It follows an unraveling couple (Oscar Isaac and Carey Mulligan) at an elite country club, whose volatile relationship is exposed after two young staffers (Charles Melton and Cailee Spaeny) witness a disturbing confrontation, setting off a chain reaction of manipulation, power plays and escalating fallout. The story also taps into the generational divides of Gen X versus Gen Z. Youn Yuh-jung costars as the club’s billionaire owner, Chairwoman Park, bringing boomer presence into the mix.

Key Insights

• The series blends actors’ real-life experiences into the script, creating more specific and authentic characters.
• Extensive collaboration and rehearsal allow actors to take bold risks while staying grounded in truth.
• Detailed character backstories, from finances to upbringing, shape performance choices in subtle but powerful ways.

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Creator Lee Sung Jin, also known as Sonny Lee, drew from several real-life experiences when shaping the season. Speaking at a press conference attended by Casting Networks, he recalled overhearing a heated argument between a couple in his neighborhood. When he shared the story with friends, he noticed a generational split in how it was perceived. His Gen X peers brushed it off, while his Gen Z friends were alarmed, asking whether he had called 911.

Another key influence came from house sitting for a friend in Montecito, who had recently sold his tech company for millions of dollars. Lee was given access to the friend’s country club membership, something he initially pooh-poohed. “Then you use it for a week, and you’re like, it’s kind of nice!” he said.

Spending time there, he noticed a clear divide: most of the members were boomers and Gen X, while the staff skewed millennial and Gen Z.

“I found that to be a great microcosm for society,” he said. “No matter how hard those employees work, they’re never going to become members.” He pointed to a line from the show where Melton’s Gen Z character Austin observes, “Everyone grabbed the bag before we could,” a sentiment that reflects growing frustration among younger generations navigating a system that feels increasingly out of reach in today’s world. 

“Once we had that metaphor, we kind of ran with it,” said Lee. “I think you can’t write anything true in 2026 without tackling the variable of class. It’s something that permeates every interaction, unfortunately, and it’s not like it’s getting better. If you’re putting your brain into these characters’ minds and trying to wonder what they do, I think money is a huge factor.”

Isaac and Mulligan spoke about playing Josh and Lindsay, the husband and wife whose argument is caught on a cellphone by the younger couple and then used against them to climb their career ladders. The duo previously worked together on 2011’s Drive and 2013’s Inside Llewyn Davis, with Beef marking their third collaboration. Isaac said they’ve also experienced their own generational shifts across those projects.

“We were like Cailee and Charles when we met on [the set of] Drive — young, fresh-eyed people just beginning our careers,” he observed. “On Llewyn Davis, we had met our significant others and were getting ready to embark on starting families.”

Now A-list actors and parents, the duo bring that lived experience into their roles. “Being able to bring in that history, that shared past, that lived experience, and to have so much trust already, I knew that it would be an opportunity for us to be able to be bold together and know that we had each other’s backs,” Isaac said.

That perspective, according to Isaac, also extends to the show’s generational themes. “We can look back with judgment on them now that we know so much more about life … and yet [the characters are] totally blind to the way that they are behaving in the moment.”

Isaac said he worked closely with Lee and Mulligan on the explosive argument sequence, describing it as highly collaborative.

“We spent so much time calibrating that and getting the tone just right, knowing that we needed to end in this tableau,” he explained. “Trying to figure out every version that made the most organic sense to get to that place was an incredible puzzle to solve together.”

Mulligan added, “It’s so easy to act with Oscar because … he’s very bold in all his choices, but none of it feels forced.  Because we had a long lead-up — lots of conversations with Sonny, we had rehearsals — and when we actually got to shooting it, it felt like doing a play. That meant that we could try things. There was a sense of real ease to it.”  

Both Isaac and Melton praised Lee’s willingness not just to draw on his own experiences, but to incorporate those of the actors as well.

“What drew me was the conversations I had with Sonny,” said Isaac. “We had these very long Zoom conversations. There were hours of talking together … mostly about our lives.”

He added that Lee created detailed backstories for the characters, including where they were born, where they went to school, and how much money they made early on. At the same time, as conversations evolved, there was room for evolution to add new information, which would shift and change the character. 

“Josh wasn’t written as a Latino character,” he said of his role. “Lindsay [Mulligan] wasn’t written English [i.e., British]. We found our way into that.”

Melton echoed that collaborative process. “There were many hundreds of hours in the collaboration where we were just sharing personal stories and certain experiences.” 

He shared with the showrunner that even though he is Korean American, he was often mistaken for Mexican growing up. That detail made its way into episode 3, in a restaurant scene where his character Austin says, “Everyone thought I was Mexican.” 

“What Sonny does is not only put in his own experience, but blends it with yours and then puts it into this brilliance of what Beef is.”

The post Inside Netflix’s ‘BEEF’ Season 2: How Collaboration and Lived Experience Shaped Performances appeared first on Casting Networks.

It first premiered on the West End in 2023 at the Phoenix Theatre. Set during Henry Creel’s teenage years, the show reveals the origin of Creel’s psychokinetic powers. Danielle Kassaraté is the current associate director.

Danielle’s first experience directing began on a production of All My Sons, leading to work assisting on productions of The Lightning Thief: The Percy Jackson Musical, Tambo & Bones, The Tempest at The Globe and King Lear at the Almeida Theatre. 

Key Insights

• Let go of trying to “get it right” in auditions and focus instead on bringing a playful, authentic version of the character into the room.
• If you want to direct, start by creating with your peers because collaboration is often the fastest path to real experience.
• Approach theatre as more than performance, using it as a tool to connect, heal, and create meaningful change.

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After studying musical theater at the BRIT School in South London, Danielle trained as an actor at the Royal Central School of Speech and Drama. Her acting credits include the Netflix series The Sandman, The Color Purple musical performed at the Birmingham Hippodrome and the Leicester Curve, the international tour of The Curious Incident of the Dog in the Night-Time and The Architect at Greenwich + Docklands festival.

She is also the co-founder of Mawa, the UK’s first all-Black, all-female Shakespeare theater company.

First the resident director and now the associate director, she has her hands full. Danielle spoke to us directly from The Phoenix Theatre in London.

Can you tell us about your earliest inspiration to become a director?

My mum always took me to the theater, and when I was younger they used to have these offers, for … I don’t know if it was just for nurses, but you could get these discounted tickets. There were these vouchers that my mum used to get as a nurse for West End shows, which I obviously don’t think is a thing now, which is a shame.

That made theater accessible for me and her. Basically she took me to the theater a lot when I was younger, because of this discount, which allowed more people to go to the theater, especially in the West End. 

I remember having early memories of watching shows and just being really inspired. I don’t know if it was to be an actor, but I knew I wanted to do something that linked with creativity. There was something in watching other people do and create a world on stage that I wanted to be a part of quite young, and I loved theater at school and all of that. I was always involved in anything that was creative. 

I think it started with my mum really because she encouraged that side of myself from a young age, and we were able to go to the theater and I saw how that isn’t a luxury for a lot of people, especially from different backgrounds. I feel really lucky that I got that, but like I said, there were deals back then which we could use, which meant that we could go. 

One of my earliest memories was seeing Porgy and Bess — it’s a funny full-circle story actually. I saw Clark Peters in Porgy and Bess, and I ended up working with him on King Lear as an assistant. I saw that production, and I saw myself on stage with all these wonderful actors, and thought, “Ah, I can do [that]” with an actor I admired, to then end up working with him on a show that I was also very passionate about. It was a beautiful full-circle moment.

How did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?

I trained as an actor, I did drama and applied theater in education, and that came about because I went to the Brit School from age 16. I was at BRIT studying musical theater and during that time, you know, you get to a point where you have to choose what you want to do, which schools you want to apply for.

We did a community theater project with a local school, and we did a big show at Fairfield Halls for lots of schools to come and watch as well, which was part of this community project, as part of our course.

I remember at the time, a lot of other actors in my year were like, “Oh I’m gonna apply for this school.” They knew exactly what they wanted to do. They knew exactly what schools they wanted to apply for. In terms of the next step in the industry, I was just like, “I’m not there yet.”

I’m not in this space of wanting to be like, “I’m gonna go to this school, and I’m gonna be doing musical theater and I’m gonna be on the West End.” I knew in myself that I just didn’t have that calling at that point in my career and in my life because I was only 17. 

Then I said to my drama teacher at BRIT, “Yeah I’m just figuring out what I want to do, but I really love the community theater project.” She was the one that told me about this course at Central because she studied it. I was like, “Oh, okay,” then I did what everyone else does, I applied, went to the open day and got in.

I went there for three years, many ups and downs like lots of courses, but what I got from it was definitely life affirming. I’m glad I did something like that course before being an actor in this industry. 

You get to understand that there is more to theater than just being on stage, and I know we all know that, but it’s a vessel and a tool that we can use in society to help heal and to make inclusive. To have fun and remind people that there’s escapism we can go to in hard times, and that’s what I loved about that course, that I was able to do that. I worked with Mind Charity, as part of our course and I worked with schools. 

When I graduated, as part of my placement, I worked with a company called Haringey Shed full time. So that placement was like part of my career, somehow going into directing. You end up directing lots of youth theater and children’s theater, but at the time you don’t put that down as directing, you’re like, “Oh,  this is my job.”

