool gig, for Lippens, is the fact that her office was just off the set. “I loved doing set visits, to see how the actors were working. To watch them work, to see the growth of these young people – as performers and as people – was just wonderful for me. I will always hold that experience in the threads of who I am,” Lippens concluded, wistfully.
Key Things She Looks for in a Young Performer
A unique essence. “Kids are who they are. They don’t bring a lot of baggage. So, I look for what that actor will be bringing to the part. Are you genuine? Are you funny? Kids will say the things that come to their heads, and that’s great. I also look for a young actor who really wants to be here, who really wants to be an actor,” Lippens explained. That means, to Lippens, that the young performer is not pursuing acting due to parental influence. “The actor needs to find performing fun, not stressful, not a chore.”
Most importantly, according to Lippens, the young performer must have stamina. “This is someone who is going to be working and going to school at the same time. They must have the energy for both,” Lippens insisted. “Young actors should come in, do the best they can, be polite, be professional, and then be on their way, ready to enjoy the rest of their day.”
How Parents Can Contribute
“I know it’s hard, but let your child make his own decisions with the material and with the roles he’s up for. This process has to be about the individual who wants to be an actor. What you can do to support that is make sure your child is active, eats a well-balanced diet, is healthy. Make sure your child knows it’s okay to not go on that audition when he’s tired, has homework to do, or feels the role isn’t right for him. Young performers are taking on a job, so they have to want it. They have to be able to speak up. They are the drivers of their careers,” she said.
“I assign young actors the job of watching TV and writing down the roles they could play. Children who want to perform professionally need to go see movies with a different eye. Reading is very important – and I mean great literature – reading keeps the imagination from getting lost,” Lippens commented.
Lippens added, “I always ask where the family is from. People forget that the parents are schlepping these kids all around town. I remind the children to go outside after the audition and thank their parents. It’s a big commitment they’ve made. They sometimes have to relocate or separate from one another. It’s important that I am informed about who the parents are before recommending the child to a producer or director. They’re not just hiring a child, but a whole family.”
Pet Peeves
Gifts. “I don’t need a bribe to see you. I’ll see you because it’s my job to see as many actors as I can for every role.”
Advice for Young Actors
“Live your life. Acting is one extra-curricular activity. First there’s family, then school, and then all of the rest. One element of that ‘all of the rest’ part may be acting. Those priorities are very important. You need life experiences so that you can bring them to the role and expand upon them,” Lippens said.
“Remember that we want you to be good. We want you to be right for the part. If you have a question, speak up. Take your time and be present in the moment. Be prepared, be professional, and remember that this is always a win-win situation. Every audition is cumulative. There’s too much pressure to get the job, and that makes kids think they’re performing because they have to. No. It’s about being creative and having fun.”
“Know that it’s okay to stop for a while. There is so much that is important to a child’s life that only exists through high school graduation. After that, many of the athletics, extra-curricular activities, and honors are all gone. Acting will always be there, so know that it’s okay to take a break from it.”
Best Way to Get Seen by Her
Lippens provided a list, in order of importance. “Through agents and managers, at showcases, by viewing films and TV shows, by attending theatre, and from producer and casting director recommendations. I am open to seeing actors through individual submissions,” Lippens insisted. “Postcards, I look at. If the timing is right, I’ll make a note of when to catch your show. Postcards remind me that you’re still around.”
Her Opinion on Alternative Submission Methods
“I use the IMDb, the [Academy] Players Directory, and all of the sides services online. Things are really just beginning with this, though. I am very open to [links to] reels sent online,” Lippens said. She suggested that, for young actors, a well-done – but inexpensive – headshot is a more important tool. “Kids need new headshots at least once a year, more frequently if there is a drastic change in their looks.” Lippens also recommended that young actors utilize the acting classes available in their schools and at community theatres. “Kids should be doing scenes with other kids, just like adult actors get together to workshop scenes.”
Her Biggest Casting Challenge
Her first solo film, Camp Nowhere. “I had to cast 21 kids in seven weeks. All of them were 12 years old. Everyone is changing at that age. I couldn’t use Jessica Alba in a major role, but I kept her on as one of the camp kids. Years later, just before Dark Angel went into production, I saw her at a party and asked if she remembered me from her childhood. She said, ‘Of course! You gave me my SAG card!’ That’s a wonderful feeling,” Lippens recalled.
Most Gratifying Part of Her Job
“To be able to give people jobs. To call an agent or manager, or sometimes even the actor directly, and say, ‘You won the job. You did a wonderful reading, you embodied the role, and you are the choice.’ Just knowing that they’re getting to put food on the table, put money away for their future, pay for college, it’s wonderful.”
This interview was conducted on March 22, 2002, and it originally appeared in Casting Qs: A Collection of Casting Director Interviews by Bonnie Gillespie, available at Amazon.