Brooke Thomas

   When I was preparing for my interview with Brooke Thomas, I came upon an excellent interview of her conducted by Brooke's friend, Sheila O'Malley (check out this and other great pieces at sheilaomalley.com). In addition to a lot of valuable preparation, I learned of a surprising similarity we shared. She almost didn't become an actor. Despite developing a love for theatre and performing through her involvement in high school productions and her taking in shows at Providence, R.I.'s highly regarded Trinity Rep, she was reluctant to take the plunge and study theatre in college (to quote Brooke from Sheila's interview, "you can't major in plays") because it didn't seem practical. Of course, if something is meant to be, it will, and she did eventually pursue a theatre degree at the University of Rhode Island. The rest, as they say, is history still being written, as Brooke Thomas Casting is just about to celebrate its first year anniversary.
  While my own story of trying (and failing) to find a "practical" calling in life is fodder for another article (maybe), I was intrigued by the story of Brooke's beginnings in the world of acting. I "got" a lot of the things Brooke mentioned in Sheila's article - from a concern for practicality to a comfort in "small pond" settings to a voracious love of acting. So I expected that we'd hit it off well as interviewer and subject. We did - though at times it felt less like an interview and more like a casual conversation with another actor, in the best way.
  To explain - (good) actors have a certain restlessness, I've found. It's not a bad thing at all, but rather a kind of spirit that's needed to keep on keeping on, in the craft and the business. I felt that with Brooke. I've also noted in senior actors a quality that puts you at ease, a relaxation resultant from their sense of calm, no matter the time or place. Even amongst the dinner hour din at Chelsea Market, Brooke's interview went off quite effortlessly. But as much as anything, it was the quality I can only describe as "Meisner presence" (accompanied by "Meisner listening"). It's something I'll experience weekly when my fine instructor at Matthew Corozine Studio, Jill Richburg, spontaneously begins a repetition exercise with me or any of the other students. As I'll look across at Jill during the repetition, I'll see that she is, quite simply, THERE - in that moment, focusing all her attention on me. Jill herself describes the desired process with an appropriate sound effect - "schwooop!" I felt that kind of presence in Brooke as we spoke.

Strangest Role Brooke Ever Had to Cast

   Over two weeks, Brooke had to cast a MetroPCS commercial, all from New York and the surrounding areas. There were 125 characters in the project - "musicians, professional ping pong players, flex dancers..." But the most daunting role to cast was for a didgeridoo (an instrument native to Australia) player. "It took me a long time to learn how to pronounce it. I didn't even know what it was." The job took a long time and "a lot of searching."

Dance

   Brooke doesn't get to use her dance skills very often in teaching or casting situations - "Mary (Egan-Callahan, her teaching partner) will poke fun at me" - but it is one of her talents. She studied ballet from age 5 - 17. "No, I'm not a trained dancer, but I like to dance." She choreographed shows at URI, where she learned the finer points from a faculty member, Paula McGlasson (now the chair of the URI theatre department) who also wasn't a professional dancer. "I don't think you have to be a fantastic dancer in order to choreograph and see a picture." She also credits Brian Jones - "an amazing tap dancer" - for his mentorship at URI. One of Brooke's proudest moments as a performer was as part of an all-tap dance review after she'd graduated. It was choreographed by Jones and performed on First Night in Providence in front of 1,500 people. "I was very proud of that, because I'm not a tap dancer - but I sold it!"

The Inspiration of Theatre

   Brooke's love of theatre was borne partly from her reading plays in high school. Some of the plays that made the most significant imapct: "Vanities," "Effect of Gamma Rays on Man in the Moon Marilgolds," and "The Children's Hour." She also developed a love for musicals while performing in them for high school productions. "I got involved in it, and just started to have fun."

   She was also influenced by the theatre she saw performed at Trinity Rep in her home state of Rhode Island. The visceral experience of going to the theatre, the sights and smells, got her passionate about it. "There were so many good actors there when I was growing up." She singled out an adaptation of "A Christmas Carol" by Adrian Hall and Edie Cummings that "really hit home" for her. "They took the story of Ebenezer Scrooge and created their own thing, and were able to tell it in such a unique way on stage. Trinity Rep still does it every year, it's an amazing show."