But, in reality you’re directing 50 plus kids on stage, trying to put together a production of The Tempest. So yeah! You are directing! My journey through to Central was not linear, but that’s how I got there.

You co-founded The Mawa Theatre Company, the UK’s first all-Black, all-female Shakespeare company. Can you tell us more about Mawa?

We founded it in 2020, during the pandemic, going into 2021. It came off the back of, you know there was a lot of unrest going on at that time, a lot of pain. There were lots of theaters and people opening up discussions. Maisey [Bawden] who had the idea for it, of wanting to create space for us, and that if we were going back into an industry that was going to open up, what would we want the industry to look like?

All of us had a passion for Shakespeare, and I kind of came in through my experience with the outreach and that sort of thing from my experience at Central. I was really keen on the outreach side of stuff, then eventually we put all our heads together. Me, Gabrielle [Brooks], Jade [Samuels] and Maisey, and yeah we came up with Mawa. 

We did a series of online videos throughout the pandemic. We did some more online videos, with my stint at Queens Theatre Hornchurch, alongside with Maisey and through Mawa, we did Shakespeare on Sea. We did a monologue slam in Birmingham and we did one at The Globe in London.

In terms of the future of the company, like lots of things, people evolve and they keep discovering who they are creatively, but Mawa is still and will always be something that was founded from a place that was about creating more opportunity for people. Whether that happens individually or together is something we are still discussing.

There is always space to hold for that, whatever aspect and whatever job. What I know for myself, is that even if I’m not doing an all-Black female Shakespeare show, in terms of creating space and holding space for people that haven’t always had that, is always at the forefront of my mind.

As the associate director of Stranger Things: The First Shadow, can you explain what the role involves?

I look after the show on a week-to-week basis, and that includes going in, watching the show and noting anything office-based, as well to do with cast holiday. Communicating with the offices on anything we might need in the building, but the overall role is the director that is there day to day. That includes parish notes, which is something that we do at the beginning. You need parish notes, maybe to discuss things that happen throughout the week or something you want to work on. 

To be the outside eyes as a director in the building, to help maintain the original vision of the show. A resident is someone that’s on the ground most days, throughout the week, and then you’ve got an associate director who comes in every other week.

Anna Girvan, is my point of contact. Then above Anna, you have the original directors, Stephen Daldry and Justin Martin. It’s about keeping Stephen and Justin’s vision of the show throughout the whole run of it. I rehearse in covers, I run the cover rehearsals and I re-rehearse anybody, like the young actors. We’ve got children in the show, the young Alices, so I rehearse them into the show.

So lots of creative input still, which is nice, because you still get to use your directing chops with the people that are being rehearsed back in.

What advice can you give to actors about auditioning for theater and about the pressure they might feel from being in the audition room?

Doing a long-running show, I think it’s very easy to feel like you have to be a carbon copy of what the show is, especially with a show like ours. You have a television series to reference, but Anna always says in the initial first-round discussion that we’re not looking for that, we’re looking to see what you bring to that.

Of course, there are backstories, there are characters that you can reference, and I think this is with any role, try not to come in expecting what you want us to see. 

Always research the show as much as you can, and that doesn’t mean forking out money to go and watch the show. Like for our show, it’s just useful whether you know the series. If you know the series, you know the world of it, right?

So you’ve got a great reference for that, and what I’d also say is to be as prepared as possible, [and that] doesn’t mean having to be off book. I think there’s this pressure of actors always thinking they have to be off book, and yes it’s useful to be familiar of course, but be playful.

What can happen is you learn a version of it, and then because you’ve learned a version that you’ve rehearsed at home, you can suddenly come into the room and then without realizing it, it’s not as playable.

In terms of young actors I’d say just take the pressure off, having been on both sides, having been rejected many times in my career more than I’ve been said yes to, like we all have, it really sometimes comes down to the smallest thing, and don’t hold on to that.

There’s been amazing talent that along the way you say no to, and sometimes it’s literally just that they’re brilliant, they’re just not right for this show. So just remember that, remember that this “no” is leaving room for the next “yes,” and it’s not always a bad thing. I think straight out of drama school the want is obviously to get jobs and book, but realistically,  this industry is very tough.

I would never want anyone to leave an audition process and think that just because they got a “no,” for their dream role in the West End that it means that it’s “no” forever. It’s very important to hold onto that, because I’ve been there, I understand that, it’s hard.

It’s important when you’re young to not let that define the rest of your auditioning process and let that “no” get to you. There really will be, if you want it, there will be other opportunities that are right for you.

That’s great advice. What would you say is the best approach for an actor in terms of collaboration with a director?

I think being playful with room to play and offer, and that comes through the rehearsal process, even on a long-running show. I’m lucky that I’ve worked on some that allow that room for the actors to still bring themselves and find choices that work for them, yes within the perimeters of the show, but it’s important that the actor still feels ownership, so room to play is definitely invited.

I think throughout, that my main advice is play and offer, and then we go on a journey together and discover what the role is for that specific actor.

What advice can you offer for actors who are also interested in directing?

I’d say go for it. Team up with your friends, I know someone I taught at at [National Youth Theatre] (NYT), she had never really directed before, and off the back of what we did was like, “I really want to try.” So her friend came to her with something and they just put it on at a fringe festival in Camden, and that’s really the way to do it. Even with us at Mawa, we’ve come together, and through coming together, I’ve directed a couple of things for them.

That’s the nature and the beauty of our industry is that we know so many people. Get your friends together. Drama schools are a great way to do that, I’ve done that, it’s a great way to exercise those directing muscles. If you have access at your old drama school, you can ask to assist on a first-year project and a second-year project, and eventually you get a third-year one.

That’s what I would say, is use your tribe to create your own opportunities and your own work.

How has your experience as an actor influenced your directing style?

I come from a place of understanding what it’s like to be on the other side. When I did my first assisting role, I thought, “Oh, I have so much more compassion for the creative team,” because as an actor you turn up and you do your thing and you go home.

You’re going home, and yeah, you’re running lines, but a lot of the time the creative team is sometimes going until really late some days, just discussing things. How this thing isn’t working, or that thing isn’t working, and once the actors leave for tech, the creative teams are still discussing stuff. 

You know actors are on a break and we’re still discussing things. That being said, I have more compassion for this side of things because I’m on it, but I also have understanding and compassion for actors, because I have been on that side. I know how draining it is, I know that some days you turn up and you’re not feeling a hundred percent.

You’re not feeling it, and there’s nothing worse than when you’re not feeling great in your body and you’re trying to find a role. So I have lots of empathy for that side of it as well. 

My main headline is having compassion for both sides, that’s how acting has influenced my directing style. Just making a call like, “Okay, maybe today isn’t the day that we run that bit, because I can see that actors are having a day.” Which most directors would do anyway, but I’ve been the actor having a day, and having to do something and it’s not been great.

I would have liked … maybe someone in the room to take a beat on that before doing anything. I’ve done things with heavy shows, when you’re being asked to do that scene, over and over again. So actually let’s finish at 4 p.m. today, because doing that until 6 p.m. for 6 hours or more sometimes, might not help us in the long run for that actor, you know?

Finally, what show on the West End would be your dream production to direct?

My background is in musical theater, so I would love to direct a musical for sure. There’s a production called Five Guys Named Moe by Clarke Peters, and I would love to explore a gender-swapped version of that. Especially because the themes and the songs are actually a lot about women.

I would be intrigued to unpick that story to see how it would look through a female lens about how men betrayed women during that time and now, and flip it.

You can watch all five seasons of Stranger Things on Netflix now.

The post Danielle Kassaraté on ‘Stranger Things: The First Shadow’ and the Audition Mindset Actors Need to Book More Work appeared first on Casting Networks.

Casting directors Bernard Telsey, Adam Caldwell and Tiffany Little Canfield were tasked with casting this ambitious project. Telsey and Caldwell spoke with Casting Networks about the casting process and how rising star Tonatiuh landed the coveted role of Molina.

Insights From Bernie Telsey and Adam Caldwell

• Use the audition process to explore and show your full range instead of worrying about rejection, as casting teams want to see your authentic artistic expression.
• Be prepared to take notes and adjust quickly during auditions to demonstrate you can collaborate well with directors, music, and choreography teams.
• Showcase all relevant skills because casting often assesses these simultaneously, so stay versatile and ready for different audition demands.

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What was Bill Condon’s vision for casting this film?

Bernard Telsey: Bill really wanted to tell this story in a modern way, even though it takes place in the 1980s. We wanted to cast it authentically, with actors of Latin descent, Spanish, etc. Bill sent the script to Jennifer Lopez, and she loved it — specifically his screenplay, because he adapted it differently from both the Broadway musical and the original film.

She was not only a perfect choice for that role, but in today’s world of independent filmmaking, you need names to help move a project forward. She helped get the movie greenlit. So she came on board first, and Diego followed.

How did Diego become involved?

Telsey: Diego was definitely on Bill’s list. Having no idea if Diego would be available or interested, we expanded the list as much as possible and did that homework. But this was another situation where Diego read the script and said, “Yes.” 

