4 minute read
CASTING THE GREATS
RILEY KEOUGH AND TAYLOUR PAIGE IN “ZOLA”
Six all-star casting directors on proper prep for union film auditions, self-tapes, and networking
By Matthew Nerber
ANTHONY RAMOS IN “IN THE HEIGHTS”
If 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
“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.
Kim Coleman
“Needle in a Timestack,” “Zola”
Coleman cast two of the summer’s breakout stars, Taylour Paige and Riley Keough, in 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.”
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
“OLIVIA COLMAN’S MOST COMPLEX AND HEARTBREAKING PERFORMANCE IN A DECADE.” IN A LEADING ROLE Olivia Colman OUTSTANDING FEMALE ACTOR
winner winner
A FILM BY
MAGGIE GYLLENHAAL
the bells and whistles. “Some people really go to town! And it’s impressive, but it’s not necessarily revealing everything you need to know about the performance. [Keeping it] fairly simple, just dealing with the text and the performance, is good.”
Susan Shopmaker
“The Card Counter”
The CD behind Paul Schrader’s “The Card Counter,” starring Oscar Isaac, Willem Dafoe, and Tiffany Haddish, says it’s most important that actors remember they aren’t alone in this business. Gaining life experience and building relationships is essential. “If it doesn’t happen overnight, they have to build confidence with the community that they’re in,” she says. “I think they have to read and look at art. I think they have to appreciate dance. They have to appreciate nature. Staying open to the world makes you a great actor.”
Claire Simon
“Candyman”
An actor should never be so memorized that it makes them rigid. Simon, who cast the Jordan Peele–produced, Nia DaCosta–directed creeper “Candyman,” emphasizes that actors need to be free enough to make choices on the fly. “Being as truthful [to the role] as possible is in your favor,” she says. “Come in prepared but flexible enough to be able to change what you had in your head. Be as real as you can to make it your own, and don’t let anybody see the ‘acting’ part of it.”
