You have just finished writing the storyline for a new sitcom that you're trying
to get a network to pickup. In your mind the characters and plot are already
interesting and unique. However, in order for this show to be a success you will
also need to have outstanding production, direction and oh, of course ACTING. The
lead requires a white woman in her mid-twenties, 5'5" - 5'7" and who can sing and
dance. She must also be an unknown who is athletic, seductive, funny and
preferably a REDHEAD. But it isn't your duty to draft possible actors. After all,
you're busy enough as the writer and can't be responsible for everything! So to
whom can you turn to bring your show to life? Sounds like a job for Patricia
Noland, C.S.A., casting director extraordinaire. Noland, formerly of NBC, is now
an executive supervisor with the WB's casting department. Casting directors are
people who many of us have heard about, but are still unsure what it is exactly
that they do. I had the lucky chance to sit with Patricia, ask her a few
questions and gain a little insight on her job.
Why did you choose this profession, and what does CSA mean?
John Levy, Patricia's mentor and former agent, suggested she give some thought to
working on the casting side of things. She gave it a shot, and she loves it! CSA
means Casting Society of America, and it is a way to unionize and recognize
casting directors. Before the CSA, casting directors were all freelance and
independent contractors without benefits.
Was this your first career choice?
No. Her first choice was to be an agent, but then Patricia realized that she
isn't interested in the selling part of show business. By "selling" she means the
sale of talent/people. She has more of an attitude for "buying."
Do you have any interesting success or nightmare casting stories?
One of the success stories involves Wesley Johnathan of City Guys. He was
supposed to be at Patricia's office at three in the afternoon for an audition
with the network executives, but it was the day after his school's formal, and he
ended up sleeping in! Fortunate for Wesley, the execs waited just long enough to
meet with him. He was only given two minutes to prepare, but everything went
smoothly, and he's now been on City Guys for four years.
Patricia says that the nightmares that come along with being in her position
don't really have to do with actors. Most stress is caused by the politics of the
business, egomaniac producers, the inflexibility of writers and frequent fits
from directors. The pressure that comes from all of these people is what makes
her job difficult.
What irritates you most about actors?
Lack of preparation. Preparation and delivery are what gain respect! Also, false
representation is bothersome. It happens more frequently with female actors than
male. Headshots should be recent. If your headshot doesn't look like you, then
everyone's time and money are wasted. That is more irritating than anything.
What type of headshot is needed and when?
When dealing with a commercial agent you need a composite shot, which has about
four to six pictures with different looks and one main shot on the front. When
you are getting a theatrical headshot done for television and movies, you need a
recent picture that looks like you. You can get made up for the commercial shots,
but make sure that the theatrical headshot is true to your appearance.
How many actors do you see daily?
As an active casting director, Patricia can see 30 - 50 actors over a whole day.
For each she only jots down quick comments and refers back to them at the end of
the day. Since the auditions are brief, it becomes extremely important to keep
good notes.
What and when is pilot season?
A pilot is like a new product. It is the first episode of a show. It is presented
to studio and network executives in hopes that it will be picked up and more
shows "ordered." Pilot season usually begins on January first and runs to April,
but with new mid-season lineups, pilots are sometimes also cast in October.
What is the process of getting a pilot on a network?
Even before a network buys a pilot, the actors have been on board for at least
six years and have signed standard contracts. This way there aren't any
negotiations when it is time for the pilot to be presented. Initially the casting
director has to offer different actors for the roles. They are then scrutinized,
poked and prodded by writers, directors and execs from the studio and network.
This might go on two or three times before everything is right and everyone is in
agreement. Then, the pilot is off!
What current projects are you working on?
Right now she's focusing on The O'Keefe's with Judge Reinhold on the WB. It's
about a father who has home-schooled his three children, and they suddenly decide
that they want to attend a public school. He is having a hard time adjusting and
letting his kids go.
What are generals and general auditions?
Generals are like "meet and greet" sessions. An actor comes in and has a brief
interview with a casting director. He or she will try to get to know who you are
by asking questions about family, where you're from and other things that you
have going on in your life.
General auditions are what we all see more commonly. It's always quick and dirty.
Actors are moved through like cattle, and never know whether or not they did
well. Most of the time you would be one of 30 - 50 actors, and you leave knowing
as much as you did when you got there - nothing.
What are cold and table reads?
Cold reads are just what they sound like. Two to five lines are simply handed to
you, and without rehearsal you're asked to just "let it rip." Not many people are
good at cold reading. You're asked to find the timing and get comfortable with
the material quickly. Some actors have a natural gift for it and others do not.
Not being comfortable with cold reads doesn't mean that they are necessarily bad
actors, but just that they need material sooner than others.
Table reads are the first time that the writer is able to hear his/her words
spoken by the actors who are actually going to be playing the roles. Directors,
casting directors, and network and studio execs also attend table reads. As time
passes and the series becomes a signature show, such as Married With Children,
the number of table participants gets smaller. Starring actors stop showing up at
the beginning of the week because everyone is confident that they will be able to
deliver. However, during the first few years it is crucial to a show's success
that everyone is in attendance. This is especially true of young and unknown
actors who are trying to start a career of this.
How should new actors prepare for L.A.?
First of all they should realize that they are not the only actors in Hollywood,
and that everyone here is trying to break into the business in some way. They
need to be prepared to give 200% of themselves and nothing less. It's rough! You
have to find a place to live, get a job flexible enough to allow time for
auditions, attend acting classes, meet with agents, and all while trying to stay
in good spirits. It's a lot to handle when you are in a foreign land like L.A.
Most actors, including us who really only have a theater background, have to be
willing to relearn the basics of acting. It is important to learn how we look on
camera. Pitt in Hollywood is an outstanding way to align yourself with good
people who can give you some initial guidance as to the ins and outs of L.A.
How do you feel about acting classes and the theater? Are theater actors easier
for casting?
East coast acting, or the New York acting society, is different from the
Hollywood acting society. The east coast is theater driven, while L.A. is film
oriented. Actually, east coast actors have a reputation in the west for being
"snobbish." If you come here with just a theater background, you will need to
learn how the process is done and how to make full use of the camera. You will
also have to learn movie jargon such as "go to your mark." Acting classes are
essential for everyone who has limited exposure to television and feature acting.
It teaches techniques for cold reading, improvisation, comedic timing, and
on-camera presence.
