In POV, you’ll get a glimpse at another point of view (from casting directors and other industry professionals in another market) to round out your knowledge of this career in showbiz that you’ve chosen. You’ll notice that some markets have very different ways of doing business. Other contributions will drive home the point that it’s all sometimes very simple. Every contributor to POV has taken on the challenge of helping me demystify the casting process with enthusiasm. I can’t wait to share some of their tales with you! Let’s lead off with Toronto-based casting director Juli-Ann Kay.
On the Job of the Casting Director
I really am a rebel when it comes to my job. What does that mean? It means I go outside the box when I am casting a project. I really don’t care about union status and/or whether the actors’ pictures are black and white or color (as long as “what you see is what you get”). I believe my job is finding and developing new talent as well as casting seasoned actors.
I also believe in a level playing field. By that I mean I have to be willing to step out of the box and cast a wide net. I always give the director, producers, etc., 99.9% of what their vision is, and then I throw them a curveball. I truly believe in mixing it up. This is taking a chance sometimes. For example, I was casting a film and the role called for the owner of a strip joint. It was originally written for a male. I brought in a few women. They did look at me like I was from Mars, but in the end they cast a woman!
I am one of those very few people that is lucky enough to be doing a job I love, so I give it 100%. I also think that giving agents feedback on their talent is part of my job. Why? Here’s the deal: I can’t do my job without them.
On Technology and Casting
I love the electronic aspect of the business now. It makes our job so much easier and allows us more time to be creative. I know at one time I needed two people at all times in the office and one with me during a casting session. Now I have one assistant (my right arm: Mr. Sid Potma) and maybe one freelancer for reading, etc. So, financially it’s great!
On What We Look for in an Actor
They can’t be afraid of who they are. That will only stop them from tapping into whatever emotion is needed for the role. They should understand that acting is really not “acting” or “pretending.” They are bringing the character to life! Don’t get married to the words. Get married to the scene.
They have to be able to commit to the role. For an audition, you have to make a choice (even if it is not the choice of the director). The director will hopefully recognize that the actors have made a choice and did their homework. Having said all of that, don’t get so locked into your choice, just in case we want to redirect you. The biggest problem I have with actors is their listening skills. Half of this business is taking direction. You have to be a great listener.
So, there you have it! So far, not that much is different in Toronto, at least in this first POV. We like prepared, directable actors who look like their headshots. We are always looking for the right actor for the job, despite any obstacles of union status or geography. And electronic casting tools have helped us be more efficient and worldwide in our search for talent. Cool, eh?
About Juli-Ann Kay
Juli-Ann Kay has been in the film and television industry for over 20 years; about 17 of those years have been spent in casting. Juli-Ann began with commercial casting, then moved into features and TV casting, freelancing with various production companies. She casts United States studio projects and Canadian indie films, populating features, TV series, and MOWs with both American and Canadian actors. Juli-Ann is a long-standing member of both the CDC and CSA.
This contribution originally ran at Bonnie Gillespie’s online column on November 15, 2006.