‘The Job I Signed Up for Doesn’t Exist Anymore’

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Inquiring about a casting director’s profession, you might find them using terms such as intuition and alchemy. They typically collaborate closely with directors to establish the human narrative of a project, embodying the filmmaker’s vision by leveraging their extensive knowledge of actors and an inherent understanding of what each role necessitates, considering both the scripted elements and the overall ensemble balance. Notable figures in this field include Ellen Lewis, who has been involved with every Scorsese movie since GoodFellas, Nina Gold, who cast every human role on Game of Thrones, and Francine Maisler, who has contributed to more than a dozen Best Picture nominees. Over time, casting directors often develop a keen sense for star potential, recognizing the captivating “It” factor that keeps viewers engaged. As Joanna Colbert, who co-cast the Step Up franchise, puts it, “I could tell in the waiting room who was going to be right.” It’s not just about finding the perfect actor for a role; it’s also about identifying the ideal candidate for future roles. “Chris Pratt wouldn’t have been Star-Lord if I hadn’t seen him earlier for Captain America,” shares Sarah Finn, who oversees casting for the Marvel Cinematic Universe. Leslie Woo, who worked on the casting for Josh Trank’s Chronicle, recalls a particularly memorable audition with Jeremy Allen White: “He didn’t get it, but that was the first audition that ever made me cry.

At the upcoming Oscars ceremony in March, a casting director will receive an award for the very first time in Academy history, marking the introduction of the Achievement in Casting category. This milestone has been reached following years of advocacy by Hollywood’s casting directors, led by David Rubin, who served as the Academy’s president from 2019 to 2022. Many of his peers consider this moment as overdue. As Jennifer Venditti, a casting director for multiple A24 projects, puts it, “We are one of the crucial departments at the start of filmmaking and often overlooked at the end.”

However, the arrival of the Casting Oscar coincides with significant changes in the casting process itself, according to over 20 casting directors I spoke to this spring. “The magic is gone,” says Colbert, who also produced the documentary ‘Casting By’ that sparked the push for Oscar recognition.

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Similar to numerous professionals in the field, the work of casting directors has been significantly impacted by a series of interconnected developments: a global pandemic that necessitated moving the process online and caused actors to migrate away from coastal areas, industry leaders who fear that projects might disappear, an audience on social media eager to question every decision. Some express concerns about the future of the craft. To those with a gloomy outlook, Hollywood’s most intimate profession has become less personal. As Gilmore Girls‘ Jami Rudofsky puts it, “It’s not what I used to love doing.” Another professional laments, “The job I initially signed up for no longer exists.

As a movie lover and aspiring actor, I’ve witnessed firsthand the transformative shift towards digital auditions during the COVID-19 era, with self-tapes becoming the norm. This change not only allowed some actors to relocate to more affordable cities, but also encouraged an influx of newcomers into the industry. However, the freedom and accessibility that came with self-taping brought its own set of challenges. Actors found themselves responsible for setting up lighting, editing, and even finding scene partners – aspects that were once handled by professionals.

During the 2023 SAG-AFTRA strike, these issues became a significant point of contention as actors voiced their concerns. Their efforts resulted in a new contract that allowed live auditions over Zoom, along with other protective measures. Nevertheless, in the 18 months since then, it seems the allure of convenience has taken precedence. As Marc Hirschfeld, head of casting for AMC Networks, put it, “When we offer actors the choice between in-person and self-tape auditions, around 60 to 70 percent opt for the self-tapes.

With this change, casting directors now have access to an unprecedented number of potential actors. Previously, they could only meet about 30 performers in person per day. Today, it’s not uncommon for them to review thousands of candidates from various parts of the world. For instance, to fill the approximately 250 roles in the third season of I Think You Should Leave, Woo went through 5,000 self-tapes. These were narrowed down from over 44,000 headshots and resumes that she had initially reviewed. As she puts it, “It’s insane, but that’s what you have to do to find the perfect 70-year-old man with a ponytail.

