Casting director Heidi Levitt’s résumé ranges from projects of the stage to the screen, from the U.S. to abroad—and the types of actors she’s cast are as diverse as the projects they appear in. From the beginning of her career, when she worked in theater in New York City, Levitt was tasked with finding charismatic kids, and in the Orchard’s “Kings” (out April 27), Levitt got back to those roots by recreating a Los Angeles foster family led by a single mother (Halle Berry) in the violent aftermath of the Rodney King trial. When separated from their mother, the young actors onscreen successfully convey the heightened emotions of this time in Los Angeles history. Levitt spoke with Backstage about finding the right kid talent for the job.
Describe the process for casting “Kings.”
The family is very much at the heart of the film, but the dialogue was so sporadic. For the little kids especially, I did a lot of improv and interviewed the kids. For me, casting kids is really casting partly the character and partly the essence of that kid. You want to find that quality that matches the character so that it’s natural when they’re playing it. We needed each of these characters to blend in and be part of a family. After I did improv, I brought in kids in groups and again created situations for them to play against. It was mostly about a dynamic and finding kids who can follow the directions, can bring their own spark and sense of self to it, and also be part of a group.
What makes a good audition from a younger actor?
Being present and truthful. I don’t just want someone who memorized the lines, I want to take away the lines and have them do something where I can feel that they’ll be able to be present and react in a truthful way. It’s more about being able to be in that moment and being able to work with other kids. I would bring in kids two and three at a time because I wanted to see how they’d be interacting with their brothers and sisters. This is not a movie where there is a single child and it’s the only child there. I needed the children to interact with each other as much as with an adult.
What can young actors expect from auditioning with you?
It’s really important to get to know kids. I try to get a sense of who that kid is rather than just getting them to try to read, and that has always been something I learned from when I started casting in New York. As much as I can, I like to find the authentic, so if a story is set somewhere specific, I’ll try to go there to cast.
How do you emulate real events, like the L.A. riots, for kids who don’t have the connection or context?
I don’t think the connection is as important. It’s about being present in the scenes and being able to capture that. I don’t think you need the kids to understand what happened. I don’t expect that of kids, and I think it would be false. They don’t have that level of experience. I think it’s good for them to understand it to a certain extent, but the most important thing is to be present. You can bring that into the current, with imaginary scenarios. Create some kind of connection where it’s plausible to them.
READ: How to Get Your Kids Started in Show Business
What are some things young talent should know about being on set and appearing in a story based on true events?
That’s a specialty. Whenever I cast based on real people, it is really interesting to go back into the history and to understand as much as you can and find actors who have a stake in some way, either because they lived through it or remember it. It’s always stronger. I find people who can connect to it.
What’s the biggest audition faux pas to you?
Not being prepared. Audition is a practice. As an actor, it’s part of your job. Hopefully you like it. If you don’t like it, it’s painful on both sides, so I don’t want you to come in if you don’t like it. I only want you to come in if you enjoy it. That is our work. It’s important to me that you come into my office and want to come in and not feel like you don’t. If someone comes in and gives me this attitude that they don’t really want to [be there], then don’t come at all. Auditioning is half of the work of being an actor. Getting the role is the gravy. The audition is actually the job. Use it as a way to grow. Use it as a rehearsal process.
What’s one thing an actor should do for more successful audition results?
There’s something to be said for doing your homework. If an actor comes in with thoughtful questions so I understand they’ve really researched the project, director, or even me, there’s something thoughtful behind it. It’s not just they got the sides, learned the sides, and came in. I prefer them to really come in because they understand it completely and spent the time to read about it. It’s better for me [if an actor] asks for extra time if they need it than show up not being fully prepared. Being able to make more out of less shows me all of what you have in your tool box. Not every scene is a full scene with a beginning, middle, and end in the audition. You might get the middle. Somebody who can come in and understand it in a small part because they’ve done the work—that’s a really important element, to think about everything.
What advice do you have for actors from the point of view of a CD?
I think just choose to become an actor if it’s ultimately the only thing you want to do. If you’re searching for a career in this business, you have to know this is it for the long haul. If you’re choosing to do this, fully invest in it. It’s not going to happen unless you’re fully invested. I think the lucky people who somehow get cast and get this great part and they didn’t have to work for it, they’re going to have to work for it at some point to have the lasting power. You really have to be ready to commit to it. Be working all the time and figure out what to do in that off time. In that off time, how are you going to stay on top of it so you’re still in practice? That’s why it’s important to take classes, to stay in shape, and not take it to the point where if you don’t have anything big, you just wait for something. You can make it happen yourself. I really believe that.
Ready to book more work? Check out Backstage’s film audition listings!