Rebecca Lehmann - Casting Networks

Spotlight Teams Up with WeAudition at Sundance to Discuss the Future of Casting

Rebecca Lehmann — Fri, 27 Jan 2023 22:38:34 +0000

The Sundance Film Festival is a mainstay of the festival circuit, bringing artists and audiences together to showcase independent filmmakers from across the globe. In addition to sparking bidding wars amongst the studios for films destined to become this year’s indie darlings, the gathering also includes panel events that inspire lively discussions about the state of the film industry.

This year, Spotlight, Casting Networks’ sister platform in the UK, teamed up with WeAudition to talk about the future of casting, offering glimpses into the casting process, how the industry is pushing towards more inclusive and authentic casting and how actors can position themselves within this emerging landscape.

As one of the panelists, Matt Hood, Managing Director of Spotlight, found great value in the discussion.

“It was great to be on Main Street in Park City during Sundance to talk about the Future of Casting with some of the CSA’s leading casting directors. Alongside an audience of performers, directors and producers, the panel covered some fascinating topics, particularly around how Talent Systems’ technologies don’t just support the artistry of casting directors, but also how we push forward diversity and inclusion in our industry together. It was energizing and reaffirming to know we are all pulling in the same direction.”

The panel was hosted by WeAudition co-founders Darren Darnborough and Richard Cambridge and, in addition to Hood, also included casting directors Jessica Sherman, Amanda Lenker-Doyle and Lindsey Weissmuller.

During the hour-long discussion, Hood said that he believes that the evolution of casting practices requires being deliberate about making diversity, equity and inclusion into industry standards, and highlighted how Spotlight is helping the industry to pursue that future.

“Platforms along the way have been somewhat gatekeepers into the industry,” said Hood. “As a platform, [Spotlight] make[s] sure we take initiatives that really widen access to the casting process. Because if we can put people in front of casting directors through our platforms that they’ve not seen before, then I think that’s the first step to making sure people we see on screen or on stage are as diverse and inclusive as possible.”

Weissmuller agreed and pointed to the current moment as one that will shift the way that casting happens in the future.

“I think that we have hit sort of a new moment in casting with COVID, and COVID is going to change things in ways that we cannot predict. I can’t wait to see how it does,” she noted. “What I do know is that we’re going to keep looking for authenticity in performances – and not just authenticity in performances, but authenticity in actors themselves. […] And I think that’s something that didn’t exist maybe even five years ago.”

When asked if the pursuit of authenticity makes the job harder, Weissmuller elaborated on what the approach may look like as the industry forges ahead.

“It does mean a lot more nontraditional approaches to casting. It means more open calls, it means more worldwide searches. It means that sometimes, if authenticity is the most important thing for a role, it might mean there’s not somebody who is already a big name actor who is going to fit the bill, so there’s more openness to putting actors who have not necessarily starred in a movie as a star in a movie.”

She then cited a role she is currently casting as an example of how casting authentically often requires a less traditional approach, tapping social media influencers with large followings in demographically relevant communities to help get the word out.

“Specificity is very high on this one. A 17 year old Iranian-American girl who is an excellent dancer. Breakdancer specifically.”

Panelists also encouraged the actors in the audience to develop relationships with casting directors they want to work with, stressing the importance of always presenting their authentic selves and keeping the long view in mind.

“I think the big thing, especially in this moment in history as the relationship between actors and casting directors, is that most actors want it to happen right now. And most times it’s not going to happen right now,” said Sherman. “We have a long-term relationship between casting and actors, and the goal as an actor should be to build the relationship, and then the work will follow, as long as you’re preparing yourself for the opportunity.”

Lenker-Doyle agreed, giving a glimpse of how casting directors think and work.

“Presenting yourself in an authentic way, showing us what else you’re interested in as a human being, aside from acting, I’m super interested in that, because that makes you really interesting. That gives me ideas about what you might be right for. […] Even if you’re not right for something that I’m doing right now, I will remember, “Oh yeah, oh, he codes. He knows how to code, that’s super interesting.”

But the onus of casting diversely ultimately rests on casting directors and other stakeholders in any given production.

“I think it is always our responsibility to think outside of the box, in every situation,” Lenker-Doyle explained. “Obviously there are situations where we’re looking for something very specifically authentic, and if that is the case, then it’s hard to kind of go outside of the box. But if we’re presented with a character breakdown that’s very open and neutral, then we’re presenting all sorts of different options, because that’s our job. Across the board. Because it can really go any way. And that’s tonally, that’s, “Oh, this is not what was in your head originally, but what if we tried it? So what if this would work?”

Hood chimed in with his support for opening overly-specific roles to a more diverse talent pool.