A casting director who specializes in independent productions mentioned that their colleagues in television receive feedback like this: “Bring more talent in. We haven’t discovered them yet.” This often leads to a cycle of seeing numerous candidates instead of focusing on individual performances. They added that the pace is much faster now, as opposed to the past when one project was completed before moving onto the next. Mathilde Snodgrass, a casting director based in Paris, echoed this sentiment, stating that today’s demands require working on four or five projects concurrently, which was not the case when she first entered the industry.

For seasoned casting directors who rely heavily on their gut feelings, the shift has been quite disruptive. Tiffany Little Canfield, a casting director for “Doctor Odyssey,” expresses this sentiment by saying, “I didn’t earn my B.F.A. to spend 12 hours a day in front of a computer.” Many like her are working hard to resume in-person auditions as often as possible. Tiffany emphasizes, “In the first ten seconds an actor enters a room, I learn a lot about their acting process. Can they accept direction? Can they adapt, even if it’s not perfect for the scene?” Finn shares similar thoughts, stating, “With self-tapes, you only see one choice. That choice might land them the part, but what if it’s a two-hour movie and they only read three scenes?” Alexa Fogel, a casting director who collaborates with David Simon and Ryan Murphy, completely rejects self-tapes: “My role is to grasp the material better than the actor does. I selectively choose who I see. Seeing more people doesn’t appeal to me.

In many cases, the shift to digital has significantly reshaped the interactions between casting directors and the acting world. As Tiffany Mak, a casting director from Vancouver, explains, “I recently dined at a restaurant, and two servers turned out to be actors whose audition tapes I had watched just hours prior. One of them I had cast in a show just the previous week.” Despite not knowing each other personally or revealing her identity, she’s spent countless hours watching their performances over the years. “I couldn’t help but think, Well done, as they went about their work,” she says, underscoring that behind the digital screen, there’s a person advocating for them. Previously, casting directors were recognized by their faces and names. Now, they are more often known as email addresses.

As a movie enthusiast, I find it incredibly thrilling when I get the chance to discover and mold new talents into stars. I remember being captivated by Owen Cooper from Adolescence before he became a global phenomenon, but unfortunately couldn’t cast him due to his limited experience at the time. A month later, he was the hottest young star in the world. These moments are all the more precious for their rarity. However, the evolving dynamics of star-casting have significantly shaken up the casting process. It’s no longer uncommon to see established actors like Michael Keaton and Michelle Williams appearing on standalone TV seasons. As Rudofsky puts it, “They can do this, make a considerable amount of money, and then move on to something else.” In such cases, I might not even need to hold auditions at all. Instead, I could simply compile a list of suitable names. “We present the producers and director with a list,” Rudofsky explains, “and ask, ‘Who would we like to extend an offer to first?'” With the possibility of getting an Oscar nominee for a TV show, the expectation is that you will – even if the script may not be strong enough to attract one. As one casting director puts it, “You can’t tell them that,” so we keep making lists and say, “Sorry, here are all the people who aren’t interested in this project.

The rise of streaming platforms has increased the workload for casting directors – at least initially during the production boom – by providing more opportunities to cater to various parties involved. As Victoria Thomas, who cast “The Morning Show” and Tarantino’s latest films, puts it, “You might have ten people on an email giving their input, and I’m not always sure what half of them do.” Sometimes these voices offer valuable insights, but at other times, it seems like they question decisions that should be left to the director.

Streaming giants such as Netflix are often criticized for having numerous opinions in the room. Apple, while sometimes offering suggestions that aren’t ideal, is generally cooperative. Peacock, concerned about its status as a secondary service, tends to focus on finding leads who can be effectively promoted.

In essence, the film industry faces a predicament similar to television, as prominent actors are often required in studio films. As Kaufman puts it, “Many individuals involved feel they require a name or believe they need one.” The term ‘name’ refers to well-known figures such as those frequently seen in Marvel productions for mainstream movies. On the other hand, in A24 films, actors like Austin Butler, Harris Dickinson, and Callum Turner might be considered names.