    Brooke lists Lanford Wilson, Arthur Miller, and Tennessee Williams among her favorite playwrights. If Brooke were ever to be coaxed back to the stage, her "dream" role would be as either wife in Yasmina Reza's "Gods of Carnage."

But...

   Despite her burgeoning interest in theatre, Brooke didn't begin pursuing a theatre degree upon her entrance to URI; it didn't seem practical. She began as a psychology major. "It was kind of a stab in the dark. You get to college, and you're like, okay, what can I study?" After her first year, she knew it wasn't the right path for her. She took a semester off at the start of her second year, and used the time to travel Europe "before making a decision to do what I wanted to do. It was definitely a turning point. It gave me a chance to be by myself, see what else was out there, clear my head out... it was very beneficial." Upon returning to URI, she had a meeting with an advisor. "She asked me, 'what do you like to do?' I said that I liked plays, I liked theatre. She asked why I wasn't doing that. I said I liked to eat. I said I wanted to have a family, I wanted to have a life. She replied that if I loved theatre, I'd have all of that."

URI Theatre

  Like her fellow URI alum Mary Egan-Callahan, Brooke cites the URI theatre department as having had a huge influence on her professional and artistic development. "It was a great program. I think it had to do with the other people there in the student body at the time, too. It was small, it wasn't cutthroat. And it gave you the opportunity to do different things - to build a costume, to stage manage, to run the light boards, to build a set. It gave me a well rounded sense of things. I think that's valuable thing to have in any business you go into - to be able to do all the jobs." Brooke said this was very helpful upon her entrance into the world of casting because she was used to learning how to all of the specific jobs - "run a camera, send out appointments, do an edit, change a lightbulb" - and do them herself. "I wasn't above doing anything, and I think that's the way you have to be when you're involved in something." In addition to the practical benefits of the behind the scenes training, Brooke counts her performance in the URI production of the Lanford Wilson play "Home Free!" as one of her proudest moments as an actor.

The "Real" World

   While the URI theatre department was a fantastic artistic training ground, Brooke found that, like a lot of university programs, it lacked any kind of preparation students needed for making the transition to life after college. "I've approached several different programs with the notion of starting something like that. Like, how about learning some on-camera commercial techniques? How about what makes a good headshot? How about what are good survival jobs for actors to have?" Brooke notes that many university theatre programs don't address the specific skills required for commercial acting. "The programs tend to be very 'pure.' And commercials are outside of that, because they're not Chekov, they're not Ibsen."

   Brooke spent time in Dallas before relocating to Boston, where she became involved with the highly regarded ImprovBoston troupe. Initially, Brooke felt uncomfortable in the realm of improv theatre until deciding, at one performance at a college, to "stop trying" and have fun. The resulting success she found as an improv performer was a high point in her career as an actress, and influenced the philosophy she tries to instill in those she teaches. "I never say 'don't care,'  because you have to care. If you didn't care, you wouldn't be getting out of work, taking three subways to get to an audition, going up for two seconds and then leaving. You have to care. But you have to just do it and then leave it. You have to do your audition and then go on to the next thing. Because if you think about it, you start thinking - what did I do right? What did I do wrong? Why haven't they called me? The audition's going on for weeks in your head. It's unhealthy."

Transition to Casting

   Brooke and fellow actress pal Andra Reeve were working their "survival" job at a restaurant and lamenting the lack of certainty in their futures as actors when they came upon the idea to try securing an internship at a casting agency. Brooke sent her resume out - to every casting agency in the city. She got a response from Liz Lewis Casting, starting by helping them move offices. As she began to move up from moving boxes to answering phones to assisting with castings, the realization that this new career path was right for her was "pretty immediate. (As an actor) I liked working behind the scenes, too. I enjoyed being a stage manager, moving sets, helping people with costume changes... I enjoyed working behind the scenes just as much as the performance. So it just kind of made sense that I would enjoy that (casting) as well."

   After working full time at Liz Lewis for nine years, Brooke transitioned into working for Liz on a freelance basis after having a baby. Brooke's former colleague at Liz Lewis, Neil Myer, had left LL and had been approached by House Casting - which at the time was limited to print and runway show casting - to help expand House to include on camera commercial casting. Neil and Brooke decided to work together to "get everything up and running," and Brooke began her tenure at House.