The main trio is rounded out by Tonatiuh as Molina, in what’s essentially a star-making role for a young actor. What qualities were you looking for in that character, and how did Tonatiuh fit the bill?

Telsey: I don’t think we had any idea who would be playing Molina. Again, we wanted it to be someone of Latin descent. We wanted it to be someone who was gender non-conforming.

We knew Tonatiuh from his previous auditions. He sent in a self tape and he really stood out for Adam, Tiffany and myself. We sent it along to Bill, who said, “Yes, yes, yes, let’s keep him on the list, let’s keep pursuing him, but let’s do more, let’s keep looking.” That’s the nature of casting. You’re not gonna stop searching. But Tona stood out.

Caldwell: The search was international. The majority of it was from Zoom auditions and self tapes at the start. We had help from [regional casting], who were covering Central and South America, and even looking in Spain. We had someone local in Buenos Aires doing a deep dive. We had a wonderful casting associate named Candido Cornejo, who is a trans casting professional who speaks Spanish, so she was able to really search in other markets that were Spanish-speaking.

What material did you have the actors read for the audition?

Caldwell: It was the one of Molina and Valentin’s early scenes together, where Molina has to make an entrance and be their flamboyant self, show the humor, and the essence of who this character is when walking into this prison cell and taking up this all amount of room and oxygen that you see in the movie.

We also included a more internal, quiet, scene that leads into the song, “She’s a Woman,” Molina’s big solo moment in the movie. So, we had the humor-comedy entrance, and the vulnerability of the line, “I’m a woman, why don’t you believe me?”

Do you give adjustments to the actors during this process? 

Caldwell: There are always adjustments, that’s part of our process, not only from a performance level, but we need to see how an actor responds to making an adjustment. Later, when we speak to Bill, the music director, or the choreographer, they need to know if the actor can take notes, make changes, and work together with others. 

Since this role requires someone who can act, sing and dance, does that mean three separate auditions?

Telsey: It’s sort of all happening at the same time because people were auditioning from all over. The minute we liked someone, they were getting more scenes from us, and then being brought in to in-person auditions.

Tona was in LA, and Bill was traveling back and forth between LA and New York, so we had Tona come in and work with him. When that session went well, then it was like, “Okay, now let’s go in the other room and do the singing auditions with the musical department.” Then it was, “Let’s call Sergio (Trujillo, the choreographer), and see if we can dance Tona tomorrow.”

Bernie, you co-own a theater space in New York. That must have come in handy.

Caldwell: Part of our process of getting Tona in a room with Bill was creating a sort of “play area” in Bernie’s theater. We had cots and mattresses (to recreate the jail cell), and the costume department had a bunch of silk robes and skirts that Tona was able to have at his disposal.

What was the “aha” moment when you realized Tona was the one?

Telsey: It was the day that we had him dance with Sergio. We’ve seen people who look like they can dance, who say they can dance, and then have two left feet. So for me, it was the moment Tona was dancing, and it was working. I know Sergio well enough that I could see he was liking him. That was the moment for me that was like “Oh, Adam, we got it. Tiffany, we got it!”

Adam, what about you? When did it click for you?

Caldwell: I don’t know that there was one specific moment, because it felt more like a natural progression. From Tona’s very first self tape, I was struck by the way he found grace, beauty and movement, and posing in a way that really fit Molina. He captured a beautiful femininity in an exciting way. 

What made his performance continue to stand out as the process went on?

Caldwell: With Tona, there was never a moment where we thought this may not work. At every point that we explored further and took more time, there was an additional layer of excitement that this was still working, from the in-person stuff to the dancing to the chemistry reads.

We were getting reports that it was going well in conversations between Tona and Bill. Tona would go to see (costume designer) Colleen Atwood in preparation for the in-person session, and Colleen would send us some quick photos of Tona trying on some of the costumes, and playing around with different poses and light that looked so beautiful.

Telsey: He just kept opening himself up more and more as it got further along. The pressure was on. A person could either fall down under that pressure, or, in Tona’s case, he just kept opening up.

I try to tell actors all the time: use the audition process to explore, to deepen, to show, rather than worrying about whether you’re going to get rejected. Tona never let that word even live in his aura. Because if rejection happened, so be it. He used the process as a chance to act, to dance, to show.

So, for actors, should they not think about rejection during auditions?

Telsey: Everybody in the room wants it to work, even if you think otherwise. Don’t focus on being rejected or not being liked. Show everybody what you have, because what you have is what we want.

Caldwell: What we want is to see your version of the character. If you’re second-guessing or trying to please us, that’s not going to serve you. It’s about being the artist that you are, and presenting to us, based on the information that you have in this moment, how you think this goes. 

Even if you’re off base?

Caldwell: Even if it’s not right. Because it’s who you are, and we can help you with some more information to get you closer to what the team is looking for. We can give you a bit more guidance, but it’s coming from a place of collaboration, and not just someone telling you how to do it.

Final Takeaways

Auditioning for a major role is a challenging but invaluable opportunity to grow as an actor. The casting process for Kiss of the Spider Woman shows how embracing your unique qualities and staying open to collaboration can set you apart. Here are some key takeaways for new actors navigating auditions:

• Use the audition to explore your character deeply instead of fearing rejection.
• Show your authentic self and don’t try to second-guess what the casting team wants.
• Be ready to take notes and adjust your performance quickly during auditions.
• Prepare to demonstrate all required skills, such as acting, singing and dancing, often in one process.
• Treat every step as a chance to build chemistry and connection with the creative team.

You may also like:

• Jessica Munks’s Audition Advice: ‘Just Be Yourself’
• Judy Blye Wilson Reflects on Her Legendary Casting Career
• CSA President Destiny Lilly Talks Protecting Yourself from the Fake Casting Director Scam

The post Bernard Telsey, Adam Caldwell On the Casting of ‘Kiss of the Spider Woman’ appeared first on Casting Networks.

London-based casting directors Lucy Bevan and Olivia Grant first met with the show’s executive producer Jonathan Cavendish and Wright, who not only stars as Laura, but also served as executive producer and directed three of the six episodes. Their first task: finding the right actors to complete the central trio of Laura, Daniel and Cherry.

Bevan and Grant spoke with Casting Networks about how they found their leads, the joy of in-person auditions, and what actors can do to stand out in the room.

Insights From Lucy Bevan and Olivia Grant

• Actors should focus on building genuine chemistry with their scene partners during auditions, as casting directors highly value authentic connections.
• Be adaptable and open to notes in the room, showing flexibility and willingness to explore changes during the audition process.
• Avoid distracting habits like chewing gum, and always present yourself professionally to make a strong, positive impression.

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How did you begin the casting process once you came on board the series?

Bevan: We auditioned a lot of actors here in our London offices. Robin was really open to being introduced to actors that we thought were strong and right for the roles. When Robin met Olivia, there was clear chemistry between them. We saw loads of boys for Daniel, and had a fantastic auditioning process here in the office with Robin.

The scene the guys read was the one where Daniel and his mother are in the sauna, having beers. When Laurie came in, what made him stand out?

Bevan: In that scene, Daniel says to his mum, something like, “I’ve met somebody, I think you’ll really like her, she’s just like you.” And then Robin goes, “Or is she just like me?” I remember Robin and Laurie reading that in the room, and it just felt really right.

Grant: The thing that Laurie had immediately in his audition was this fantastic sense of humor. The character doesn’t take anything too seriously, and he sees the best in people. Laurie was so immediately relaxed when he came in, and the chemistry with Robin was instant. When he left the room, we all just went, “Oh my God, that’s Daniel!”

Once your three leads were set, how did you go about filling out the rest of the ensemble?

Bevan: Finding Laura’s husband — someone handsome, gorgeous, kind and decent enough for Robin — was a challenge, but Waleed Zuaiter was perfect, I think. We wanted the cast to reflect a multicultural London, so I’m happy about that because that’s been achieved, including characters like Laura’s two friends, Isabella and Brigitte, played by Tanya Moodie and Shalom Brune-Franklin.

Grant: The other role where we did a really deep dive was Tracey Laine, Cherry’s mum. I must confess, I don’t think we were familiar with Karen Henthorn before, but she was so vivid and fierce and took no shit. She came up the ranks pretty quickly (during the audition process) and was so amazing in that part. We’ve had loads of messages from people being so complimentary about her performance.

She’s the kind of person where you look back at her work, and you go, “Oh, I’ve seen her in this, and in that,” but this part feels like a real showcase for her.  Then there was Lillith, Laura’s ex-lover and friend, played by Anna Chancellor. The audience had to believe this was someone Laura would have had a long-term relationship with. Lillith also needed to have a sense of humor, but also stay grounded, because some pretty wild stuff goes down.

Robin Wright was deeply involved in casting and directing. How common is that for a star of her caliber?

Bevan: Robin was really open to meeting actors and auditioning with them. She was so open to being introduced to new ideas and actors she didn’t know, and it was a real joy to work with her. That’s why it’s a great cast — because we took a deep dive on all of these characters.

Grant: She also directed the first three episodes, but remained involved across everything, even after episode three, because she is also a producer. 

After years of virtual auditions due to COVID, how does it feel to return to in-person casting unencumbered?

