If you’ve watched a movie or television series in the last few years, there’s a good chance you’ve seen the work of Kim Coleman. The CD has been busy on screen projects, from “Wu-Tang: An American Saga” to the upcoming “Space Jam,” and she’s looked for talent far and wide for a range of projects. Two more of those, novel adaptation, Showtime’s “The Good Lord Bird” and the biographical “Genius: Aretha” on National Geographic are further examples of jobs outlined by source material that adds an extra challenge to the casting process. Coleman shares why you’ll never find her casting a project she doesn’t feel strongly about and what actors should know about the way she approaches her craft.
Talk about the casting processes for “The Good Lord Bird” and “Genius.”
Every project is a little different. With “The Good Lord Bird,” I came on board with Ethan [Hawke] attached. From there, we worked pretty closely throughout the initial casting process and then from start to finish of production. It was important to us to find actors with an understanding of the complexities of these characters, especially with it being a period piece focused around an extremely heavy subject matter. With “Genius,” the process was a bit more collective in the sense that the casting choices were approved by many different people. A group of four or five of us were really responsible for who made it to the final chemistry reads. Getting to our final choices was a true group effort.
What kind of research went into these processes?
When a project is based on a novel, I like to familiarize myself with the book as much as possible and, more importantly, the author. It’s important to bring characters from a book to life in a way that feels similar and sometimes better than what we previously may have imagined.
“I work so closely with actors, and I believe in all of them. It’s very important to me that I am genuine with them and make them comfortable so they can give their best work.”
What made these jobs unique compared to other casting jobs you’ve done?
There was a lot more historical research to uncover and typically clearer character descriptions, which helps a lot when we do our search.
What are some of the challenges that came with these particular jobs?
There were some scheduling conflicts to work through. There were also more in-depth conversations surrounding things like depiction of violence and nudity. There were no bad challenges. If anything, they were learning experiences that pushed us to find creative solutions that everyone was comfortable with.
How does working on so many projects at once or in a row affect your relationship with talent?
I try to compartmentalize every project so I can give each one an equal amount of time and attention. Same goes for talent when we are working in the room. I work so closely with actors, and I believe in all of them. It’s very important to me that I am genuine with them and make them comfortable so they can give their best work. You just never know when the right role will pop up for a talented actor, so I like to bring actors in as much as possible for everything I can. Practice makes perfect, and I think giving actors opportunities for different types of projects helps them grow. I like to be surprised by seeing new things from people I believe in.
Where Do Hollywood’s A-List CDs Look for New Talent? How did you get attached to these most recent television projects?
There are so many different ways, which is what makes each opportunity exciting and unique. Network and studio execs call me about upcoming projects. I also become attached to projects through long-standing relationships with writers, directors, and producers who I have worked with for many years. There are even times where I will get an email from an up-and-coming creative with a project that they would like me to consider. I’m actually working on a project right now with a former classmate of my daughter from NYU, as well as a young writer-director at USC. If the project speaks to me, I’m all in.
Why were these projects that you were interested in taking on?
I’m always interested in stories told from a new perspective. I like to work on projects that are written and directed by artists with something to say, unapologetically.
What do you typically look for when agreeing to take on or putting yourself up for a project?
I look for passion.
“Be prepared for your opportunity before it comes. Audition for projects big or small and focus on performance and training. Become so good that your talent is undeniable.”
What advice do you like to give actors, especially those starting out, from the point of view of a CD?
Be prepared for your opportunity before it comes. Audition for projects big or small and focus on performance and training. Become so good that your talent is undeniable. And when the opportunity presents itself for you to audition or be reviewed, give us no choice but to say, “This person has something special, let’s see where they fit.”
What should an actor know about auditioning for film and TV today as the industry continues to undergo changes?
You have to come in off-book. If you know your lines like the back of your hand, you give yourself a better chance of transforming into that character.
What don’t actors know or realize about what you do as a casting director?
Casting directors are on the actor’s side when it comes to making their deals. We are their biggest champions. We want them to be paid, seen, and treated fairly. We act as a middle man but really are team actor!
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