Starting Brooke Thomas Casting

   Brooke Thomas Casting will celebrate its first anniversary on November 28. The reason for going off on her own? "It was just time. It was time for me to move on and do my own thing." Brooke stresses the personalized aspect of her approach to casting now, after having worked previously for two large casting companies where "there are multiple people working on a job, and I might be working on a job and never even speak to the director. I like to be able to talk to the creative people I'm going to be doing the casting for. I want to hear it firsthand, I want to be able to ask the questions I need to ask, and then get the job done right rather than having it be piecemeal and come from different places." She says she'll now be doing 2-3 jobs at the same time, working personally on each of them.

The Daily Show 2006

  One interesting tidbit from Brooke's career is having been interviewed on The Daily Show in 2006. A few of the people working on the show were former students of Brooke and Mary's. "Somebody called House and said 'we need a casting director, would you be interested in doing it?' I said yes - and then I got really panicked, because it was The Daily Show and I didn't know what they were going to do to me." The segment was about "casting actors so that they could start a relationship, like Tom Cruise and Katie Holmes." Brooke is friendly with Ed Helms, who was working on The Daily Show at the time, and called him prior to the interview to ask him to "make sure they didn't do anything to make me look ridiculous." Helms assured her there was nothing to worry about. "It was nerve racking, but it was fun."

"Real" People in Commercials

   Brooke and I talked a bit about the current trend of people being used in commercials who don't come from the typical actor training path - "real" people (a tag I love, as it implies conventional actors are aliens or something other than real). I asked what traits in a previously untrained actor might allow for him or her to have success in the commercial or film world. "They're eager to learn, they're fearless. There's a confidence factor. And there's also the 'I have another life. I'd like to try this. I'm serious about this. I want to get good at this. But it's not the end-all be-all of my existence.'"

It's Still a Small Pond

   In doing research for the interview, I'd read a quote of Brooke's that she preferred being "a big fish in a small pond." While I could certainly understand the sentiment (her Rhode Island and my native Connecticut sharing many similarities), I was curious as to how she could still satisfy that preference while working as a casting director in the "biggest" city (maybe not geographically, but does that matter?) in the world. "The commercial world in New York City is pretty small. It sounds strange, but you work with a handful - or a few handfuls - of commercial agents and you start to know who all the commercial actors are. You meet new actors all the time, and they meld into the fold."

The Advantages of Being a Working Mom

   I asked Brooke if, in addition to the many challenges of managing career and family responsibilities, there was any advantage to being a mother in her stressful field. "Yeah! Nothing is as important as being a mom. So when things are blowing up at work, it's all in perspective. And, you just become a very good multi-tasker."

The Brooke Thomas Movie

Title? "Big Fish, Small Pond."

Played by? "Laura Linney."

Car Chases? "Maybe a cab chase. I'm very particular about my cab routes."

Mainstream or Art House? "Mainstream."

MPAA Rating? "PG (slight pause)... PG-13."

Thanks to Brooke, and thanks for reading!

Eve Battaglia

    The first time I met Eve Battaglia, she called me on my bullshit. I originally met Eve as part of the NY Connection program at Actors Connection, which I've cited before as a great education on the business and how you, as an aspiring actor, should look to make moves within it. Prior to the class, we'd all received sides that we'd be reading for Eve, roles we'd been cast in by Eve based on our type. I'd worked out what I was going to do, paying cursory attention to the lines of the other character (guess where this is going), having all this great crap in mind to really show my stuff, or so I thought. So when my turn came, I got up, hit the mark, asked how much room I'd have to work with as we were being taped, and then began the performance. In between the lines of the reader, I totally did exactly what I planned on doing. Awesome, no? I waited optimistically for my feedback.