Bevan: You can really feel the chemistry and feel what works with in-person auditions. For a director, you can feel what you’re getting from the actor, or what you need from the character. That’s certainly what happened here. With Laurie, you could feel it in the room. It was very exciting.

Grant: In-person for this show was also a fun process because Robin would change bits of dialogue when she’d realize something wasn’t working out loud. Things evolved in the room, and she took what the other actors were doing and incorporated it. It was a really fluid process. 

Are there any actors you’ve discovered through auditions that you’ve continued to bring back for other projects?

Grant: I just watched F1: The Movie for the first time, which Lucy cast, and I was like, “Oh God, that’s Elena Rivers (playing a super club hostess).” She was somebody Lucy had done a general with, and within the three months, she’s in Bridget Jones: Mad About the Boy, playing Hugh Grant’s young girlfriend, she’s in F1, and she’s in The Girlfriend as a snooty shop girl. It’s just such a pleasure to [work] with those kinds of day players and be able to throw them into different things.

Bevan: Often, when an actor auditions, they may not be right for the role, but if we think they’re great, we’re going to think of them for something else. That happens all the time. For example, Marina Bye [who plays Pandora Henry on The Girlfriend] was so funny at her read-through that we also cast her [as a nurse] in Bridget Jones: Mad About the Boy.

What do you look for in an actor when they come in to audition for you?

Grant: Be able to take notes, be changeable, roll with it, and have fun. 

Any big “don’ts”?

Bevan: Chewing gum. I had someone recently who did that, and I wanted to hold out the dustbin. Just don’t.  

Final Takeaways

Casting directors Lucy Bevan and Olivia Grant share valuable insights from their work on Amazon Prime Video’s The Girlfriend. Their experience highlights what makes actors stand out in auditions and how the casting process has evolved post-pandemic. Here are some key takeaways for actors looking to make an impression.

• Focus on creating real chemistry with your scene partner to bring authenticity to your audition.
• Be ready to take notes and adapt quickly when directors suggest changes.
• Approach auditions with a sense of fun and openness to the process.
• Avoid distracting behaviors, such as chewing gum, to maintain professionalism.
• Remember that even if you don’t fit one role, a strong audition can lead to future opportunities.

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The post Lucy Bevan and Olivia Grant on Building Chemistry and Casting ‘The Girlfriend’ appeared first on Casting Networks.

The last of those connected her with Steven Knight, the writer-creator of shows like Peaky Blinders, and the brand-new Netflix smash hit House of Guinness.

Knight and the production company behind the show, Kudos, hired Crawford to cast the new show. Starring James Norton, Anthony Boyle, Louis Partridge, Emily Fairn, Niamh McCormack, Fionn O’Shea, Danielle Galligan and Jack Gleeson, it follows the four children of legendary brewer Sir Benjamin Guinness after his death in 1868. Any fan of Peaky Blinders will love it.

The eight-episode first season dropped on the streaming service on September 26. Crawford spoke to us about it from her London office.

Insights From Kahleen Crawford

• Actors should embrace complex, less obvious roles to showcase range and surprise audiences.
• Taking on projects with strong writing and collaborative directors can elevate performances and career growth.
• Be open to working with emerging talents and ensemble casts, as fresh dynamics can create powerful on-screen chemistry.

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How did you get on the show? This is the second time you’ve worked with Steven Knight, right?

The original producer of SAS: Rogue Heroes had liked some of the stuff that I had cast, and he just phoned and said, “I’m doing a show with Kudos. Steven Knight has written it, and we’d love to send it to you.”

I thought there’d been a massive mistake, because it’s not the kind of show we did. We do more straight drama, sometimes police dramas, but not really soldier stuff. I thought, “Are you sure you’ve got the right number?” But I read it and it was so brilliant, and just nothing like anything we’d done before. So I went in and met with all of Kudos, and Steven was there as well, and he’s really great to be in the meeting with.

We had a bit of fun, and it was clear he was very collaborative and really interested in what [my] thoughts were, and they hired me.

So when he came back around with House of Guinness, you obviously jumped at it.

Yeah, 100%. From the first phone call, it was, “We’ve got this show. It’s about the Guinness family, the death of Benjamin Guinness, and then the kids taking over the company.” I said, “Just send it.” And loved it. Absolutely loved it.

Let’s talk about the cast. One of the things that stunned me was James Norton as Guinness tough guy foreman and fixer Sean Rafferty. It’s not the kind of role I’d seen him play before.

The show Happy Valley was his big breakthrough role, and, plot spoiler — he plays a rapist. So we knew that he had this darker side to him. But what was really interesting when we were putting together lists, you come up with certain actors, and obviously, this show has a high budget, so there’s a good degree of pressure on us.

You’ve got “created by Steven Knight,” which is a huge help, but there’s still a lot of pressure on us to deliver names. You’ve got four young leads, and we knew we might be coming up with some really fresh faces; we knew we had talented up-and-comers, but none of them are going to necessarily bring in as much of an audience as you need for that kind of budget level. So when we [were looking to cast]

Rafferty, that felt like somewhere you could put someone who audiences really enjoy watching. The exciting thing about James is that we knew that he had this darker side and that he could bring that with him. But we also knew he wasn’t so obvious for it.

Since you mentioned fresh faces, Niamh McCormack is the definition of the fresh-faced Irish lass, but she’s also surrounded by a lot of other actors who have worked, but not a ton, and are far from famous. I’m curious about the politics of putting lesser-known Irish actors into these roles.

Anthony Boyle is someone we’ve known for 10, 11 years, and we knew he was going to do really well. I think he is incredible in House of Guinness, but that wasn’t a gamble. The gamble was that there are lots of different ways you can say Steve’s words, and we can all have a different vision for how that could be realized.

It was like a blank slate, with lots of different ways to skin these cats. It was more about putting together an ensemble of four characters who would feel like a band. Then they have to match their potential love matches, and everything’s this massive puzzle that we were putting together. 

Sure, but there’s also the complication of casting a huge show with people nobody knows.

The politics of it were, “Trust us. These kids have got it.” The producers then see it all, and everybody says, “Okay, we’re just going to take the leap of faith.”

Also, if you don’t give people big breaks, if you don’t give them big roles, you’re never going to have anybody else in the future who’s getting more experience. You can’t cast the same people again and again, you know? So casting unknowns or newer talents, or up-and-coming talents, doesn’t faze us.

Specifically, though, Louis Partridge, Emily Fairn, Fionn O’Shea, Danielle Galligan and Niamh — none are remotely household names. It’s a gamble. It paid off, but it’s still a gamble.

I think it’s so much in the writing, and in the way [director] Tom Shankland works with actors and the trust that’s created, and the passion and enthusiasm of our producers. So you’ve got all these amazing words that Steven Knight writes, which are a gift, and not every actor can handle his material.

I think it’s a combination of Steven’s writing, of Tom working with actors and creating such a lovely atmosphere, and hopefully we do, too, in the casting room, but then translating that onto set, and then hopefully all the actors seem to get on like a house on fire. It’s just a bit of alchemy.

Let’s talk about Jack Gleeson, who most people know from Game of Thrones, and he brings a much more fun kind of malevolence to this role.

Jack was on a list, and the thing to think about somebody who’s played such an iconic role, but you don’t have a relationship with them, is that sometimes starting that relationship can be asking, “Do we reach out and say, ‘Hey, do you want to come in and read?’”

We had a lot of really established young actors coming in, as well as older established actors coming in and happily reading, because the material was so strong, and we gave them access to some scripts so that they could really make their own judgment.

Jack had been in theater so much and doing other things, but I know his agent really well, and his agent was like, “He’s going to come in and read. If he likes the material, it won’t be a problem.” It was as simple as that. A normal process. There was something when Jack came in that was like, “Okay, yeah, that works.” That was special; he really created the character. 

When you finish a project like this, the producers are happy. Steven’s happy, people are watching, you clearly hit a home run. Do you allow yourself to enjoy it? Do you give yourself credit? Or do you just say, “Okay, did it, on to the next?”

You’d need to ask my therapist. (Laughs) It’s hard. I had a conversation with one of the execs from Netflix at the premiere party, and a similar thing happened. She told me, “Stop deflecting.” I think we’re really happy with the casting of Guinness.

There’s always going to be moments when you know you really fought for someone and you really stuck your neck out, and you just hope that they bring it home. I think on this show, they all did. Some of them we stuck our necks out for more than others, and sometimes you forget that you really stuck your neck out for them because the idea was met with such interest. We’re incredibly proud of the cast, but that’s still not the answer to your question, is it?

Not really, no.

(Laughs) Okay, I think we can give ourselves a moment to say we’re really, really happy with the casting and with the cast, yes. I think maybe casting attracts a certain type of personality.

We’re there to facilitate a number of people doing our best work, and maybe their best work. And maybe while we are managing to facilitate them all doing their best work, we’re doing our best work quietly.

The thing is, so often, in film announcements on Deadline or other [news platforms], casting directors aren’t even mentioned. Like, are we chopped liver? There’s still a lot of work to do. 

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The post Kahleen Crawford Reveals the Casting Insights Behind ‘House of Guinness’ appeared first on Casting Networks.

