RILEY KEOUGH AND TAYLOUR PAIGE IN “ZOLA”
Casting the Greats
Six all-star casting directors on proper prep for union film auditions, self-tapes, and networking
ANTHONY RAMOS IN “IN THE HEIGHTS”
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By Matthew Nerber
f you’re a union actor looking to get cast in some of today’s biggest film projects, these tips from casting directors are a good place to start. CDs for SAG Award–eligible film projects— including Nina Gold, Susan Shopmaker, and more—reveal what they want actors to know about the other side of the table and how to bring your best to every audition.
Tiffany Little Canfield
Kim Coleman
“Needle in a Timestack,” “Zola” Coleman cast two of the summer’s breakout stars, Taylour Paige and Riley Keough, in BACKSTAGE 12.06.21
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Allison Estrin
“Mass,” “Small Engine Repair” Estrin, who cast the four-person chamber drama “Mass” with Martha Plimpton, Ann Dowd, Jason Isaacs, and Reed Birney, advises actors to consider each role as they come— no matter the size. You never know how one gig will lead to the next. “Don’t pass on things because you’re waiting for something bigger,” she says. “Come in and do it. A job is a job, and that always leads to more jobs.”
Nina Gold
“Last Night in Soho,” “The Power of the Dog” “Building up work and competence and experience is kind of what it’s all about,” says Gold, whose work can be seen this year in the impressive ensembles of Netflix’s “The Power of the Dog” and Focus Features’ “Last Night in Soho.” As far as self-tapes go, she tells actors to keep it simple and avoid
backstage.com
“ZOLA”: ANNA KOORIS/A24; “IN THE HEIGHTS”: MACALL POLAY
“Dear Evan Hansen,” “In the Heights,” “Respect” Even if you don’t get the job, a good audition is a good audition. The CD behind Lin-Manuel Miranda and Jon M. Chu’s “In the Heights” screen adaptation asserts that if you do your best work, you’ll be remembered for future projects. “So many of our projects feed other projects,” Canfield says. She remembers how she helped usher one young actor from performing in a play to leading a television series. “I don’t know if that would have happened if I hadn’t seen her for so many different kinds of projects and seen how much range she actually has,” she recalls.
A24’s “Zola.” She says she can often tell when an actor comes in prepared—or unprepared. Putting in the extra work will always be your best bet before meeting with her. “You have to come in off-book,” she says. “If you know your lines like the back of your hand, you give yourself a better chance of transforming into that character.”