     Eve paused for a moment, and then said, politely, that though she liked what I did in sections, she didn't think my work showed any kind of response or listening to what I was getting from my other actor. I felt the hit in my solar plexus - primarily because, well, I realized she was right. I had the chance to do it again, focusing on my listening, and it went better, but the damage (which should be read as "opportunity for growth") was done. It was a very important moment for me as an actor. For one, it was that five thousandth time I'd gotten the note about "listening" - and, for whatever reason, I finally got it. Now, that isn't to say that as of today I'm a flawless listener in my acting (which would result in the best acting I could do, no?), but in that carpeted, air conditioned room I got the kind of gentle ass kicking that most students need at various points in their journey, the kind that makes you face your weaknesses.
    I had the chance, about nine months later, to take another class with Eve at AC. I trained for that "rematch" (not really an appropriate term, but stay with me) like Rocky 3. I was the last actor to register, and waited through everyone's work - watching and listening like a hawk to their work and Eve's feedback for last minute education. I was as nervous as I've ever been in my acting career prior to going up - because I respected her opinion. That she commended my work that night was, on a personal level, one of the prouder moments of my journey thus far.
  I try not to "pull focus" onto myself (after three paragraphs of it) in this series, but I feel it's important to highlight the positive effect a casting director can have on an actor. I think that by talking about what Eve was able to impart to me, casually and gently, I've told you a lot about her. I was very excited to have her as a subject for the series. And, once again, she was teaching (without realizing it). This was, after all, my third interview! I was Mike Wallace'd up with my outline and clear idea of how I'd guide the discussion. I asked my "icebreaker" question - not like there was really that much ice to break, but I like routine - and got a substantial, interesting answer. I picked up my outline and got ready to steer the boat, only to realize Eve was remembering additional stories of bizarre casting challenges. It was a loose, casual talk, which resulted in the worst chicken scratch notes of my young journalistic career.

How to be invisible in the internet age
   Eve has somehow managed to keep any photos of herself from appearing anywhere in cyberspace, a rare feat in this privacy-starved age (why wouldn't a casting director want to be recognized? Next question). She does admit that there might be a baby photo of her out there on the internet somewhere.

The most difficult job(s) Eve ever had to cast
   Eve recalls a local Payless Shoes commercial she worked on as a casting assistant in 1990. It called for a beautiful, 5'8" - 5'10" female model. The catch was, she had to have a size 5 shoe. A good fit (ha ha) was eventually found, though there was a bit of "squishing" to get the model's feet inside the shoe. She also recounts casting for the film Sorry, Haters 8 years ago, and needing an actor who could speak Arabic. It was disheartening to see how many actors spoke every language from the Arabic world (such as Farsi or Hindi) but didn't speak the distinct language of Arabic. Again, the role was cast with an actor who wasn't necessarily fluent in Arabic but was convincing in his portrayal of it. Eve also faced a challenge 2 years ago during a project for the Sundance Directors Lab. The project dealt with African immigrants in Italy. Eve had to find 3 people from Burkina Faso who spoke French, English, and Wolof (a sub-Saharan language).

How it started
   Eve graduated high school early. "I had no clue what I was going to do," she says. Her dad suggested taking an acting class. She enrolled at the American Academy of Dramatic Arts, and obtained an Associate's Degree in Drama. Eve eventually earned a BA in Theatre & Film from Hunter College. Upon graduating from AADA, she got an internship at the Circle Repertory Theatre. She was working on a stipend initially. In 1985, Eve cast the off Broadway production of As Is - which ended up going to Broadway and winning the Drama Desk Award. It was a very important play, one of the first to deal with the AIDS epidemic. The early success didn't faze Eve. "I was too young to understand the importance of it." Eve did spend some time in front of the camera: she had a brief stint on a soap opera, and landed a few commercials before becoming fully immersed in casting.

Transitioning to Film
   Eve was always interested in casting for film. She started under Barbara Shapiro as a casting associate, and also worked as an associate in the casting department at Warner Brothers. She was on a moderate salary, and was basically starting over after having established herself casting theatre. Barbara primarily cast commercials, but she did cast some film - including a few John Sayles features. Eve assisted in the casting for City of Hope, Eight Men Out, and Matewan (which, interestingly, also had some of its casting overseen by Avy Kaufman). In the middle of this period, Eve took almost two years off from casting after the birth of her daughter, Clare, in 1991, aside from six weeks spent as a Casting Assistant on Sleepless in Seattle.

Going off on her own
  In 1994, Eve began her own casting company. She wasn't happy with the kind of films she was casting at Warner Brothers - without naming films' names, she'll only maintain that she wanted to work on films she cared about. Again, just like when she transitioned from theatre to film, there was a "starting over" process. But it allowed her the opportunity to work on what she chose to cast, and her reputation grew. Eve now casts three to five features a year of the projects that come her way.