The pair’s latest project is Scarlett Johansson’s directorial debut, Eleanor The Great, starring June Squibb, Chiwetel Ejiofor, Erin Kellyman and Jessica Hecht. A big hit at both the Cannes and Toronto International Film Festivals this year, the drama about a 94-year-old widow who tells a tale that takes on a dangerous life of its own, opens nationwide September 26. They spoke to us from their New York office. 

Key Insights

1. Longstanding relationships shape opportunities – Ellen Lewis’ decades of industry experience and prior connection with Scarlett Johansson helped secure her involvement in Eleanor The Great.
2. Casting blends intuition with timing – Ejiofor’s pivotal role was secured through fortunate timing, while Erin Kellyman emerged from a mix of instinct and standout auditions.
3. Authenticity enhances storytelling – Rita Zohar, a Holocaust survivor, brought profound depth to her role, demonstrating how lived experience can elevate character work, even when not a requirement.

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How did you first get on the project? It must’ve been a big gamble, working with a first-time filmmaker with no on-set experience.

Ellen Lewis: (Laughs) We had worked on Fly Me to the Moon for Greg Berlanti, but of course I’ve known Scarlett over many, many years, even from the time when I was Juliet Taylor’s associate and assistant, and Scarlett was a kid. But definitely Fly Me to the Moon was what really connected us, because her producers also were producers on that. And this was a lovely script, so I was really thrilled that she asked us to do it. 

Kate, how long have you been working with Ellen? 

Kate Sprance: I’ve been working with Ellen for 13 years. Our first shared credit was Bad Education, but I’m just always grateful to work with her, no matter what my position is. So long as she wants to have me.

Well, it certainly seems like it’s a good team. Was June on board when you came on? 

EL: She already was attached, which was fantastic. Obviously, we’re huge fans, and when I was Juliet’s assistant and associate for many years, I met June in the office. She would come in for things, and then when I went out on my own, I cast June in Scent of a Woman, and she’s wonderful in that fantastic scene with all the students there and such. I cast her in small things over the years, and hers is just a wonderful career for actors, to see someone who’s always been a fantastic actor and now getting well known in her late 80s and now into her 90s? I mean, it can happen at any time. You [never]  know. 

Chiwetel Ejiofor’s role was interesting to me, because it didn’t seem like there was a lot to it for most of the movie. Then of course he has this fantastic speech at the end and it all makes sense. Was that a challenging role to cast?

EL: It really was. There were other people in discussion, and then, as can happen in the casting process, you’re waiting to hear from people, and luckily, the producers were in touch with Sony Pictures, and knew that suddenly he became available. It’s one of those kismet moments where the perfect person gets cast in the film.

Speaking of perfect, what was the process of bringing Erin Kellyman on board?

KS: When we were reading the script and thinking of people for the dad, our associate, Leah, and I thought of her at the same time. I had seen her in a non-musical version of Les Miserables, and remembered [her] from that. Then I recently watched Willow, and she just popped in my head. She did really beautiful auditions. 

EL: But yes, that is a role where you cast a wide net, but then, just as Kate’s saying, [she’s] such a gifted actress that Kate and Leah knew and loved, and was just so perfect for this part. It’s really thrilling seeing her on screen. She’s so gorgeous in every way.

Her chemistry with June is amazing. Is that a situation where you had the two of them in a room before you cast Erin? Or did you just put them together and hope for the best?

EL: That’s correct, we just put them together. We just recently met Erin. We hadn’t even met her in person.  

That’s interesting. Do you find that your job is harder or easier with the way the work has changed recently?

EL: I think it’s different, and maybe easier. As much as actors might complain about this process of Zoom or self taping, it gives so many more actors an opportunity than they would have had where we’ve seen people in person, because you’re not going to necessarily see 60 people for a role.

Rita Zohar is not somebody I recognized, but she is wonderful as Bessie. 

KS: We put a breakdown out and requested tapes. She was an actual Holocaust survivor. She was born in one of the camps and then went to Israel and had a wonderful film career there. We were just so lucky that she was submitted by her agent, and then gave a beautiful, beautiful reading. We’re grateful that she is in it. 

Were you looking for someone who might have been a survivor? 

EL: We weren’t. That was not a stipulation at all in the description of the character. I think the agent  made a note when they submitted her so that we knew when we were reading her that she was, but it wasn’t a requirement. There were wonderful actors actually submitted for that role, but obviously there was an authenticity to Ms. Zohar, and she’s a phenomenal actress. The wonderful thing about acting and actors is that careers can span many decades, as we talked about with June.

Another example of that kind of actress is Jessica Hecht, who has been doing great work for a very long time.

EL: She’s an actress that we admire so much. She’s here in New York, obviously, and she does theater as well as film, and we just couldn’t be happier that she is playing June’s daughter in this movie. I admire Jessica so much. 

KS: Scarlett had worked with her before. They had done the Broadway play together, A View From the Bridge.

Do you find that these projects are special because you’re able to work with character actors or people that you’ve known for years, and give them great roles? Or does that not factor in? 

EL: No, I think that no matter what we’re working on, the most important thing with any project, no matter the size or what it is, is starting afresh every time, as if you don’t know people and you’re opening your mind to whatever the world is that the piece is about, or that the director is looking to collaborate with us on. As you know, after the script, we’re really the first people brought on to a project, and it’s just very important to be able to work with a director to understand what their vision is of it, and keep our minds open to people we know, as well as new people. Because you are introduced to new people all the time, and that’s one of the most exciting things about casting.

When you finish a job like this, and you clearly do it really well, do you allow yourself to appreciate it and give yourself a pat on the back? Or is it more, “Okay, on to the next?”

EL: I don’t think it’s ever, “We did it, on to the next.” You have to realize that we started a project at the beginning, and then months go by while something is being shot and edited and released. So we are on to our next project, because that’s the nature of our job. What’s so fulfilling is when something is completed and a director is happy with what they’ve created, and other people are happy with the piece. That’s one of the most exciting things about our job. But it’s many months after work we have done, because we’re at the very beginning.

First ones in, first ones out.

EL: Yeah, exactly.

KS: We hopefully have done our part, and then you never know what’s going to turn out. Later on, we get to see the magic of the movie, and you get to revisit it and say, “Oh, this is so exciting to see all the people come to life and the characters in front of us.” So it’s always a fun thing later. 

So you get the bonus of finishing a job feeling good, then however long later, you get to experience it and get the joy again the second time around. 

EL: (Laughs) That’s a good way to put it.

Key Takeaways

1. Strong collaborations between casting directors and filmmakers set the foundation for authentic, resonant storytelling.
2. The rise of self-taping and remote auditions has broadened access for more actors, increasing opportunities and diversity in casting.
3. Great roles can come at any stage of an actor’s career, highlighting the importance of perseverance and openness in the industry.

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The post Casting Insights: ‘Eleanor the Great,’ Ellen Lewis and Kate Sprance appeared first on Casting Networks.

The new film brings back stars Vera Farmiga and Patrick Wilson, and features Ben Hardy and newcomer Mia Tomlinson, with cameos by franchise vets Lili Taylor, Frances O’Connor and Mackenzie Foy. Directed by Michael Chaves, it set a franchise record for its opening weekend box office, and is on pace to become the highest grossing movie in the series. The pair spoke to us from their respective London home offices.

Key Insights:

• The team prioritized raw talent over name recognition, giving rising stars like Mia Tomlinson breakthrough opportunities.
• Rose Wicksteed and Sophie Kingston-Smith have developed a seamless casting partnership, with Wicksteed focusing on creative vision and Kingston-Smith handling deals and logistics.
• Over 90% of The Conjuring: Last Rites cast was drawn from UK actors, who successfully embodied American characters.

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Sophie, when did you start working for Rose? I know you’ve worked on a bunch of films together. When did it start? 

Sophie Kingston-Smith: I started working for Rose as her assistant in 2017. Then she quickly recognized my brilliance (wry smile) and promoted me to associate about a year later. I think we started co-casting around COVID time, when she brought me on to co-cast a TV series with her.

Rose, what was the deciding factor that you started sharing credits with Sophie?

Rose Wicksteed: I think I haven’t been asked this question before in this way. Out of all of the assistants and associates I’ve had over the years, Sophie stuck with me the longest. She came to me just after I started working on a lot of American films and TV, so things were getting bigger, and she really devoted herself to working with me on all the projects. She was incredibly tenacious, ambitious  and creative, and it felt obvious to me that it was right. When we came back after COVID, I felt like something really changed in how I want to work, and I didn’t want to do it on my own anymore. These are huge shows we’re working on, and she’s deserved it and earned it. She brings a huge amount — practically and creatively — to all the projects. And obviously she’s brilliant, as she pointed out.

SKS: (laughs) I’m blushing. I was joking about myself, but thank you, Rose. That’s really lovely.

This is the second time you’ve worked with Michael, but you’ve been with the franchise for a while. How did it start?

RW: The first time I worked on it, Peter Safran brought me on to The Conjuring 2, and that was my very first American studio film on my own. It was a huge gig at that time, and I worked with the American casting director on that film. From that it cemented our relationship, and then he brought me back on The Nun and The Nun 2, and then this one.

What’s the division of labor between the two of you?

SKS: We’ve worked together for such a long time, and we have a really nice rhythm now. Generally, Rose oversees everything in terms of the creative, and I take more of a lead on all the deals and the bookings and everything, whilst also helping to manage our two amazing casting team members, Grace Evans and Alisha Bappoo. But having said that, we do split it fairly evenly.

