When HBO Max announced its reboot of “Gossip Girl,” most expected the series to take a cue from its predecessor. But with Cassandra Kulukundis behind the audition table, that was not the case. The longtime casting director dove deep into New York City’s acting pool to build a modern reimagining of Manhattan’s teen elite.
Talk us through putting together the “Gossip Girl” ensemble.
We could do what we wanted. We could hire our theater actors. When you’re doing a show in New York, you definitely want to fill in those [New York] elements, because it’s on the streets. It’s everywhere you go. It’s part of our fabric. I’ve never really had the opportunity to bring this many people to a cast.
‘Gossip Girl’ Star Jason Gotay on Transitioning from Stage to Screen ActingDid you have to fit certain “profiles” to fill out the cast?
I went to one of these [private] schools. [Creator Josh Safran] went to one of these schools. We were way more diverse than the first series. Josh decided to represent that, and I was all for it.
“People [shouldn’t] constantly try to give me what they think I want. Give me what you know. Give it to me as naturally as possible.”
What were some of the challenges of putting this ensemble together?
It was almost worse, because it could be so open. That was exciting, but it was also terrifying. Sometimes, it’s great to know that you have to look for a 50-year-old white man. When it could be 20, it could be 50, it could be Asian, it could be anything, it’s like, How am I supposed to do all this? Where do I start? That was a big challenge. Sometimes, you just have to take it one role at a time. [It’s] like making a quilt: You just work on one patch, and then you do the next patch.
Where did you look for newer talent?
We put flyers everywhere, we used Backstage, we created an email address. We were doing a search for some trans folks and didn’t care if they had representation. I brought in a lot of really green “I’ve never done anything” kids, and it was just word of mouth. I’ve always grabbed people off the street. I got hundreds of emails and pictures, and I’m still getting them today. If anything’s right for them, I give them a shot. I want to be out there looking. We’re looking for young talent. They just have to get Backstage; you have to read the magazines. They have to see what’s going on. We did everything we could to put it out there. The kids who really want to do stuff go to open calls, read what’s going on, make sure they know how to do self-tapes, and just keep trying.
What makes you remember someone from an audition or tape?
Don’t force your choices. They have to be real to you and to how you would play a scene. If the page says [to] cry and you can’t cry, that’s fine. Maybe you’re frustrated that you can’t cry. Use your frustration; use whatever you have at that moment. I know nerves are there. Just always be natural, whatever you’re doing. I cannot stress that enough. Get out of your head and just make it real. And if you’re good, I will call you up. I will give you direction.
This story originally appeared in the Nov. 18 issue of Backstage Magazine. Subscribe here.
Looking for remote work? Backstage has got you covered! Click here for auditions you can do from home!