Transamerica
  A highlight of Eve's career was casting the 2005 film with Felicity Huffman (which was made for under a million dollars). Huffman was nominated for an Oscar and won a Golden Globe, and Eve was nominated by the Casting Society of America for an independent feature. Eve was cognizant of the importance of the project. "I remember seeing the poster for the film - which showed the back of Felicity's character between a men's and a women's room - and realizing how relevant it was."

Blue Caprice
   This film - based on the Beltway sniper attacks of October 2002 - has been garnering praise at film festivals across the country, including Sundance. Eve considers it one of the most important projects she's cast. She commends its strong story and compelling POV. The film is the directorial debut of Alexandre Moors and stars Isiah Washington and Tequan Richmond. It's playing in NYC at IFC Center.

Her "Special Thanks" credit on Gimme the Loot
  The well received 2012 graffiti drama features a shout out to Eve in its credits. The filmmakers had cast every role - except the female lead. They reached out to Eve, who quickly cast Tashiana Washington in the role.

The Eve Battaglia Movie
Title? "Eve."
Portraying Eve? "Vivien Leigh - if we can defrost her."
Arthouse or Mainstream? "Arthouse! C'mon."
MPAA Rating? "(thoughtful pause)... PG-13."

Thanks to Eve, and thanks to you for reading!

link to Blue Caprice website:
http://bluecapricefilm.com/

Liz Ortiz-Mackes of Casting Solutions and I Ain't Playin' Films

"I want to see what I see out the window reflected in the collaborative projects I'm participating in."

        Liz Ortiz-Mackes' LinkedIn Summary

   This quote from Liz's LinkedIn page is rather astute in its summing up her professional priorities - namely, ensuring diversity in the projects she works on and allowing a strong creative partnership with her clients, which may go well beyond casting. The LinkedIn page also shows an impressively linear progression over the course of her career - in particular, her progression from her work with the Non-Traditional Casting Project (now known as the Alliance for Inclusion in the Arts) to her opening a casting office that emphasizes diversity, Casting Solutions, and heading up her own production company, I Ain't Playin' Films. In the neat black and white order of a LinkedIn resume, it looked to me like some brilliant master plan all along, a perfectly planned path that was meant to lead to owning and operating her own production and casting company. Liz informed me, however, that it was quite the opposite. "Making it up as you go along" might not do justice to the supreme investment Liz has afforded to her professional career. But looking at everything she's involved herself in - from teaching to writing books - it certainly suggests that you're best served by keeping yourself, as Liz describes it, "open to discovery."
   Liz is passionate about helping actors and creators find a platform for their artistry, and is a fierce champion for the projects she takes up, including securing financing. She teaches at several different institutions. And her book - "Ace Your Acting Audition" - is an efficient and effective read. Consisting of short, concise chapters on specific aspects of the audition process (and good acting in general), the book is a great tool in demystifying the art of auditioning.
 
The Most Bizarre Role Liz had to cast
    Liz recalls a spot for HSBC that required a voiceover with very specific requirements. The actor needed to be Asian, with a neutral American accent - and with fluency in Mandarin, Cantonese, and could look Vietnamese. While casting the project, Liz came head to head with a few actors guilty of having some discrepancy between the dialect skills listed on their resumes and their actual command of the languages. Liz adds that on every production team for a project such as this, there's usually an "ear" that can judge how fluent an actor truly is.

Her Educational Background
    Liz attained her BA in theatre from Fordham University at Lincoln Center. She transferred to Emerson College, but her financial aid wasn't renewed after her initial year of study and returned to Fordham. Her time at Emerson was fruitful, however, in that it afforded her the opportunity to direct her first show and discover her love of directing.

A Unique Career Path
    As a college student, Liz was working as a floating usherette at a Broadway theatre when she was asked to answer phones at a management office. She progressed from there to being a manager, a bicoastal talent agent, and a stage director. She was asked by a small NYC talent agency to open an office in LA. After discovering unsavory business practices within the office, Liz moved back to NYC and concentrated on theatre. An NYC native, Liz felt more comfortable in the east coast groove. "Everyone you meet in LA tells you they're a producer. I said I'm a producer, too, I produce estrogen."
   Once back in NYC, Liz began working for the Dramatists Guild as a producer of special events. While directing shows there, she caught the attention of the Non Traditional Casting Project - a not-for-profit advocacy organization "established to address and seek solutions to the problems of racism and exclusion in casting" (per the organization's description on airnyc.org). They were impressed by the multicultural casts Liz employed in her shows, and offered a position as their Director of Artists Files On Line. Liz managed their online database. She explains that the NTCP (now known as the Alliance for Inclusion in the Arts) wasn't a talent agency, but a support organization and a resource for inclusion. Liz's time with NTCP was a defining personal and professional moment in her journey.

