Elizabeth Boykewich, who has extensive credits from her days as associate casting director (on such features as Mr. Deeds, Corky Romano, and X-Men) has gracefully made the transition to full casting director and CSA member. Her work on the PBS series American Family has already met with critical praise. As a part of the team at Roger Mussenden Casting, Torres has cast The Master of Disguise and forthcoming feature 8 Crazy Nights. She happily brings her New York theatre background to the table, along with good advice for the auditioning actor.
First Casting Job
With a small Off-Broadway theatre company. “I got an acting scholarship to a theatre program in college and quickly realized I didn’t want to be an actor. But I loved the world and loved the people. I was still really interested in the acting process and casting was always really interesting to me. I got an internship at a theatre on one of my summer vacations and, while I was there, the casting director left. I filled in and sort of learned in a trial-by-fire sort of way,” Torres recalled.
She then interned for Bonnie Finnegan in New York. “That was my first television work. Bonnie is an amazing person to learn from. I went in there as an intern and became an assistant within a couple of months. We were doing a dozen pilots and Spin City when it first started up in New York.”
Torres went on to work for casting directors on films, “all around New York. Casting directors are often working freelance, just like actors. The job ends and we just go to another office.”
She moved to LA seven years ago. “I figured I’d come visit, then I realized it was time for me to be here. I’d met some people on the phone, doing casting from New York, and I just really connected when I got out here. I started out as the casting director on some shorts, and then came on as associate casting director for Roger five years ago and worked my way up.”
Coolest Casting Gig
Anger Management, Adam Sandler’s upcoming film with Jack Nicholson. Torres and Mussenden cast this Happy Madison Productions film for director Pete Segal and producer Michael Ewing. “It was a really fun project. Those [Happy Madison people] are great guys. This was a fun script. It’s so exciting to work on a project where they treat people well.”
Currently Casting
Bring it On Again, the sequel to cheerleading hit Bring it On. Also, American Family, the Gregory Nava project for PBS. “We did the pilot a few years ago, actually. We wrapped the first 12 [episodes] and we were picked up for the back nine,” Torres revealed. “Our office recently completed casting on X-2 (X-Men 2) as well as Anger Management.”
Key Things She Looks for in an Actor
Preparedness. “I look for an actor who is prepared and committed. Seeing an actor who makes choices is so exciting.” One of the ways an actor can be best prepared, according to Torres is by spending time with the material, prior to the audition. “Even if you haven’t had a chance to read the script, know your material. Don’t come in making excuses. If you have an intelligent question, ask it. There are no secrets we’re trying to keep from you. But do not ask, ‘So, is there anything you want to tell me?’ That’s a big no,” Torres explained.
“As an auditioning actor, your day-to-day job is to audition well. The icing on the cake is the job. Acting and auditioning are two different skills. You need to learn those skills. Really read the sides. Read the stage directions and read everything for all of the characters. If you read the directions, ‘she looks up and says gravely,’ you’re getting information from the writer and director right there in the script. They’ve told you what they want from that character. Get an idea of who that character is from those clues by paying attention to the material.”
Pet Peeves
Actors who apologize when they enter the room. “Don’t make excuses for yourself. We all have to deal with day-to-day stuff. But don’t come in and unload all of your crap on us. Don’t come in and touch us. Don’t bring props. Don’t show up late and then lie about some tragedy that caused you to be late. Don’t call us as if you’re some imaginary manager trying to pitch you, the actor. Don’t be mean to the assistants and associates. If you’re mean in the waiting room, we’ll hear about it. And today’s assistant is tomorrow’s casting director. Treat people with respect. Don’t send us gifts,” Torres advised.
Further advice on being on the casting director’s good side involves more homework. “Know the names of the people you’re auditioning for. I introduce everyone when you get into the room. That’s part of your job too, especially at a director session. It’s important. Imagine the flip side: If after your read we said, ‘That was good. Now, who are you again?’ wouldn’t that be rude? Give us the same respect. It’s just common sense.”
