The hard work and dedication of the casting director is oftentimes overlooked when credit is given for a successful show. Not so in Ross Reports. Our fourth year-end retrospective serves as a tribute to some of the many casting directors who cast some of the past year's most talked-about and acclaimed TV series.
Twenty outstanding casting directors were selected for the innovation and creativity they displayed in their casting. The roster of shows represents some of the best in television programming over the past year and spans many different genres. Each program presented unique demands and challenges to the casting process. The CDs profiled were candid in how they got where they are, what they look for when casting a series, and how an actor can get their attention.
Jonathan Strauss
Lynn Kressel Casting
Law & Order: Special Victims Unit(NBC)
How did you get started in casting?
I went to business school at NYU and I think the important thing I learned very early was what I didn't want to do. I realized that making money for other people did not make me happy. As a sophomore in college, I looked into producing, PA jobs, and whatever else I could find in the entertainment world. Through that, I got internships with casting offices and instantly fell in love with it. I decided that's what I wanted to pursue, and did 100% of the time. With the help of some friends at career services I was lucky enough to meet some really great people in the world of Casting; people who really took an interest in me...took me under their wing...I've been working steadily ever since. What I really find interesting about casting is that it's really something you have to learn on the job. There are no classes you can take on casting... I think that's what makes this profession so unique.
What did you find most challenging about casting for Law & Order: Special Victims Unit? How would you say casting for Law & Order: SVU differ from say, another series you do casting for a while back, Ed?
There are challenges involved when casting any show. However on this show there are three unique challenges that quickly come to mind. One, in particular, that separates it [L & O: SVU] from other TV [shows], is the sheer volume of characters involved in each episode -- every eight days there's a new episode, that brings anywhere from twenty-five to forty-five speaking parts. In my experience it can be more than double what you find in your average television show. That alone is quite challenging.
Secondly, because it's Law & Order, and because there are three shows [and a fourth, Law & Order: Trail By Jury, premiering in January], the producers like to keep the worlds of all 4 shows integrated. If a performer appears on Law & Order as a criminal one week we try our best to be sure that same actor doesn't appear on any of the other shows as lets say a lawyer the following week! Our fans are devoted and they remember everything. Because of this the talent pool you can choose from becomes quite restricted. Keeping track of each show's casting in itself is quite a challenge.
Thirdly, on occasion, we'll do "tandem" episodes, where we cast and shoot two episodes at the same time - they'll split crews, and casts, to some degree, but you're casting basically double the amount 60-80 speaking parts in the same amount of time, 8 days. Each time I do a "tandem" I tell my self it's simply impossible...I must prove myself wrong each time. All these things combined make the show a real challenge, but without a challenge what fun would it be?
There are many differences between casting this show and Ed. When I started casting L & O: SVU it was in its fifth season. It was a show that although it continues to grow was primarily established, With Ed, [casting with Todd Thaler] we cast it when it was a new show in its first season and like all new shows it was still trying to find out what it wanted to be and the casting played it's part in helping it try to find where it was going. the tones of the shows, style and writing were/are all pretty much opposed. One was a comedy, in the vain of a Northern Exposure, and SVU is a gritty drama. That offers different challenges and poses different questions in terms of casting. But with all these differences they have things in common, as well. One thing is they all took place in a specific location. Although those places were very different -- one New York City, and the neighboring boroughs, while Ed was in Ohio. For Ed, which was shot in New Jersey, playing for Ohio, you were trying to cast the show to reflect that. There were different requirements, but at the same time, very similar. Bringing in British and Australian actors for Ohio, on the average, might put up some red flags, whereas in New York, you could probably get away with it – it's more of a melting pot.
What do you enjoy most about casting for television?