Diversity as a Priority
   Liz credits her time with the NTCP for "showing me what I didn't know I wanted to do all along." The quest for inclusion goes beyond ethnic, gender, and lifestyle lines, also addressing the frequent absence of people with mixed abilities (a preferred alternative to the term "disabled" which Liz learned from actress Blair Wing) in film and theatre. The final section of Liz's "Ace Your Acting Audition" is a message to mixed abilities actors that addresses the issue. "Most people (unless they've had a personal experience with disability) are completely clueless; they cannot conceive of or appreciate the challenges faced each day. The entertainment industry, for the most part, reflects this insensitivity." Liz's dedication to inclusion was a cornerstone principle for her casting office, Casting Solutions. Among the most inspiring projects Liz has supported is as producer of the currently in-development documentary Re-Walk-Me, chronicling actress/dancer Jamie Petrone's journey to walk again after having lost the use of her legs due to Stevens Johnson syndrome in response to an egregious medical error. Liz successfully attained fiscal sponsorship through the NY Foundation for the Arts for the documentary. In the short teaser for the film currently on Vimeo (http://vimeo.com/68915273), Ms. Petrone eloquently summarizes the struggle for inclusion when discussing the reaction of her teachers: "Through the pain, fear, frustration, and confusion, I looked around at everyone's extravagantly normal lives, and I was convinced no one would ever understand what I was going through, having been asked by the director of our musical theatre program to leave the school and come back when I was better, because 'you can't be an actress in a wheelchair.'"

Casting Solutions and I Ain't Playin' Films
   Liz had been getting requests to do casting independently while working at the NTCP, so she decided to "take the plunge" and start her own casting office which would allow her to integrate her passions and priorities. Liz's eagerness to get involved in projects beyond casting led to the organic development of I Ain't Playin' Films. The film company started almost as a joke, based off of Liz's frequent assertion that "I ain't playin'." It's existed as an official production/casting hybrid for 2 years, although Liz was acting as a producer prior to that through her involvement in projects she'd initially cast. "I love putting people together and strategizing," she says. One constant through all of the projects she involves herself in is good writing. "The script is the thing. If I'm gonna bust my ass for your micro-budget movie, the writing had better be good." Amongst the upcoming projects Liz is excited about is a script written by her producing partner, Lizbett Perez, whose Act Your Age (a Latino comedy) is in development.

Teaching and Writing
   In being "open to discovery," as she described it, Liz learned the value of diversifying her skill set (and resume) to ensure success and longevity. "I didn't want to be in the trap of 'you're only as good as your last...'" She never actively sought teaching; the opportunities came her way, and she took advantage of them. Among the institutions she teaches at is The Performing Option, which was founded by Madelyn Burns, a pioneer in bringing in working casting directors to teach aspiring actors. The school, in its fourth decade, specializes in training children and young adults. Liz has been amazed in what she's learned from the talented classes of young actors she's taught. She's also part of the faculty at the New York Film Academy and the American Academy of Dramatic Arts, where she teaches Career Preparation for the Actor and the Business of Acting. She's currently close to completion on the second edition of "Ace Your Acting Audition." She conducted an 8-question industry wide survey for the new edition which informed the new book's content.

Fiscal Sponsorship
  In addition to Kickstarter and similar fundraising options for projects, Liz has utilized fiscal sponsorship to help fund projects such Re-Walk-Me. The process can be arduous, especially given the specific type of fiscal sponsorship one is applying for. Liz clarifies that fiscal sponsorship doesn't obtain money in and of itself, but rather legitimizes a project to grant writers and gains valuable assistance for a project, such as managing of the account and mentorship.

Mutually Beneficial Alliances
  Liz advises actors to rethink the concept of "networking." As it is, many actors' efforts at "networking" can be empty and blatant gestures that invade space and seek a one-sided relationship, benefitting the actor only. Liz suggests instead looking at forming mutually beneficial alliances that will benefit both parties. "Put yourself in an intelligent, detailed context," Liz says, when approaching casting directors in hopes of beginning a relationship.

