Casting Society of America member Jessica Daniels (“30 Rock,” “The Carrie Diaries”) talks about her career, how she chooses projects, and what advice you should take to become a casting director.
CSA member since... 2010
Upcoming credits: Features: Todd Solondz’ “Wiener-Dog,” Elizabeth Wood’s “White Girl,” and Sebastian Silva’s “Nasty Baby”; series: “Benders” for IFC/Apostle.
What’s your typical day like?
A mix of auditions, creative concepting, reading scripts, doing research, chatting with filmmakers, agents, and executives, and managing the projects I’m working on.
How do you choose what projects you work on?
If I respond to a script, I’ll do whatever I can to work on it. Many of my projects also stem from relationships I’ve made on past projects or introductions from mutual colleagues.
Before actual auditions, how does the casting process begin?
It all starts with the script, which serves as the blueprint for how the process will take form. If a project comes to me without any actors attached, the first step is determining what roles are cast contingent and require names. Then I start making lists and checking availabilities and possible interest. At this stage, I’m also determining what roles might need special attention, for example, a search or open call. Discussion with the writer/director/creator at this stage is critical. Through a process of elimination, we discover who will best inhabit any of the characters in a given story.
What is the most common audition room mistake you see?
Self-doubt.
What do you want every actor walking into your room to know?
That I appreciate your trekking in and your preparation, and I strive to offer a welcome environment for you to work.
What makes for a successful audition tape?
A real understanding of the material and its tone. Good lighting and good sound are key.
Any projects you wish you had worked on?
TV: “Thirtysomething”; film: “Hable Con Ella” (though I’d have to learn Spanish)
In addition to open calls, where do you find new talent?
Schools, theater groups, improv groups, webseries, commercials, and, one time, on the subway.
What is the best way for actors to build a strong relationship with you?
Let it build organically.
How important is training versus experience to you?
That’s a tough one. I recognize the talent and sacrifice that goes into getting an MFA or completing a program at a top drama school. However, theatrical training doesn’t always include on-camera training and it can take a while to develop that skill. In the short-term, I probably favor experience. In the long term, I think solid training is invaluable.
What makes a successful casting session?
Actors arrive on time and prepared armed with distinct, grounded points of view on the script and character. If my director leaves the session inspired and excited, I feel like the session was successful.
What advice would you give to someone who is looking to go into casting as a career?
Watch Tom Donahue’s documentary about legendary casting director Marion Dougherty, “Casting By.” Intern at a casting office. It’s not for everyone, but if you’re a people person with an obsession for actors, films, series, and/or comedy, have a penchant for organization and a knack for remembering names and faces, it may be the career for you.
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