What about working on a different continent, across the ocean from the production? 

RW: So for this film, we cast over 90% of the actors out of the UK, playing American, because we shot it here. 

Really? I had no idea. I couldn’t tell that they were all Brits doing American accents.

SKS: I think that’s to the testament of the the caliber of the actors, that you can’t tell. There are some challenges in terms of the logistics of liaising with the producers and the people that you’re trying to negotiate with, because by the time we’re winding down for the evening, LA is waking up. So it does often come with late nights. But to be honest, that’s just the realities of intercontinental working, and we’re used to it. I think most casting offices are quite used to working late and responding at all hours, if you have to.

When you’re working on a project like this, the fourth in a series, are the expectations any different from the studio? Are they as attentive as they were for earlier installments?

RW: Speaking for ourselves, we definitely go into each project with the aspiration to cast it in the best way, with the most incredible actors that we want. I don’t take on any projects that I don’t feel I can do that with. This was our second film with Michael. He asks for the best talent, and it’s highly imperative that we are finding incredible actors, down to the day roles. We did do a huge amount of casting in person in London with Michael over the whole of last summer. He will meet day players. I think it’s a real testament to him and to the studio, because when we saw the movie at the cast and crew screening the other day, the quality of talent in all the roles, down to the smallest ones, gives the whole such a weight.

SKS: Michael likes to mix it up. He likes to have the option of being able to direct people on the day and give them feedback that’s maybe not scripted, or maybe do a bit of improv with them. He certainly wants to have a core company of actors who can think on their toes and bring something new. So it was important to him that he did meet with people who maybe just had one scene, because he wanted the reassurance that they could work in this way, and could take direction under pressure.

RW: We felt very proud of the cast. You never know until you see the film, obviously, and you hope that, oh gosh, that person has been able to make it happen on the day. Watching it, we were really proud of this casting.

Was there any one particular role or actor that you found that you were particularly proud of?

SKS: Oh, I can think of a few, actually, but I’d love to hear what Rose thinks.

RW: Being able to cast Mia Tomlinson was a really huge thing, because this was a very big role, playing Vera and Patrick’s daughter. She has to go on such a journey, has such an emotional range that has to be found, and we went on a lengthy, in-depth casting process on that role. Sometimes there is pressure to get someone who has potentially got a bigger name or something like this, but here, all of the filmmakers, the studio, they wanted to get the best actress for that role. Perhaps because it has the fourth film, it already has an audience, it was possible for that to happen. So from a casting perspective, that’s such a joy, because it means your pool is wide open. Mia obviously had done a few things before, but nothing on this level, and when we auditioned her in the room, she blew us away. It’s very exciting to be a part of that, because people haven’t seen her do this. Being part of that process is a very beautiful thing.

Sophie, you said that you had a few? 

SKS: Well, there was this other one that stands out for me. I can’t say too much about the role that she filled, because it’s quite an early scene in the film, but we basically had to find an actress to play someone who was very disturbed and haunted by something, and the brief was fairly open. I don’t think anyone was really sure exactly what we were looking for, which made it a bit more challenging. And this actress, Paula Lindblom, just got to this place in her audition that no one else managed to get to. You could just feel the terror and the tension, and we all felt a huge sigh of relief after she had done her audition, thinking, okay, that’s her, which is always a really satisfying moment. When it’s someone who doesn’t have that much experience behind them, what a great opportunity. So yeah, very proud of her as well.

You’ve both talked about your pride in the project. When you finish a gig like this and you’ve done a good job, do you allow yourself to appreciate it, or is it more, onto the next?

SKS: I think I only really feel that sense of pride after I see it. With casting, you’re not really part of the production process, you’re pre-production, so you do all of the work, and then you basically hand it over for them to to realize. You don’t actually get that moment of pride until a good year later, when it’s out. I don’t know about Rose, but I feel like once the casting’s done, you put it to bed, and then you don’t really think about it too much until you get to experience the finished product. But it’s so nice when you do.

RW: It’s a bit different, obviously, on a TV series, because you’re ongoing throughout when they’re shooting. But with a film, as soon as principal photography is edging, like Sophie said, it’s crickets over there in production. Now that I’ve seen the film and everything, it brings a renewed sense of, “Oh, wow, yeah.” We cast this film. And we feel good about what we did.

Key Takeaways:

• Strong casting partnerships thrive on trust, complementary skills, and shared creative vision.
• Location-driven casting challenges can be overcome with a commitment to authenticity and actor versatility.
• Horror franchises succeed when casting emphasizes emotional depth and improvisational ability, even for smaller roles.

You may also like:

1. What Are Casting Directors Really Thinking on the Other Side of the Table?
2. Typecasting: A Comprehensive Guide for Actors
3. The Aging Actor’s Pivot: A Playbook on How Mature Talent Can Market Character-Driven Roles

The post Casting the Fear: Rose Wicksteed & Sophie Kingston-Smith on The Conjuring: Last Rites appeared first on Casting Networks.

The list of her shows is the kind of thing you dream about: Breaking Bad, Better Call Saul, The Walking Dead, The Handmaid’s Tale, Barry, The Righteous Gemstones, Julia, Halt and Catch Fire, Gotham and Picket Fences, just to name a few. She’s also cast plenty of movies, including Mr. Holland’s Opus, Phil Spector and Secret in Their Eyes.

The respect she has from her peers is also clear from her nine Emmy nominations and 37 Artios nods (with one win, for Breaking Bad).

Her latest project is the indie true story, The Senior, which she led alongside Casting Assistant Nicole Bunnell and a host of other casting officials. Starring Michael Chiklis, the film tells the story of Mike Flynt, a 59-year-old man who returns to his college’s football team four decades after he was kicked off the squad.

The film also stars Mary Stuart Masterson and Rob Corddry, and is directed by Rod Lurie. The Senior hits theaters September 19. Bialy spoke to us from her office in LA.

Insights From Sharon Bialy

• Embrace roles that challenge their typecasting, especially comedians exploring dramatic parts, to showcase versatility and open new opportunities.
• Focus on authenticity in auditions by fully embodying the character.
• Build confidence by trusting casting directors who see potential in you.

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Tell me about The Senior. How did you come to work on this film?

Well, I’d worked for Rod Lurie before. We actually did the Straw Dogs remake together. He’s called to offer me other things. He’s so loyal, and I adore him. We’ve remained friends, and I think he’s a great human being and a really smart filmmaker. He just called and offered it to me, and I love football movies.

For me, it was like Rudy. There’s even a line in the movie where one of the coaches talks about Chiklis’ character, and he goes, “Oh, he’s a modern-day Rudy.” (Laughs) So that’s how it started. Nobody was attached when I came on.

You came on board to help him get the name he’d need to get the film financed? 

Well, the money was there, a blinking green light. They were planning on making the movie, but they wanted their name. Still, it was a lower-budget independent movie. They weren’t gonna pay certain people, but interestingly enough, Chiklis was my partner Sherry Thomas’ and my first choice.

We surprised Rod because he said, “Okay, I think I know who your first choice is on the list.” I said, “No, you don’t.” We both told him Michael Chiklis, and he said, “Wow, I wasn’t expecting that.”

When you think about casting authentically, and to really make a story work, you try to go for the actor who’s really the most right. We just both felt that about Chiklis.

Now I’m curious, who did he think you were going to say? 

I won’t say. (Laughs) There were actors who weren’t quite right for it, but had bigger names in the movie world than Michael.

To Rod’s credit, he really said, “No, my casting people are right, Chiklis is the right guy for this part.” He’s the same age, physically really right for it, and if you meet Michael Chiklis personally, he really has a heart.

Once Chiklis was on board and things started rolling, what about the rest of the cast? Let’s start with Mary Stuart Masterson.

I’ve been a big fan for a long time. She has such a naturalism to her and a realness, and no artifice. She feels like a real person. You don’t see the star when you see Mary Stuart on screen — you see the character.

A lot of times, and I don’t want to insult anybody, but you see the movie star, and then you get into the story. For me, with Mary Stuart Masterson, you immediately go into the character, and I thought that was important.

The script actually made the character more than just the wife. You see, she’s really his partner, someone who challenges him in a really beautiful, loving marriage of equals. So you wanted someone who could give it some authenticity. 

I can see that, as a casting director, you would want someone without the baggage of stardom for certain roles.

I think that’s true. Look, this is not a Marvel movie. It’s a true story, so you want to dive into the storyline and the characters as quickly as possible, and it’s a lot easier sometimes to do that without anybody you associate with another iconic role. It’s hard for indies to do that because they need their money and guarantees, but I think they did a nice job here of saying, “This will work.” 

One of the things I’m intrigued by is the casting of Rob Corddry, who obviously comes from a comedic background, but now he’s here in a dramatic role. 

This might have been his first one, but Sherry and I both have a history and a pride in taking comedy actors and putting them in dramatic roles. If you look at Breaking Bad or Better Call Saul, they’re filled with comedians.

What happens is, actors often get typecast as only one thing, and it’s very exciting as a casting director to take them out of that mold and try something else. His performance was so understated that it was beautiful. Honestly, I don’t know why I thought of him. I cast his brother, Nate, a lot, so the Corddry name is always in my head.

