How to Get Cast in a James Gunn Movie or TV Show

Gunn began his film career as a screenwriter for Troma Entertainment in the mid-’90s, but Gunn ultimately gained more widespread notoriety with his feature-length directorial debut, “Slither” (2006), which follows the residents of a sleepy South Carolina town as it’s invaded by an alien parasite that transforms infected individuals into zombie-like monsters. Gunn then dipped his toe into the superhero genre for the first time with “Super” (2010), a dark comedy about a man who adopts an alter ego (despite a lack of heroic talent) in an effort to save his wife from drug dealers.

However, Gunn’s star power skyrocketed when he was tapped to helm Marvel’s “Guardians of the Galaxy” in 2014. Gunn returned to the Marvel Cinematic Universe for “Vol. 2” (2017) and “Vol. 3” (2023). But even before that third “Guardians” film was released, he caught the attention of Warner Bros. Discovery, which brought Gunn and producer Peter Safran on as co-chairmen and co-CEOs of DC Studios. Now in charge of making DC Comics movies and TV shows, Gunn has directed “The Suicide Squad” (2021), “Superman” (2025), and the HBO Max series “Peacemaker” (2022–present). Gunn also served as creator of “Creature Commandos” (2024), the animated HBO Max series featuring the titular characters from the DC comic by the same name. Fans can also expect Gunn’s next Superman film, “Man of Tomorrow,” to debut in 2027.

James Gunn Credit: Fred Duval/Shutterstock

During his time on the “Guardians” trilogy, Gunn worked with the MCU’s resident CD, Sarah Finn. But since joining the ranks at DC Studios, Gunn has repeatedly teamed with Christopher Nolan’s known go-to CD, John Papsidera. Gunn and Papsidera worked together on “The Suicide Squad” and “Superman,” and they’ll partner again on “Man of Tomorrow.” Papsidera also brought on Kim Winther to help cast “Peacemaker.” As for DC’s animated series “Creature Commandos,” CDs Agnes Kim and Sarah Noonan cast the voices behind those characters—actors who will ultimately portray the parts should the series be developed as a live-action entry in DC’s repertoire.

Papsidera hopes his audition room offers actors “a space and a moment to share a bit of their soul.” He told Backstage, “I think that is what my job is. Everybody who works with me tries to create a space where that can happen. We really respect actors, and we want them to be able to feel like when they walk into the audition room, they have the freedom to do the best work they can. That’s always the goal. We do that by making it a safe space and by being helpful, collaborative, and present. It’s a big thing for me to feel like we show up for actors, and the least they can expect is that we try and get the best out of them by having someone participate in that.”

But as Finn highlighted, casting superhero films can be complicated because CDs must always keep the bigger picture in mind. Therefore, if you don’t get cast, it’s not necessarily talent-based. “There are many things that we are balancing in our minds. Where an actor is focused on a specific role and getting that role, they may not know all the backstories and all the other factors that we’re weighing and all the considerations. There’s no trying to figure it out,” she told Backstage. “Just trust that we have your best interests at heart and we’re listening to our directors and our producers and our screenwriters, and we are having the job of putting this all together. But there is always a much bigger picture than the particular role the actor is focused on. If they’re not right for this particular job for some reason, there will be another one. Our job really is to take the long-view and remember people and what their talent and creativity is, and remember that for a time when the right part comes along.”

Gunn works almost exclusively with agents during the casting process, which means the director rarely holds open casting calls. “I’ve done open casting calls & they’re difficult because you get thousands upon thousands of people auditioning & less than 0.1% of them are as good as the average actor who comes through the door with an agent,” Gunn posted on Threads. “But I wouldn’t rule it completely out - perhaps when auditioning someone of a very specific type, for instance.”

Speaking with CBR, he added, ”Auditioning is a difficult process for an actor — putting yourself out there, learning dialogue, facing constant rejection. So you might understand how an actor who is in demand would refuse to audition because they don’t have to. But, for me, I find it risky casting them. This is why I generally prefer auditioning for all main roles or using actors I’ve already worked with. I’ve had both good and less good experiences with offering roles to actors.”

