For aspiring actors living outside of New York or Los Angeles, a professional screen career can feel very far away. However, there are plenty of local acting opportunities available. Just ask CD Lisa Lobel, the co-owner of Boston Casting. Her most recent project is “The Holdovers,” Alexander Payne’s hotly anticipated boarding school movie that explores an unlikely bond between a teacher (Paul Giamatti) and student (newcomer Dominic Sessa) who have nowhere to go over winter break. Given that she has 28 years of New England casting experience under her belt—including for Oscar winners “Sound of Metal” and “CODA”—the film’s primary CD, Susan Shopmaker, brought Lobel in to help populate the film with local talent.
Do you have any encouraging words for aspiring actors who worry that they need to live in L.A. or New York to get opportunities?
The local acting market has really upped [its] game, so to speak. When our tax cut here in Massachusetts started getting really good and then became permanent, our crew and talent base really proved themselves. And films just keep coming back; TV series keep coming back. Slowly, a lot of people are coming back—people who thought they had to have a career in New York or L.A. Sometimes, your chances are better getting a role locally because the pool is going to be a little bit smaller.
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You’ve cast a lot of young people—both in “The Holdovers” and other projects. What qualities do you look for in teen and child actors?
You can tell when a kid wants to be there and when the kid is selling his mom’s dream. Kids have to really find [acting] themselves and love it. They have to love being onstage; they have to love performing. It’s not any different than, say, high school sports, where if you’re going to try out for the varsity basketball team, you can’t show up having never played basketball.
Dominic Sessa and Da'Vine Joy Randolph in “The Holdovers” Credit: Seacia Pavao
Do you have any tips for actors coming into the room to audition for you?
Something that doesn’t work happened on this film. I had one actor who I really wanted for a role, and I thought he was perfect. He came in, and first, he had a lot of stuff with him, so he had to put it down on the table. And then he had to move it. Then he had to take a drink. Then he went to the mark. Then he came back and he took his keys out. And then he went back to the mark. And we were waiting. Then he did his thing, which I thought was terrific, and I was so happy and proud of myself. And he walked out, and I said to Alexander Payne, “Whatcha think? We got it, right? He’s so good.” And he said, “I can’t keep him. The length of time it took him to get settled in—I don’t want to take a risk on that day-of. I need someone [who’s] just gonna come in and nail it.” Just [make] sure that you’re prepared. Anything that you have to do, do it in the waiting room. [If] you get that opportunity to come in, everybody’s working. Everybody’s time is really valuable. Just be ready.
What do you wish you could tell actors who read for you?
If you don’t get a role or callback, it’s most likely not because of anything you did wrong. When we start casting, it’s the very, very beginning. Oftentimes, directors, producers, writers—they’re not even sure what direction these characters are going to go [in]. So, you’re part of that process. If we asked you to audition, it’s because we know that you can do it and that you’re good enough.
This story originally appeared in the Oct. 19 issue of Backstage Magazine.