There are no comedic actors I can think of off the top of my head who aren’t really good at drama, whereas it’s not always the same vice versa.

I agree with you. I don’t think you can teach funny, but at the same time, maybe because they’re so good at being funny, they know how to play it straight in a way that it seems more effortless.

I think the secret for many comedic actors is just to be there, and if you just say the dialogue and don’t put a lot into it, if the dialogue is good, it’ll work. I think the fun part for me in casting the movie was looking for the young football players.

That was actually my next question. 

It was really fun. We definitely wanted diversity, and we needed real football players. We really leaned into trying to find African-American actors. Everybody read. Corey Knight, who plays Jeremy Cartwright, and Terayle Hill, who plays the rapper Jamal Johnson, sparked.

Terayle also wrote one of the songs with Rod at the end of the movie. Rod brilliantly took one of his talents and inserted it into the character, and Corey’s just so charming and effervescent that it popped right off the screen, even in our audition.

I would think that must be one of the best parts of your job. When you have the freedom to pick the best actors and you’re not beholden to anyone or anything. 

It is one of the most rewarding things, because you really change people’s lives. Not because of money or fame, but because of the confidence you give them when they get that part, and something in an actor, a light turns on inside of them once they get a role. That’s why they keep working, you know?

There are times when you believe in the actor more than they believe in themselves, and when you can do that and encourage that, I think it’s really rewarding.

When you finish a job like this, do you allow yourself to appreciate a job well done? Or is it the kind of thing where it’s, “Okay, onto the next one?” 

That’s a really good question. I think that we need to take the time to celebrate more, and we don’t because we’re still working. I’m grateful that we have work, but we don’t seem to have the time to celebrate. I think we celebrate after we see the finished project. You go to the premiere of the show or the movie that you’ve cast, and I think that’s when you can sit back and go, “Wow. Damn, that really worked.”

I love working with actors. My favorite thing about my job is auditioning with actors. Not being on the phone with agents and not negotiating. That’s part of our job as well, but I think all of us should take more time to celebrate when a job is well done. 

I think there are times you do appreciate it. I still remember that I did a show called The Last Tycoon. At the final table read, it just had so many people, so many guests, and everybody around the room said who they were and what they were playing. I just looked around the room like a proud mother, and when it got to me and I said, “Sharon Bialy, casting director,” everybody started clapping.

I got choked up, tears in my eyes, because it wasn’t just that they appreciated my work. Everybody saw the collection of such talent, and we were the people who brought that table together.

Final Takeaways

Landing meaningful roles isn’t just about having a big name or flashy resume. Sharon Bialy’s approach to casting shows that authenticity, versatility, and confidence are what truly make an actor stand out. Here are a few takeaways for new actors looking to break through and make their mark:

• Be open to roles that stretch your range, especially if it means stepping outside your comfort zone or typecast image.
• Focus on embodying the character fully so casting directors see the role, not the actor’s previous work or fame.
• Trust the process and believe in yourself even when doubt creeps in.
• Seek opportunities where you can bring your unique talents, like music or sports skills, that add authenticity to the role.
• Remember that confidence often comes from being prepared and showing up fully in auditions, not just from experience or status.

You may also like:

• Joey Paul Jensen on Why Imagination is ‘the Most Important Ingredient’
• Rachel Tenner Reveals the Casting Process of ‘Severance’
• The Best Audition Advice from Casting Directors

The post Sharon Bialy Shares the Casting Insights Behind ‘The Senior’ appeared first on Casting Networks.

Rachel Tenner is a perfect example. The regular casting director for people like George Clooney, Ethan Coen and Ben Stiller, Tenner is one of the best in the business, and has the honors to match. She’s been nominated for an Emmy award seven times, with one win, for the first season of Fargo.

Tenner is nominated again this year for season 2 of Severance (she was also nominated for the first season), which she helped cast alongside Bess Fifer, casting associates Aaron Schoonover and Rick Messina, and several other members of the show’s casting department.

It’s her fourth time working with Stiller, who is the primary director and executive producer of the Apple TV+ series, which scored 27 Emmy nods, more than any other show. The series follows a team of office workers whose memories have been surgically divided between their work and personal lives. When a mysterious colleague appears outside of work, it begins a journey to discover the truth about their jobs.

Severance stars Adam Scott, Patricia Arquette, John Turturro, Britt Lower, Zach Cherry and Tramell Tillman, all of whom were nominated for Emmys themselves, which is about as high a compliment as a casting director can get. She spoke with us about the show from her home in LA.

Insights From Rachel Tenner

• Embrace both established and new talent to create dynamic, memorable performances.
• Cultivating a strong sense of comedy can enhance your versatility and bring added depth to dramatic roles.
• Be patient and persistent during casting decisions, as finding the perfect fit often requires time and multiple auditions.

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of high-quality roles.

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How did you first start working with Ben Stiller?

I first worked with him on [The Secret Life of] Walter Mitty, but before that, I met him for another movie that didn’t end up going anywhere. I think that was in 2011. When this came around, it was a no-brainer. 

Both Dan Erickson and Ben have talked about how they each thought of Adam for the lead role of Mark S., but that they had to fight for him.

It’s the business you have to do. I think everyone in their heart was like, “Oh, it’ll be Adam. Adam’s gonna be great.” Still, it took about a year for the full approval. 

One of the things that’s fascinating about the show is the mix of acting legends like Turturro, Christopher Walken and Patricia Arquette, alongside less well-known actors like Zach Cherry, Britt Lower and Tramell Tillman. Was that by design? Or was that something that kind of happened as the process went along?

It was a little bit more organic than that. A lot of it always depends on what the directive is from a studio. Do they feel like we have to have a certain number of names in it? Or can you just do an entirely unknown cast? Or can you mix it up?

I think once we settled on Patricia and Turturro, we didn’t feel the need to keep trying to make everything at a certain level. Also, Ben loves new people. He loves the opportunity to bring somebody to the forefront who might not have been in that position before. Once we felt like we could open it up, we just did a big casting process across the board, trying to find some fresh faces. 

A lot of these actors come from the comedy world, too.

Exactly. They have a good sense of comedy, which I think was important for this show, to understand the humor. That elevated a lot of the performances and just brought another dynamic to the characters that I thought was important and made it stand out more.

Is it true that Turturro brought in Christopher Walken himself?

Yes, totally. We had a budget around this role from the studio, so we were seeing a lot of great character actors out in New York that we love.

John was like, “Well, what do you think about Chris?” Ben and I were like, “Well, I mean, sure. What? Yeah.” (Laughs) So that was a really exciting piece to get to add to the puzzle.

We talked a little bit about Zach, Britt and Tramell. Did they just come through the audition process?

We opened this up to a big casting process. I think their auditions speak for themselves. They were so good. They stood out in their respective roles and brought qualities that were unique to them.

When you start something, you think, “Oh, my God, there’s going to be a million people who can do this.” Then, when you get into it, and you start honing in, as you start hearing it out loud and working with actors and getting into it more, you start realizing the special little qualities that people can have that elevate it and make it distinct.

By the end, you realize there are only five people who could do this role. There are a lot of people who I think could do it well, and then a tiny group that can do it spectacularly.

What about smaller parts, like Dichen Lachman, whom I wouldn’t have thought of for the role of Ms. Casey, aka Mark’s supposed-to-be-late wife. 

That role was so hard. That was our hardest role, because it’s the most mysterious role.

We were trying so hard to find someone, not only acting-wise, but also who brought a sense of mystery and is so physically enigmatic. When we finally found her, you’re at the end of such a long journey of trying to find it, and then you see it, and you’re like, “Oh my God.” It’s just this great feeling.

We had her do a little scene Dan wrote just for the process, where it showed her as Mark’s wife, because everything she was doing was so stylized for Ms. Casey. We just needed to see something else to know for sure she could go wherever needed her to go. That was a hard one.

When awards like this come along, and almost everybody who could be nominated gets nominated for an award, how do you respond to that as the person who put them all there? 

I have to say, I think it’s incredibly rewarding. It is such a competitive world out there. There are so many amazing shows, so many amazing casts, so many amazing casting directors. For this show to get that many nominations, it was incredibly rewarding.

I can’t lie, I did have a moment where I thought, “That’s very exciting. I’m so excited for them to have gotten the recognition for just killing it.” Even the guest stars who came in and brought it all to life in such a brilliant way. They say it’s an honor to be nominated, so for all of them to get that honor is very rewarding.

That leads well into my last question. When you do a job like this, and you cast the hell out of it and hit a home run, do you allow yourself to enjoy it, or is it more, “Okay, on to the next job?”

Oh, that’s a good question. I think for Severance, I have been able to take a moment and be proud of the work that we’ve done on the show.

I have to be honest, because I watched it and I loved it. I loved watching the show.

By the time it comes out, I’ve read all the scripts, and I know what’s going on, of course. When you see it actualized in every part of it, this is such a group of artisans who are all at the top of their game. When you watch it all come together, you do take a moment to say, “Okay, this is great. You should be proud of your contribution to this big picture.” 