In general, the greatest thing I enjoy about television is the opportunity it allows the actors. Television, for me, especially Law & Order: Special Victims Unit, the shear volume of roles that are required in each episode allows me, to audition, and meet many more actors than I would if I was casting other shows and especially movies. In comparing television, to say, a movie I cast with Todd Thaler, Maid in Manhattan, especially bigger budget movies, a lot of times you have fifteen weeks to cast fifty to one hundred-fifty roles, as opposed to television where you have eight days to cast an hour drama, or an hour comedy. The opportunity it allows you for hiring actors and meeting actors is just worlds apart. I think it's just really rewarding, has more gratification, because of that aspect. Also I can work on the show, and thirty days later see the results of my work, and I know it's going to be on the air, especially on a hit TV show. With film, you can spend fifteen to twenty weeks, two years can go by, and you might see the movie, if you're lucky, it might go straight to video, or you might never see it at all, and that can be really frustrating, and disappointing for me as a casting director. Even more so for the actors and crew that also took part in that film. That's what I find rewarding about TV.
Do you plan on doing other television programs in the future besides Law & Order: SVU? How do you select the TV programs you work on? What do you look for in a good TV show concept?
I don't necessarily have plans, but expect to. It really depends on who's involved, and the material, as well as what I'm doing at the time. It's hard to plan, but I certainly wouldn't count it out. For me, "the play's always the thing"...
Do you think what is involved in the casting process is overlooked? If so, why?
No, I don't think it's overlooked. What I do think that's perhaps a better word is: misunderstood. Casting, in many ways, can be misunderstood because it's something that people don't quite understand. Casting in one respect is a very tangible thing. People can watch a TV show, and a movie, or they can think of fifteen stars they saw in something the past summer, and can decide whether or not they are right for a part and to them that's casting. But that's really less about casting, and more about being a fan. I think casting is misunderstood in the fact that people really don't see what's involved in casting, and what it's about. It's less about who's starring in a movie and television show and more about the world you're trying to create -- the tone and atmosphere that you're trying to put forth with the ensemble that you cast. That sort of process --- I mean you can tell anyone the plot of a TV series or a film, and say "Tom Hanks would be great for that movie," but what about the other hundred and fifty parts..or when he is not interested or available? For instance I got a script of SVU which we shot for this season and I had six days to cast forty Asian-American roles, half of which were speaking Cantonese and Mandarin. Just thinking of a few actors that you may have seen in some movies isn't going to help you make the script a reality.
What's involved in making it happen is a mystery, I think, to a lot of people in this business and out, and sometimes a mystery to myself. It involves hours and hours of research, legwork, and auditioning just to get the group of actors together that your comfortable enough with to introduce to your producers. Not to mention the deal making with agents; and scheduling of their actors to get them to the set. The process leading up to this goes unnoticed. It's not something you can really explain to people outside the business and sometimes even the producers themselves.
What do you look for when watching a television program cast by another casting director?
I don't really think of it that way. Unfortunately sometimes I feel like "I'm always working." I say that as a strength and a weakness of my own. I really have a hard time separating my job from when I'm watching TV and film as a recreational activity. I can't help but be very conscience of the actors and the ensemble on the pieces that I'm watching. That's more of what it is. The joy I feel in seeing actors in shows, TV, and film that I know, and seeing them do wonderful work gives me satisfaction. Also seeing actors that I've never seen before, or roles that I've never seen them do, and, hopefully adding them to my own sort of bank in my mind of actors I wish to work with in the future. It's less about a comparison or a judgment on the work as opposed to the people involved.
How do you seek new talent?
I seek new talent in anyway I can – through recommendations, agents, showcases, unsolicited mail, film and TV that I've seen, as well as plays and the theatre that I see on my own time. If someone seems like they might be right for the part, then they might be right for me. That's what it really comes down to. In Maid in Manhattan, we did a nationwide search for Jennifer Lopez's son, and it was through trained young actors, film and TV, agents, open calls, newspaper ads, young kids that hadn't acted but that had an interest in acting and everyone was considered. In effect I'm looking everywhere and anywhere, especially when you're working on TV. You turn over every stone that you can, in the time that you have to turn it over, to find the talent you need.
What advice would you give an actor who might have the opportunity to audition for you?