Torres mentioned a low tolerance for pushy actors. “I understand not being represented and needing to get seen. Just drop off your picture or mail it in. Don’t stand on top of me while I’m doing my job and hope that I’ll stop to see you. If your look is right, we’ll call you. Don’t call to follow up on a submission. Just know that you can only do so much.” To that end, Torres recommended the following: “Take care of your instrument. Work it out. Keep busy, do showcases, take improv classes. If you are too much in your head, you won’t get it. You need to be open and ready to do new things. Doing theatre and being in class and doing improv will help with that,” she concluded.
Advice for Actors
“Be prepared. Know your craft and let all things in life inform you and your choices for the roles. Even if you’re planting a rose garden, that should inform your choices as an actor. If you are not having fun as an actor, stop doing it.”
Torres offered advice specific to the audition and callback process. “Don’t change your performance from the first audition when you’re called back. We liked what you did at the preread. You got called back on what we saw. If we have something to add or change, we’ll tell you. Don’t change your look drastically, either,” she requested.
“Actors will come in defensive. If you just remind yourself, ‘They want me to be good,’ that will help your audition.”
Best Way to Get Seen by Her
Agency submissions. “When you’re right for the part, your agent will submit you. If you submit yourself and I don’t know you, I’m not keeping you in my files. There are just so very many actors,” Torres insisted, as she tapped on a stack of headshots.
The photo on top, of a broadly-smiling actor, generated a discussion about the best type of headshot, according to Torres. “It doesn’t matter if you’re smiling or not smiling [in your headshot]. I use the photo to remind me who you are after we’ve met. What makes a good headshot is not whether you’re smiling or not. The most important thing is that your picture looks like you. There should be something going on in [your] eyes, something alive, something present. From a picture, I want to get a sense of the person.”
Regarding agencies that encourage actors to have multiple styles and types of headshots, Torres advised, “Don’t waste your money or your time doing that. One good look is all the headshot you need. Just don’t let your mom choose the picture and make sure it looks like you.”
Her Operating System
Handwritten notes. “We go back to our notes on each project. We use them to see who we saw or who we talked about and in what light. We keep binders for each of our sessions and go back to those over and over. We look for where we wrote, ‘Very good, usable, but too old,’ or ‘Never see again, totally unprepared, scary in the room.'”
Her Opinion on Alternative Submission Methods
“We use The Link after putting out Breakdowns, but we still want the hard copies [of actors’ headshots and resumes]. I don’t spend a lot of time at my desk or on the computer, so downloading a reel is something I’m not interested in doing. I’ll pop in a demo tape, if I’ve requested it, rather than viewing something online,” she said.
What She Would Change About the Casting Process
Pilot season. “Pilot season is hard. Actors have too many auditions in a day and the test process just sucks. You’ve got to cut people some slack, during pilot season. Sitting in the room, we’ll all say, ‘This sucks,’ but we’re not making changes to the process. It’s just the way it is. There’s a lot for the actors to deal with, but there are actors who still book and do it, so the test process really separates the men from the boys, so to speak.”
Her Biggest Casting Challenge
“I would be lying if I said I’d had any easy casting job. [Challenges are] part of the job. The one job you think will be easy [to cast] is the one that ends up biting you on the ass. I think the challenges are part of what makes the job fun.”
Highlight of Her Week
“When an actor comes in and owns it, nails it, and has fun. That’s fun to watch. Even if that actor doesn’t isn’t someone the director responds to, it allows me to say, next time, ‘You know who always comes in and does a good job and does something cool and interesting?’ and bring that actor back again and again.”
Most Gratifying Part of Her Job
“Seeing the actors being committed and having fun. That’s exciting. It’s a creative process, and to see someone discover something that works to create a character is cool. Giving actors that first shot, helping actors get their SAG cards, and then hearing, ‘Thanks. I had a lot of fun on the set,’ is really exciting too. I worked for a casting director who said casting directors are like party planners. We’re happy to plan the party. We like to hear it’s going well too.”
This interview was conducted on July 3, 2002, and it originally appeared in Casting Qs: A Collection of Casting Director Interviews by Bonnie Gillespie, available at Amazon.