But you are in luck, because while Gunn only wants to hire actors who are serious about the business, he isn’t ruling out unknowns when casting future projects. “I have never only hired well-known actors…” he posted on Threads. “But I do only hire professionals, same as I do with plumbers, surgeons, and masseuses. I think it’s fair, although fair isn’t my objective - my objective is telling stories the best I can.”

When it came time to find the next Superman, for instance, Gunn used what he had learned from casting previous projects to find the perfect Clark Kent and Lois Lane for the modern era. “I’ve always believed that the casting is the most important and that as long as the actor is the best possible actor for that role, that’s more important than it is for a name,” Gunn told ScreenRant. “Especially in today’s market, which is you see movie stars are not the same as they used to be in terms of you can’t open up, like what it was 15 years ago, open up a Melissa McCarthy movie. Instantly, you’re going to make this much money. Open up an Adam Sandler movie, instantly you’re going to make this much money. It’s not like that anymore. So I just wanted to go for who was the best Superman.

“A lot of people auditioned,” he continued, “and the weird thing is I was so crazily nervous about getting Superman ready, on [the] very first day of the tapes coming in, I had seen [David] Corenswet in ‘Pearl.’ So I said, ‘Get him on, get him on.’ I said, get him on the tape. And then the very first day came in David’s tape and Rachel [Brosnahan]’s tape, and I saw both of those and I went, ‘Oh my God, we’re going to be okay.’ Because both of these people are amazing. There were other really good actors for both of those roles, but at the end of the day, it was both of them as individuals.”

Because Gunn rarely holds public casting calls, you’ll want to secure representation if you hope to get in on the action. Don’t have an acting agent? Here’s how to get one. Or, you can look into background work. Back when “Guardians of the Galaxy” was filming, production turned to us for casting extras. 

You may also find our dedicated guides to getting cast in a “Superman” movie or a DC Comics movie or TV show such as “Peacemaker” or “Creature Commandos” useful as you prepare to audition for one of these superhero gigs.

Finn’s and Papsidera’s loyalties may lie with competing comic book properties, but both have worked with Gunn extensively and know what it takes to ace your audition. Both agree that being your true self remains a critical piece of the puzzle.

“I think overall the most important quality is that [actors] honor their own authentic voice,” Finn said. “An actor should always follow their instincts and follow their impulses because as long as an actor is drawing on their own life experience and connecting with what’s real in them and bringing that to what’s real in the character, it’s going to be unique. It’s going to stand out. I think the most important thing is to bring their own original inspiration and creativity to anything they’re doing and to the role. That’s what makes them stand out. There’s really no way to try to guess what someone’s looking for or to try to figure out how to do it right. There’s no right. There’s only making it your own and bringing it to life.” 

With this as your foundation, you can then make the scene your own, Finn noted. “There is never a right way to do things. Of course you want to pay attention to the scene, the character, and whatever notes you have, but beyond that, what takes flight in a room is when actors allow their own inspiration to come into their reading,” she explained.

Papsidera echoed those exact core competencies, telling us, “A lot of it has to do with being a real human being and allowing themselves to be seen, not just physically but actually who they are.” He continued, “Being prepared certainly is part of it, and having an idea of what they want to do, making interesting choices—all of those things lend themselves to the overall experience of it. When you get to be in the company of an artist, those are the things and the moments I remember as a CD. I want everybody to rise to that level, because that’s what makes me remember them.”

Of course, Papsidera also signaled he’s not one for strict rules. “I’m not a big ‘don’t’ guy,” he added. “It’s more about being present, making smart choices, being prepared. Those are things that impress me and that make a difference and separate actors from one another. If an actor makes a smart choice or an unpredictable choice in some way, the person who really thinks about the material and tries to come at it creatively rather than just saying lines is nine times out of 10 the person that you’re going to think made a great choice. It’s going to stick out from the rest of the crowd. It seems simplistic and rudimentary, but it would shock you how many people don’t think it through,” he said. “It doesn’t mean a random choice, and it doesn’t mean being outrageous. It’s about smart choices. It’s about interpreting the material and character in a certain way that nobody else thought of. Fear gets in the way of making smart choices, being present, and allowing the camera and the process to happen. It’s less about doing sometimes and more about being.”