I would tell them to prepare, but not to over prepare and to remain flexible. Have the courage to make bold and specific choices with their auditions, draw from the context of their scenes, perform deliberately, but with subtlety. Perform your first take as though it was your last, because many times, it is. Often times actors aren't getting the part less as a result of anything they do, or their talents as an actor, but rather with many things out of the actors control. Ultimately actors must realize that if they're there auditioning for me, it means I think they can book the part. They should do us both a favor and make me right. -- B.B.M.
Julie Tucker
Rescue Me (FX)
How did you get started in casting?
JT: I did a casting internship at the Joseph Papp Public Theatre in New York, and went on to work as a casting assistant/associate at Manhattan Theatre Club. Then the producer of the Williamstown Theatre Festival, Michael Ritchie, hired Amy Christopher and myself to do the casting there, and that eventually led to a full-time position at the Roundabout Theatre.
So how did you make the transition then from theater into television?
JT: Inbetween Manhattan Theatre Club and Williamstown, I had done a season on the new Cosby Show as an associate and gotten the television bug. So when casting director Holly Powell called saying they were looking for a New York person for Greenblatt Janollari Studios for pilot season, it was a perfect fit. That was a great seasonal gig. Shortly afterward, I met Lynn Kressel who hired me to cast Law & Order: SVU. I had never done episodic television, never even as an associate. I'd had the Cosby Showexperience, but that's half hour and it's a whole different thing. Episodic is like a train that leaves the station and it's full speed ahead. If you're not on it, you cannot catch up!
How did you come to Rescue Me?
JT: While doing SVU, I had done a pilot for Sony and FX called The Untitled New York Paul Reiser Project. At the time I got the call for Rescue Me, I was actually in LA doing some wrap-up work on a UPN project. Jim Serpico, the executive producer on Rescue Me, called and said, "We'd love to meet you" And I said, jokingly, "How's the weather in New York?" They sent me the pilot and it was just extraordinary. I loved it; my husband loved it, and I was like, "Ok we're going back!" And here I am. It's great to work on something I love, and the creative team is really fun and committed.
What do you find to be the most challenging aspects of casting Rescue Me? What's the most enjoyable?
JT: The challenge is finding actors who really get the rhythm and tone. The other side of it is just the time -- there is none. Any casting director who works in episodic will tell you the same thing. Sometimes you have a full week to find your cast, and sometimes only a couple of hours. It just depends. But no matter what the reality of the time is, you never want to feel as if you are compromising.
As far as enjoyable, what's not to love about it? It's in New York, and it's Denis Leary and firemen! Plus, I'm working with (executive producer) Jim Serpico and directors like Jace Alexander, John Fortenberry and Adam Bernstein; it's a wonderfully creative and collaborative group. It's also a very actor-friendly set and room, and I think generally, when people work on the show, they have a great time. That's important to me.
Do you audition actual firefighters, or have they expressed interest?
JT: Absolutely! Jack McGee (Chief Reilly) was a firefighter for 10 years, and we have guys on the show who are currently working firemen. The firefighters are all around and I love that, and anytime it's the right fit between one of them and the script, I'm very supportive of making that happen. There is a certain authenticity we want to maintain. It's also very helpful for me to get to know who the real guys are -- to hear them talk and see their faces so I can keep it as truthful on the casting front as possible. When I'm working with actors, it's little things like understanding the firefighter's sense of humor. Or a lot of times an actor will be reading a rescue scene and put a lot of weight in the moment. But what I've learned is that if these guys thought about every single moment, they wouldn't survive after one day. There's just a camaraderie amongst them, and it's a great adjustment to be able to give.
So do you have an FDNY rep sit in on casting sessions with you?
JT: Not in casting. There's a great guy, Terry Quinn, who's a firefighter and also works as a technical advisor on the show, and we speak often -- especially when we're doing a particularly heavy fire sequence. I always call him to see if he has any recommendations. You also have to keep in mind that (series co-creator/producer/writer/star) Denis Leary's history with firefighters goes way back. He has the Leary Firefighters Foundation, which was set up in 1999.
How do you select the shows you work on? What draws you to a particular concept?