The film industry is currently grappling with a shortage of bankable leads, leading some casting directors to emphasize the importance of an ensemble cast, or as Little Canfield puts it, “a string of pearls.” This strategy involves multiple talented actors who are beloved by audiences rather than relying on a single big name that can guarantee a strong opening.

This trend can be traced back to the franchise-dominated 2010s, where IP (intellectual properties) overshadowed actors. Only those already megafamous were able to survive this period.

However, if one looks at the recent success of films like ‘Anyone But You’, ‘Challengers’, and ‘Sinners’, they might view it as a sign that stars such as Glen Powell, Sydney Sweeney, Zendaya, and Michael B. Jordan are leading us back to the days of diverse and emerging talent.

In 2022, critic Alissa Wilkinson highlighted films like ‘Amsterdam’ and ‘Glass Onion’ as examples of this trend.

In contrast, Maya Hawke stirred up a debate within the acting world when she discussed the increasing importance of social media influence in casting decisions. In February, she claimed that having a certain number of followers could help secure funding for a film: “If you have over this many followers, you can get the movie funded.” However, some casting directors are unsure about how widespread this practice truly is. As Little Canfield puts it, “I think it’s a sensationalized story meant to alarm newcomers.” Linda Lamontagne, another casting director, agrees that in specific instances, this trend does occur. She terms it “casting by numbers,” referring to the use of follower counts. Projects aiming at younger audiences or more online demographics tend to implement this approach. While there are indeed numerous talented individuals on platforms like TikTok and Instagram, many people seek influence as an end goal in itself. Casting these individuals can be challenging, admits someone who has attempted it: “They earn more for posting than they do for my entire project.

It’s hard not to raise an eyebrow when you see Ivy Wolk everywhere these days: The dry-witted 20-year-old comedian gained over 200,000 TikTok followers before deleting her account, and has since landed roles in Anora, English Teacher, and Friendship. However, this rapid rise to fame feels reminiscent of the old Hollywood era. “Ivy has a manager, and I appreciate his discernment,” notes Gayle Keller, who cast her in English Teacher. Some casting directors are now embracing the idea of hiring influencers. For instance, on the Doctor Odyssey spring-break episode, most guest stars were either nepo babies or TikTok sensations. “We aimed to find people that young viewers would be intrigued by: individuals who are active on social media or in gossip columns,” shares Little Canfield.

According to Hirschfeld, “Selena Gomez’s casting in Only Murders in the Building wasn’t just because she’s popular; she was creatively suitable for the role. However, it would be shortsighted not to utilize her immense popularity on Instagram, which boasts over 400 million followers. That is a significantly more effective promotional tool compared to placing posters on buses.

In certain sectors of the film industry, the casting process often operates as it should, allowing filmmakers and casting directors to work closely together and make their own decisions about actors. Successful productions like “The Bear” and “The White Lotus” are frequently cited as instances where this is done effectively – they’re willing to take risks, nurturing new talent rather than relying on established stars. A24 often fulfills a similar role in the movie world. As Kaufman puts it, “You’re allowed to have a little more fun” working with A24, and their readiness to leverage their brand to help secure actors is appreciated by casting directors.

In Neon’s film Anora, there was a great deal of enthusiasm among casting directors, demonstrating the potential for a successful movie even without a big-name star. However, it also sparked some apprehension. As Rudofsky points out, “Now Mikey Madison has an Academy Award, and last year many people worldwide had never heard her name.” Interestingly, Anora did not utilize a casting director. One casting director explains, “I’m fine with a director casting their own movie, especially one like Sean Baker who does everything extensively.” However, they caution against claiming credit for the cast. They suggest that if Baker were to win an Oscar for Best Casting in the future, it would be unfair and disappointing. That, they say, is when it becomes questionable, as it potentially takes away from the role of casting directors.

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2025-06-06 14:55