It’s hard to stop sometimes and say, “Oh, right. You did that.” When you get a moment to do it, it is important to take a step back and recognize your contribution, regardless of whether it’s a huge hit or not.

At the end of the day, if you can finish your job and say, “I did the best I could do,” then that’s pretty good. When everything comes to fruition in the way Severance did, it’s just exciting to be a part of it. 

Final Takeaways

Working with top casting directors like Rachel Tenner shows how important it is to bring something unique to the table. Whether you’re a fresh face or an experienced actor, standing out is about more than just talent — it’s about fitting the role in a way that feels authentic and memorable. Here are a few takeaways for new actors navigating this competitive industry.

• Focus on developing a strong sense of timing and humor, even for dramatic roles, to add an extra layer to your performance.
• Be patient during the audition process; sometimes it takes time for the right people to see your potential.
• Don’t be afraid to bring your own unique qualities that make you stand out from others auditioning for the same role.
• Understand that casting directors value versatility, so keep honing different aspects of your craft.
• Remember that big opportunities often come through persistence and building relationships over time.

You may also like:

• Jeanie Bacharach on Her ‘Dying for Sex,’ ‘Black Mirror’ Double Dose of Emmy Noms
• Shaheen Baig Reveals Casting Insights into Netflix’s ‘Adolescence’
• The Best Audition Advice from Casting Directors

The post Rachel Tenner Reveals the Casting Process of ‘Severance’ appeared first on Casting Networks.

Bacharach is up to 11 now, with three wins, and this year the casting legend has three new nods to her credit. There’s her work on The Bear, of course, for which she has won Outstanding Casting for a Comedy Series two years running.

However, there are also two nominations in the same category — Outstanding Casting for a Limited or Anthology Series or Movie — for Black Mirror and Dying for Sex. 

Bacharach shares her Black Mirror nomination with Jina Jay, Corinne Clark and Jennifer Page, and Dying for Sex with Jessica Daniels. She chatted with us from Los Angeles.

Insights From Jeanie Bacharach

• Focus on roles that allow you to explore both humor and deep humanity, as casting directors value actors who can balance complexity and emotional truth.
• Be open to auditioning for parts that challenge your usual type, since casting directors appreciate actors willing to take on unlikable or unconventional characters.
• Build strong relationships with casting directors and producers, as these connections can lead to opportunities on unique and high-profile projects.

Get access to thousands
of high-quality roles.

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Let’s start with Black Mirror. How did you come on board that project?

Jessica Rhodes, one of the executive producers, joined Black Mirror last season, and we had worked together on Station Eleven. She thought there was one episode in particular (the one last season with Salma Hayek and Annie Murphy) that was going to need a fair amount of U.S. casting, and she thought I might be helpful.

The time difference makes things tricky with casting when you’re trying to get answers and things like that. It started because of my relationship with Jessica, and then they had three episodes this season that, again, they were hoping to do a fair amount of U.S. casting.

I talked to your co-nominee, Jina Jay, and she commented that there’s a great advantage to casting when you’re only doing one episode, rather than a whole season-long arc. Do you agree with that? 

Yes, definitely. Actors are much more willing to jump in, and the stories on Black Mirror are fascinating and disturbingly prescient. [Creator Charlie Brooker] is writing about what’s going to happen, and by the time it comes out, it’s already happening.

It’s scary, but the writing is so wonderful, and the show is a talent magnet at this point. That’s a great place to be as a casting director.

There’s no easy way to try to transition to Dying for Sex, other than it being the opposite of Black Mirror. Let’s start from the same place. How did you come up with that one?

I did The Dropout with Liz Meriwether, so that was my connection there.

I’m assuming Michelle [Williams] was on board beforehand …

Yes, she was in discussions when I joined. 

I think I need to ask about the casting of Jenny Slate. As good as she is, I don’t know that I would have thought of her for that role.

She’s someone who came to mind pretty much when I started working on it, because we needed somebody who had the humor. You needed people who were going to be able to find the comedy in this very hard, moving story, but who also had humanity and depth and a certain amount of kookiness.

There’s the real Nikki Boyer that she’s based on, and it wasn’t about finding an exact doppelgänger for Nikki, but someone who inhabited her qualities. I have always loved Jenny. You see it time and time again with comedy people.

Most people who get into comedy have a lot of pain that they’re overcompensating for, I think, with their humor. I think we all believed that Jenny had that, even though we might not have seen it to the extent that she got to show us in this show.

Conversely, Rob Delaney felt like a perfect fit for Neighbor Guy.

Yeah. (Laughs) That’s one of those fantasy castings. Rob again has just such depth as a person and his own experience of loss, but that was one of those where you ask, “I don’t know, you think he’d do it?” and he jumped on board. It’s a brave performance.

That’s one of the strengths of the show, that it seems like everyone is leaving everything on the table. I imagine when it wrapped, everyone was just exhausted. 

I think it was personal for a lot of people, for different reasons. As an artist, to be able to tell such a powerful and moving story that touches all of us at some point in our lives, maybe not in this exact way, but that’s such a gift to be able to do so.

Some people were explored who were not interested — either it was too close, or they just couldn’t connect. That’s the magic that happens in casting, when you find the people who are all in, and then the chemistry comes together because of that.

Speaking of magic, can we talk about David Rasche? His work as Molly’s oncologist is alternately hilarious and heartbreaking, just like the show itself.

I know. Oh my gosh. To me, that moment he has in the last episode where they’ve gotten the results back, and he and Sonya are in the hallway, and he says … this is making me choke up … he says, “I just need a minute.”

That one feels like a conversation where you said, “You think David Rasche would do this?”

Yes, Jenny was more of a journey, but David was our first choice. There’s something so human and real about that character and the stiffness, because if you work with dying people, you have to be somewhat used to it, and he sells it.

A more difficult role is Molly’s mom. How did Sissy Spacek come on board?

Well, again, she went for it. She was willing to be unlikable, selfish, and self-involved. Then she gets that turn and, I think for an actor, her character has a real arc, and the love. This forgiveness happens in that last episode, that moment they have when Molly’s in the tub … Liz’s writing and [co-creator] Kim [Rosenstock]’s writing is so beautiful, and so funny, so human.

We needed someone who felt sort of granola, who felt a little bit of a mess. Gail had her difficult history, clearly, and Sissy, there’s so much on her face of her life lived. I think she generally plays likable characters, and to tap into someone who is not as immediately likable and sympathetic is a nice challenge for her to do.

Speaking of challenges, what were some of the challenges of filling out the rest of the cast? Kelvin Yu plays Nikki’s partner. Was that a colorblind casting? And regarding the casting of Esco Jouley as the counselor and Robby Hoffman as G, how did those all come together?

Well, we knew we wanted someone non-binary in the Sonya role, and Esco was somebody that Liz had seen in an off-Broadway play. They popped into her head as we were starting to work on it, but they went through the whole audition process.

We read lots of other people, but their humanity and compassion, mixed with the rough and tumble quality that they have as well, are important in that profession. However, their character is new to it, so they’re finding their way.

Esco just blew us away in their audition. Robby’s just her own thing (laughs), and then Kelvin, we knew we wanted diversity in that role, but it wasn’t written specifically Asian. That was also an audition process. He had a very personal connection to the story, so I think that came through. The real Tommy is white, but weirdly, their smile is the same.

When you do a job like this, and you’ve done your job well, do you allow yourself that appreciation of the job, or is it, “Okay, on to the next?”

No. I mean, look, when you’re in it, it’s so intense. I liken it to a intense relationship. You’re dating, and you’re finding each other, and you’re learning things about each other, and things are evolving, and you’re sharing things and vulnerabilities and all of this stuff and it’s super intense. Then you make this commitment, and you make this thing, and you give birth, and then you send it out into the world, and you hope that all the foundation that you gave it and the love and the care that you gave it is enough for it to survive and exist and touch people. You just never know. You hope that it all comes together, but there is a giant leap of faith that we all take.

The creators of the show, the casting people, the studio, and the network. But it is incredibly satisfying when it comes together in the way that this one did. They did an absolutely beautiful job. What was important was that everyone gave 100% in what was a story you haven’t seen before, not told this way. It was an honor, and truly meaningful to see the way people were willing to jump all in.

Final Takeaways

Jeanie Bacharach’s work on Emmy-caliber shows like The Bear, Black Mirror and Dying for Sex reveals what casting directors look for in actors today. From embracing complexity to showing up with authenticity, her approach highlights how actors can stand out in a competitive field.

Here are a few key takeaways for actors hoping to catch a casting director’s eye.

• Bring both humor and emotional depth to your auditions to show versatility and humanity.
• Be willing to take on roles that challenge your usual type or comfort zone.
• Develop genuine connections with casting professionals by being professional and reliable.
• Show up fully committed and ready to give 100%, especially for stories that are personal or groundbreaking.
• Embrace auditions as opportunities to reveal layers of your character, not just to fit a mold.

You may also like:

• Shaheen Baig Reveals Casting Insights into Netflix’s ‘Adolescence’
• Rich Delia Shares Casting Insights on ‘The Long Walk’
• The Best Audition Advice from Casting Directors

The post Jeanie Bacharach on Her ‘Dying for Sex,’ ‘Black Mirror’ Double Dose of Emmy Noms appeared first on Casting Networks.