JT: Ideally, by material and the talent attached to it. For example, I was offered the pilot for Six Feet Under. Now, who would pass up the New York end of a pilot created by Alan Ball, for HBO?! Plus, I had read the script during pilot season (it was a Greenblatt Janollari project) and loved it! I literally came back from Florence, Italy to work on it. I think it was called Afterlife then. And all of those actors -- Michael Hall, Frances Conroy, Matthew St. Patrick, Richard Jenkins -- they all came out of New York. They all have extraordinary theater backgrounds, especially Frances and Michael. And even the guest cast, Patricia Clarkson, etc. They're the people you dream of having in a play. And it makes sense because of Alan's background. He started writing in the theater.
Looking at casting as part of the overall creative process, do you ever feel it's overlooked or underrated? Does it get the credit it deserves?
JT: I think I've been spoiled with that! I have yet to work with an executive producer who did not know the value of what we casting directors do. I cut my teeth in the Law & Order world, and had the opportunity to learn from the best! On SVU, not a day went by when we weren't brainstorming ideas for current and up coming shows. The second that an idea was on the writer's table with a major casting challenge, (executive producers) Neal Baer and Ted Kotcheff called me with a heads up. On Six Feet Under, it was extraordinary to have the Emmy that first season, and to know what my contribution was on that. So creatively, I feel very much a part of the team and recognized!
The struggle for me is not about that. It's more about quality of life. Every other department is unionized and, as a result, receives health and pension benefits. As a casting director, rarely does the show/company put me on their coverage, so I either have to pay for my own health insurance or go without, which I'm too afraid to do. I would rather be homeless then without health insurance! I look forward to seeing this change, so that health insurance coverage will be a given for myself, for my associates, and for all the people who come after me. That would be extraordinary. I do recognize that a lot of people in this country are in the same position, but how great would it be to reduce that number by a couple of thousand?
What do you look for when you watch a TV show that is cast by another casting director?
JT: It's a great place for me to find new ideas. I love new fresh faces, and noticing someone you haven't seen before who pops. But I also love seeing somebody doing something different from what we know they can do. That's what it's all about -- somebody finally taking a risk and an actor showing another side! Like how great is Anthony LaPaglia (Without A Trace) on Fraiser? Brilliant! Being in New York, I've had the opportunity to see these actors in plays, and know them before their television/film life. Like how funny are Allison Janney (The West Wing) and Camryn Manheim (The Practice)? I live for the day when we get to see them do their thing again. I love things that surprise me and shake it up a little bit, like seeing somebody you usually cast as the wholesome person playing somebody darker, and then vice-versa.
How do you go about looking for new talent?
JT: Besides going to theatre, I do a lot of pre-reads and attend the annual leagues and school presentations, like Julliard, NYU, etc.
What advice would you give to an actor who wants to audition for you?
JT: First and foremost, if the show is on the air, watch it and know it. It's no great mystery then. Television is a lot about the rhythm and the tone. People make the mistake of thinking that one show is like the other, and it's not. Look at the Law & Order shows as an example: each one has its own specific nuances, and that's the fun! Actors knowing the show is really important to me -- then you would know that Rescue Me is a lot about pace. There are not a lot of pauses! It's all on the line, almost a David Mamet-style of acting.
Also, come in, do what you need to do, and then we'll go from there. If you do a good job, you'll come back again. An actor's goal should be to do a good audition so they can come back into the room. It's not about one job. It's about relationships with the casting director, producer and director. Trust me! When I get that 6 o'clock call, I'll say, "What about that guy? Remember, we really loved him but we didn't cast him here and here because the role became a woman. How about using him here?" That sort of thing happens more often than not, and on almost every show I've cast. So it's really not about getting that one specific job, but about making a great impression. That makes us want to cast you in as many projects as we have! -- T.R.
Paul Weber, C.S.A.
Ivy Isenberg
Paul Weber Casting
How did you get started in casting?