“Casting directing has really led the way in pushing back against unnecessary specificity in breakdowns. Why does that best friend have to be yet another white male who can run and play basketball? Why can’t people with diverse backgrounds be in that role?” Hood explained. “But what’s key is [that] the burden shouldn’t [only] fall on the casting director.”

The panel’s message was clear: The responsibility for making sure productions are as inclusive as possible ultimately belongs to everyone.

You can watch the entire discussion on Instagram, hosted by @WeAudition. Skip ahead to 1:20:00 to go straight to the panel talk.

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Rose Rosen, CSA on Using Social Media as a Casting Director

Rebecca Lehmann — Fri, 21 Oct 2022 13:16:06 +0000

Veteran casting director Rose Rosen, CSA, got her start working on Edward Scissorhands and ElimiDate, and has watched the industry evolve from printed headshots and auditions taped on VHS, to burning CDs and sending files via FTP sites during the early days of the internet.

“But nobody mentioned I should edit my video into smaller segments when uploading it so that it would download faster” she recalled. “So, it was an eight-hour casting, all in one big chunk. That amount of video takes a lot of time to download. And my client said, ‘Thanks, Rose. It looks like I’ll have this a month from now.’ You remember how slow everything was! So, I went back in, edited the video and re-sent it.”

Today, online services like Casting Networks have made casting easier than ever, evolving alongside social media to help casting directors to find talent. We sat down with the tech-savvy Rosen to chat about how she leverages social media for casting and networking with her peers.

To start this off, how have you seen social media impact the casting world as it evolved?

In the early days, I did some unscripted casting and it seems implausible today, but I worked on the early days of ElimiDate. It was very early unscripted. And they needed volumes of people.

Back then I personally went out to the bars with a clipboard and a t-shirt that said “ElimiDate.” And [I] just went around asking people, “Do you want to try out?” And true to form, less than half of them show up. And then we [would] call them the next day and they’re like, “What are you talking about?”

I mean, they were drunk. It’s not fair, but where else are you going to find single people if you didn’t have the internet? So those were crazy times. I mean, I’d be out ‘till crazy hours of the night and certainly not drinking. And that’s nowhere near as fun as when you’re drinking.

That was my outreach, person to person. And we still do plenty of that, honestly. But then came Facebook and Instagram. So, when I’m looking for that unusual person, which we always do, I rely on talent agents 90% of the time. But there’s 10% of “I need a professional paddleboarder” [or] “I need a professional golfer.”

So, when I post openly, I love to use social media. Facebook is very well-suited for that because you could add a lot more information and links and all. I’m big on Instagram, but it’s more of a pain in the neck for a casting if you ask me.

But I use it all, and over the pandemic, I kind of drilled down on social media. [It was] something I could do instead of knitting. I’ve got quite a few followers on Instagram, and I had virtually none going into the pandemic.

And then I do this thing on Clubhouse, which is also social media. And Clubhouse, in its day it was phenomenal. I still do this room on Monday nights with all these casting directors. It’s so much knowledge. I would even go into Clubhouse rooms and grab talent! The point is, if you’re looking into the world of real people for whatever needs we have as casting directors, social media is the place to be.

Thanks. That’s a good soundbite. How much does an actor’s social media presence really matter? Has it ever changed your mind about casting somebody?

Occasionally, when I am working on an independent film that needs a little more traction, they will look at the social media and the follower count matters because then we put in their deals that they need to post X amount of times, and it helps the project overall. So that’s nice.

And then the other thing I would say about talent on social media – I just don’t love to see the ‘too sexy,’ if you will. I don’t care what you do personally, but if your face is your business, if it’s public, that’s your business. I want you to treat it as such. If you don’t want your mom to see that, I don’t wanna see it. So yeah, I’ve looked at people’s social and said, “Hmm, you know, it’s not appropriate for the client I’m working with. Maybe I don’t want to see that actor.”

Or, I’ve been in the middle of casting and not had quite enough photos of them, I might hit up their Instagram and get a feel for who they are and what they look like in real life. That can be very helpful.

Do you have any stories that you can tell about a particular time when social media was a key factor in casting? Anything that stands out?

I did a very large job that was coast to coast all summer long and needed very specific types [of talent] and a lot of them. So social media was my go-to. It wasn’t enough to just do the casting sites.

You can put in that you’re a surfer, that you’re a scratch golfer, and the level of ability. If I’m in Wisconsin looking for a person who can roller blade and do flips, I need it. And you would be so shocked at how many different calls [are] like that. I need this, this person has to do this, this person has to look like this. And sometimes it comes through on the casting websites, but not often when it’s weird like that. I’ve got to go out in the world and I have to hit up social media.

So basically social media is just another channel for you to look through.

I’m fascinated with people. I will scroll my Instagram and there’s this one cook that I’m crazy about and I’m just like, “I’m going to find this girl a show.” Some things just sing to you and [you] keep them in your back pocket.