PW: I was originally an actor, and a stage director from Seattle; I lived there for seven years and worked most of the major theatre up there. I moved to Los Angeles in 1987 and got my first casting job with Stephen J. Cannell Productions during their heyday, when they were doing Wiseguy and 21 Jump Street. I really believe that my skills as an actor and director served me well as a casting director. Even though I sampled a lot of other jobs in terms of production: location manager, producer/writer for game shows, production assistant, etc., casting is what I always came back to, and I fell in love with it. I felt I could use my skills to fully empathize with the actor and his process.
In the early '90s I started working with Victoria Burrows on Tales of the Crypt and from there I moved to MGM in '95. And I've been on my own here, as in-house casting director for MGM Worldwide Television, since 2000. Graciously, the studio has also allowed me to work on independent film and television projects as well.
What do you find to be the most challenging aspects of casting Dead Like Me and the Stargate shows? What's the most enjoyable?
PW: The most challenging aspect is finding the right actor for the right part given that you've got to please the network, the studio, the producers, etc. And everyone has a slightly different idea of what is right, casting-wise. So many times it's trying to please a lot of masters and still do service to the script.
Most enjoyable is when it works, when it comes together and you are able to make everyone happy and feel great about the project that you cast. Ultimately, it's really gratifying -- especially if you can introduce some new actors who aren't on your typical studio list.
How do you select the shows you work on? What draws you to a particular concept?
PW: Hopefully, it's something different that I haven't seen before. I think television is really stretching the boundaries. And as casting directors, we're able to participate in that. I do a couple of different genres of shows. Science fiction is incredibly challenging for actors. An actor who just booked the guest lead on NYPD Blue may not be at all appropriate for sci-fi. The language is a difficult one to get your head around. I often use classically trained actors for sci-fi shows because they understand the language, and the heightened cadence of it. It's like doing Shakespeare in space. They understand that they sometimes have to compete with the scenery. I end up hiring a lot of Brits, Australians. Americans, New Zealanders, Europeans...actors with great stage backgrounds. It's also tricky because you don't want it to be presentational -- you want it to be absolutely real, organic, and lived in. Stargate, for example, has created a very intricate mythology that fans absolutely understand, and you need to honor and support that. But many actors just can't seem to get that.
It's very different than a contemporary approach, which is what many actors bring to their audition process. Dead Like Me is like a contemporary piece, but there is also a slightly off-kilter comedic style that also calls for a specific quality of actor.
Looking at casting as part of the overall creative process, do you ever feel it's overlooked or underrated? Does it get the credit it deserves?
PW: I've been very fortunate. Producers I've worked with have always been very supportive of the casting process, but I think I'm more the exception than the rule. I think that casting directors are greatly overlooked for their contributions. We are an integral part of the creative process, and I wish there was more respect for our craft. We're finally recognized with an Emmy. Now if only the Oscars would follow suit...
What do you look for when you watch a TV show that is cast by another casting director?
PW: I look for actors I don't know. And I will usually watch every show at least once just to get a sense of the style of that show. And then I'll selectively watch and see who's on that show. I watch shows that are like mine, that I just admire. I'll even watch reality shows. Sometimes you'll see someone who has a really remarkable personality, who could develop into an actor. I think this business is very personality-driven. If you can marry craft and personality, then you've got something I think we're all looking for.
How do you go about looking for new talent?
PW: I see a lot of theatre. I go to showcases. I rely upon management and agents to educate me as to their clients. We can't do it all, and we can't be everywhere, so we really rely upon people we trust in the business to introduce us to new talent.
What advice would you give to an actor who wants to audition for you?
PW: Actors hear this over and over again -- preparation! Be aware of the kind of shows the casting director is casting and come in prepared. And I mean "prepared" in every sense of the word. Dress properly, have access to the script, and make sure you've had enough time to work on the material. Come into the room in a professional way. Do your job the best you can and don't overstay your welcome.