That’s very interesting! Do you keep a list of people who you’ve never talked to, just on the off chance that you need them?

Just in my head. You could talk to any one of us [casting directors] and they’d say, “Well, can you think of an Asian guy in his forties?” And we all have that guy. I have a few go to’s across the country. I’ve got one in Chicago, one in LA.

You mentioned Instagram and I’ve seen that you have some live chats there that you’ve saved. And you have the weekly chats on Clubhouse. What kind of impact has it had on your business?

Hanging with other professional casting directors has been phenomenal. I think it makes all of us better business people. [There are] so few of us, maybe 1,000 to 2,000 worldwide. We’re all tiny little islands [and] most of us don’t have a big office. I’m just me figuring stuff out overnight, and so talking to other casting directors, and realizing that they’ve done the same thing and continue to do the same thing, and that we have similar challenges, just like any other job. It’s not a special job. It’s just a very distinct job that has weird things happening and we’ve had nobody to talk to.

It sounds like the networking is invaluable.

It’s amazing. What did my friends say? We have a group chat and, what did she say? I want to quote it because it was amazing. She said, “It’s so valuable to have the camaraderie over competition.” I mean, come on. Isn’t that a great sound bite? This is just a quote from one of my friends in the group: “Can I just say how much I love this group?” Smiley face. “The connections over competition is truly amazing. You all are truly great.”

I love that.

It gives me the warm fuzzies. A million years in my business and I’ve not had that. We all have the warm fuzzies giving jobs to the ever-talented actor and just giving them their first job. That never gets old. But figuring out how to do it and how to get the right people for the project is always challenging. So it’s great to have a group.

That’s great. What do you think would surprise people about the way that you use social media?

I think what would surprise people would be that they don’t know me. That my social media is business. People have a feeling just because I speak on social media that they know me, but I don’t think they do.

I’m talking directly to them and I love it. I love talking directly to the actor, helping them to level up their career. That ultimately helps me. And that’s why I do the Monday night room. We’re helping the actors level up their career in the process. We’re all sitting around a virtual fireplace and talking to each other and saying, “Wow, you do it that way. That’s so interesting.”

You can join the conversation in Rose Rosen’s Craft of Casting chat on Clubhouse every Monday at 9 PM Eastern.

This interview has been edited and condensed.

The post Rose Rosen, CSA on Using Social Media as a Casting Director first appeared on Casting Networks.

The post Rose Rosen, CSA on Using Social Media as a Casting Director appeared first on Casting Networks.

The Importance of Diversity and Casting with Authenticity for Film and TV

Rebecca Lehmann — Wed, 28 Sep 2022 18:53:20 +0000

Diverse and authentic casting in film and television has taken center stage in recent years, as the entertainment industry finds itself in dialogue with a new civil rights era. Taking a cue from recent social movements, productions are increasingly conscious of the need to create ensembles that not only reflect society’s diversity, but also give a voice to those who have been underrepresented on screen.

This conversation has never been more top of mind for the casting directors charged with filling roles authentically. We’ve asked film and TV casting directors Kara Sullivan and Amanda Lenker Doyle to share their thoughts on the state of diversity in casting, how rapid innovations in technology have aided their efforts and what they believe the future may hold.

Casting Director Kara Sullivan has been casting TV, film and commercial projects for over a decade. U.Z.L.A with Shawn Christian, To Pimp A Butterfly starring Bai Ling and Immigrant starring Harry Hamlin are amongst her many credits. Kara takes pride in her ethnic heritage and is a promoter of diverse casting in the industry.

Award-winning casting director Amanda Lenker Doyle has been working in film and television casting for over 15 years. Some of her favorite credits include R#J (a Romeo & Juliet story), the film We Broke Up (streaming now on Hulu), Black-ish and The Muppets for ABC, Zac & Mia for Netflix and Wayne streaming now on Amazon Prime.

How do you approach diverse, inclusive and authentic casting for your clients?

Kara:
I have been very lucky in my 18-year career that my projects are open to diverse and inclusive casting. Of course, I sometimes get projects that are based on true stories so the director needs to match the actors to the real-life characters. Diversity is wanted but may not make sense for that specific story.

In general, I am a casting director who will always encourage my producers and directors to consider all ethnicities when casting projects. At the end of the day, the final say is up to the producers and directors.

In terms of authenticity, it is important to do your best to cast authentic actors for roles that call for transgender talent, non-binary talent, specific ethnicities, etc. Keep in mind, as casting directors we always do our best to honor this, but there are instances where you have to be flexible if you have limited choices for talent as other factors could affect our pool of choices. For example, I needed a 15-year-old Middle Eastern boy for a project, but the production needed me to cast an adult due to adult materials and subject matter, and limited work hours for kids. I used every resource I had to find this role but had limited choices and had to consider another ethnicity that could work and pass for Middle Eastern.

All of this is important and we as casting directors always do our best to make this happen.

Amanda:
The approach varies based on the needs of the project, but the goal is always authenticity. Earlier this year, I cast a film that required absolute authenticity throughout as it was based on a true, very international story. Our lead was Argentinian, and in the film, he appears as a teen throughout. I was not only looking for authentic Argentinian actors, but actors to match our lead (aesthetically and in accent – Spanish and English).

We shot in Northern Italy and there were three other kids in the project that had older counterparts as well, another Argentinian and two British-Scandinavian twins. I leaned heavily on my European casting director friends – Jeannette Klintberg and Matthew Lessall really helped connect me to the right people in Europe. I did international searches via Casting Networks and Spotlight and worked with an AMAZING casting director out of Argentina, Pablo Lapadula.

It is our job to make sure we leave no stone unturned when searching for the right person. I am so grateful to have such wonderful friends across the globe who were so willing to help.

What are some of the biggest challenges and watch-outs for casting mindfully?

Kara:
Make sure the talent you choose can authentically portray the character, especially if the situation I explained above arises. Making sure you don’t rush and take the time necessary to spend a good amount with the talent that is your top picks once it comes to callbacks. In any film, you want to make sure you hire an actor who truly connects to the piece and the role so the audience is always engaged and can see that you made the right decision at the end of the day.

At the end of the day, it is about taking the time necessary to find your cast, not rushing, and if you have to pivot, cast well.

Amanda:
It is of the utmost importance to be cognizant of the overall ensemble as you work your way through the process. Guiding the team to make sure we are collectively making appropriate decisions so that at the end of the day we have a cast that is reflective of the world we live in. Sometimes we can get lost in the chaos of the process, but I try to take a step back and take a macro look at the project to make sure we are honoring both the story and the audiences that will watch.

Have technological innovations such as virtual auditions had an impact on casting diversely?

Kara:
If anything, [technology] has made it easier, as we have more access to a wider range of talent. Now you can audition from anywhere with FaceTime or Zoom. Talent can send in a self tape from anywhere in the world.

Productions can consider talent from all over and there are sites where casting directors can post notices that can be accessed and submitted to all over the world.

Amanda:
Without question. The ability to connect with, audition and meet with actors and creators across the globe virtually has absolutely opened up doors and created opportunities beyond anything I could have imagined.

When I started in the industry it all seemed so local. I was told that I couldn’t do my job unless I was on the ground in Los Angeles. That is simply not the case anymore. It is so exciting to have been able to essentially cast an international film.

There were three languages spoken on set (English, Spanish and Italian) and half of the crew was Slovenian. We were on the ground in Italy, having assembled the cast and crew virtually. We came together having not met each other in person and were able to create a beautiful piece of art in a very trying time.

I am so grateful for this shift in communication and connection. It is working and it is making what used to seem impossible very possible.

How do you see diverse casting practices evolving in the next few years?

Kara:
There is a big push for diversity, so we’ll see more diversity in projects. With SAG-AFTRA offering incentives to do embrace diversity, this will be encouragement for productions. Casting directors like myself will push for diversity and authenticity. We have started to see that a project that asks for male or female as a gender is open to transgender actors filling those roles as they want a great talent. Ethnicity-wise, productions have been more open to consider all possibilities. Authenticity will continue to be important.

Amanda:
Casting is continuously evolving. In the time that I have been working in this craft, we have gone from VHS to DVD to digital. We have gone from reading fifteen people for a role to thousands – and that is so special! The integration of technology into the practice has enabled us to search high and low for the best and most authentic human for the job. I am leaning into this new world and am so grateful that I get to meet and interact with actors all over the globe in consideration for the projects I am lucky enough to work on.

What can casting directors do to help push for change in film and TV?

Kara:
As casting directors, and me personally, we always do our best to push for diversity, at the end of the day final decisions are up to the producers and director. It is important. Authenticity as well and if circumstances make it difficult, we find talent who will honor the role, the character and culture of that role if that’s a factor.

When you get a project, suggest diverse casting to the Directors and Producers – it only gives them more great options to consider. With social media, we can continue to voice the importance of diverse casting.

Amanda:
Change starts at the source: the script. If we are casting fictionalized characters (not based on real people) then there is always an opportunity to make sure the ensemble is reflective of the world we live in. Casting directors are and have always been at the forefront of this conversation. The very first thing we do when assessing a script is identify how we can help to make it feel real – and by that I mean, how can we make sure everyone watching feels seen?

Ready to start casting your film and TV projects? Casting Networks helps casting directors find talent all around the world. Get started for free today.

The post The Importance of Diversity and Casting with Authenticity for Film and TV first appeared on Casting Networks.

The post The Importance of Diversity and Casting with Authenticity for Film and TV appeared first on Casting Networks.