Do your homework! Talk to your agent and read the sides. Know about the producers and the director. Come in with a point of view of what the scene is about. Don't just come in with a reading. I say this to actors a lot: a reading is something you do with a two-year-old at night. Too many actors do a reading and hope that we just "get" them, instead of coming in and taking control of the room. And I'm shocked that more actors don't do that. If you do your homework, that should answer your questions. I love it when I ask an actor, "Do you have any questions?" and they say, "No. I want to show you my take on it and you let me know if there's an adjustment." If there's something specific you're unsure of, then go ahead and ask. But so many actors spend a lot of their time asking questions in order to impress us with how interested they are in the project, rather than doing their homework. Just do the homework, and leave us wanting to see more, not less. -- T.R.
April Webster, C.S.A.
April Webster Casting
Lost (ABC); LAX (NBC)
Between Alias, Lost, and LAX, you've got this high adventure thing going for you. What is it about these big, dramatic, action stories that appeals to you?
AW: It's not just an action show that has an appeal for me. It's just that, strangely enough, a lot of these action show are very character-driven. Lost is an incredibly character-driven show; so is Alias. And I like something that's intriguing and maybe a little mysterious. I want to be as surprised as the person watching. I don't think I've sought these shows out particularly, I just think it's the luck of the draw.
And with Lost in particular, you have a huge cast and limited opportunities for guest roles.
AW: Actually there are guest roles, because there are flashbacks that give us insight into the characters. Who knows what's going to happen in terms of the characters on the island? Nobody knows, not even me.
In the old days, I cast a lot of shows like The Flash, The Sentinel, Viper, Knight Rider, etc. and I've done a lot of features in between. But it's always more interesting when you have great characters to cast. I've just been very lucky with the people I work with on LAX and Lost; the writers and producers write very interesting characters.
Did either of the studios involved on Lost and LAX push for stars for a particular role, or were you free to cast as you saw fit?
AW: On LAX, Heather Locklear was certainly our choice for this and we hoped that she would do it. Thankfully, she did. On Lost, it was strictly open book. And we had no idea who we were going to cast. For the first bit of time we didn't really even have a script to work from; they were still in process because the "go" was so fast. It's great when you're working with JJ Abrams and Damon Lindelof, because they'll begin creating characters, so eventually we got to the point where we were just bringing in great actors without ever being sure who was going to be a guest star or a recurring character or a serious lead. It was quite a trip. As crazy as it was, the premise was so interesting. LAX was also kind of breaking ground with the airport being the place where everything happens; there are a lot of elements to it, so there's always something happening in the airport.
Especially in today's political climate?
AW: Yes, that's what makes those shows interesting. Otherwise you could go mad. I think for any casting director, it's the challenge of what the characters are, as written, that make you think a little deeper and search a little harder.
You look at these people and they're ensemble players and it works so well. On Lost, It's amazing how tight they've all become, just from creating the scenario of having to live on this island. Everyone is just so different from each other.
How long did it take you to cast a show that size?
AW: We did it very quickly; we had a very short amount of time. I was working with a woman named Alyssa Weisberg, who was my associate for the pilot. We just worked our brains out. We really did. And it was work that we knew wasn't going to be the usual five weeks -- maybe only two or three weeks.
So the characters were not fully developed when you started casting?
AW: The characters changed as we brought in different actors. JJ and Damon and the other writers have such amazing minds that a character who started out being a 35 year old business man with a drug problem ended up being a 26 year old ex-rocker with a heroin problem. So, it really was a ride. But there were certain ideas they had, and we certainly cast to that.
Was the studio open as far as race and ethnicity?
AW: Well, the characters had already been written for specific kinds of people. And it was already a very mixed cast, although Hurley wasn't written Latino, for example. We saw many different types for each part, but some parts are very specifically written. I mean, Said is not going to be Caucasian, but then again, we had people reading for Sawyer who were black, Hispanic, everything. If someone is a good actor, JJ will see them. Alias is always that way, too, unless it's something very plot specific.
You seem to have an excellent relationship with JJ.
AW: Yes, I think I do. And I'm very lucky, or blessed, to work with the producers I've worked with. They're open to ideas, they're willing to listen and they have ideas themselves.
Do you have a preference between casting between film or television?
AW: I love both -- you just have a different palate to work from in features in terms of the bigger actors, and the time is not as crunched, either. On television shows, we can have four days to cast 12-15 characters. Last week we cast 14 characters in two days. We put everybody on tape, day players and all, and you can do that. But film tends to be a little more luxurious in terms of time.
What is it about a script that appeals to you, besides the characters?
AW: The story, of course. But it's project by project. I mean sometimes you work on something because people you know are working on it and you like working with them, and sometimes the project is just too damn good and you can't let it pass. And sometimes, unfortunately, you're just too busy. It's like working on independent films, for instance. You're not getting your fee, and often it takes a lot of time and you're going to be practically producing it because you're getting the talent attached, but if you feel passionately about it, then it's worth it, isn't it? I think that's true about anything. It's awfully hard to sell something unless you feel like it's something exciting that you really believe in.
You know, I like mystery. I like things where human emotion takes over. I find those kinds of stories very interesting -- when our emotions override our natural instincts, when people get betrayed. It's mysterious and you can't know what every turn is going to be like. When I work on features with Roland Emmerich and others, I get a great chance to paint pictures and that's the kind of thing I love to do. -- T.R.
To reach the casting directors interviewed in these stories, you can contact them at the following addresses.
Sharon Bialy, C.S.A.
Sherry Thomas
c/o Paramount Studios
5555 Melrose Avenue
Marx. Bros. Building, Room 102
Los Angeles, CA 90038
(323) 956-1470
Sharon Bialy, C.S.A., Sherry Thomas.
Medical Investigation (NBC).
James Calleri
Erica Jensen
James Calleri Casting
416 West 42nd Street
New York, NY 10036
(212) 564-1235
James Calleri (Casting Director); Erica Jensen (Associate).
Hope & Faith (ABC).
Felicia Fasano, C.S.A.
Clubhouse Casting
15001 Calvert Street
Van Nuys, CA 91411
(818) 373-4161
Clubhouse (CBS).
Risa Bramon Garcia
Brennan Dufresne
4024 Radford Avenue, Big Trailer
Studio City, CA 91604
Risa Bramon Garcia (Casting Director);
Brennan Dufresne (Associate).
CSI: NY (CBS).
Shana Landsberg
Teri Fiddleman
Landsberg/Fiddleman Casting
13455 Ventura Blvd., Suite 214
Sherman Oaks, CA 91423
Shana Landsberg, Teri Fiddleman.
Kevin Hill (UPN).
Lori Openden
500 South Buena Vista
Animation Building, Suite 1E 28
Burbank, CA 91521
8 Simple Rules... (ABC); also consults for United Paramount Network (UPN).
Holly Powell, C.S.A.
Elizabeth Melcher
Powell/Melcher Casting
5555 Melrose Avenue
Special Effects Building, 2nd Floor
Los Angeles, CA 90038
(323) 956-4260
Holly Powell, C.S.A., Elizabeth Melcher.
One on One; Eve (UPN).
Sally Stiner
Barbie Block
100 Universal City Plaza
Building 3213
Universal City, CA 91608
Sally Stiner, Barbie Block.
Complete Savages (ABC).
Jonathan Strauss
Lynn Kressel Casting
West 23rd Street
The Hudson River, Pier 62, Room 304
New York, NY 10011
(212) 414-0575
Law & Order: Special Victims Unit (NBC).
Julie Tucker
1697 Broadway, Suite 300
New York, NY 10019
Rescue Me (FX)
Paul Weber, C.S.A.
Ivy Isenberg
Weber & Associates Casting
10250 Constellation Blvd., Suite #2060
Los Angeles, CA 90067
(310) 449-3685
Paul Weber, C.S.A., Ivy Isenberg (Associate).
Stargate SG-1; Stargate: Atlantis (SCI FI); Dead Like Me (Showtime).
April Webster, C.S.A.
April Webster Casting
800 Main Street, #310
Burbank, CA 91521
Lost, Alias (ABC); LAX (NBC).