The Liz Ortiz-Mackes Movie
Title? "This is not a Porn Tape."
Portraying Liz? "Tina Fey - if she was Latina."
Mainstream or Art House? "Art House."
MPAA Rating? "Rated R for using 'f---' too many times." (This response was frighteningly similar to Brette Goldstein's. When I told Liz this, she laughed and said they were pals.)

Thanks to Liz, and thanks to you for reading!

A TALK WITH BRETTE GOLDSTEIN

    "My job is to support your best work." 
                Brette Goldstein

      I first met Brette Goldstein as part of a week long program at Actors Connection. She taught a class for our group towards the end of our week, on the day prior to the big showcase before panels of agents. The program - NY Connection - was a useful one, where we all had the opportunity to get opinions from respected people in the industry. It had just been a lot of information - and a lot of different information. It's a business of opinions, and no two industry experts will ever give you the same opinion. We were all just feeling a little unsure with what to do with all of that feedback, especially with this golden opportunity just a day away.
    Brette put us at ease immediately. She was light, fun, and enthusiastic about the chance to see our work. Her advice for us was to be ourselves - that what the camera and any casting director or agent wanted to see was "you." The class was informative, efficient, and affirming. The prospect of working in front of agents felt less scary now, and personally, it made me feel like I had something to offer them.  That's always a good way to enter a room, and I was grateful to Brette for the shot in the arm.
     What impressed me the most was her easy manner, which I assumed was a natural character trait. Not exactly. "I am very Type A. I just don't want to make that the actors' problem. My job is to support your best work, and that's hard to do if I am a big ball o' stress." A friendly port in the rough seas of show business, indeed. Brette made time for me between casting and teaching commitments to field some questions.

The Strangest Role Brette Ever Had to Cast
    "A commercial for Volkswagen Routan," she recalls.  The client was very specific about the casting specifications - a real family, with 3 kids of exact gender and ages, that lived in Northern California and actually owned a Routan. The casting process also took place during Passover and Easter, when a lot of people are unavailable. She did find a family that fit the bill to a T. The irony? "They didn't use the family's actual car in the commercial."

Can Breakdowns Change Over the Course of Casting?
    Brette maintains that CD's often don't have too much influence in changing breakdowns or final decisions - but there are exceptions to the rule. One instance was while she was casting an industrial for Intel, which was shot in the style of a hip sitcom. The characters all sold Intel products, one of whom fancied himself a ladies' man. The initial breakdown for the ladies' man happened to ask for a caucasian "leading man" type. The actor that booked the job ended up being a larger black man. "It just so happened that he didn't fit the specs and we brought him in on a whim. It was fun to think outside the box on that one." Why did that actor - who didn't fit the initial specs -  book the job? "Because he's hysterical."

On Her Lone Acting Credit on IMDB  for The Egoists - as "Casting Director"
    It was a project she also cast. "They had to pull teeth to get me to do it. I'm someone who's very happy with just casting and teaching."

Her Entry Into the World of Acting
     She got her start in a school play at 8 years old in Maryland. She stuck with it, but when she was 19 years old and in college,  she had some epiphanies. For one, she recognized that her type ("Bette Midler roles") wasn't being cast at her age - she'd have to wait a while for the roles to open up. More importantly, she realized that she didn't really want to act - "but I liked being around actors, I liked the community. I graduated with a theatre major, which was a mistake - I should have majored in business." She started interning at the Washington Theatre Festival. "One day, I saw this 40 year old woman sitting in air conditioning, being visited by all of these hot people, getting gifts, and treated like royalty. She was a casting director." Brette pursued for an internship with that casting director. "When I got it, I told the CD I'd have her job in 6 months." Within 6 months, the CD had taken a position elsewhere, and Brette moved in.

Transitioning from Casting Theatre to Casting Film
   Brette built quite the impressive resume casting theatre in and around the Washington D.C. area, including classical and Shakespearean work. In the early 2000's, she sought a change in work environment. "There's a different vibe in the indie film world," she says. She cut her teeth in NYC at Charles Rosen Casting and, later, at Michelle Ortlip Casting. Once she went off on her own, she started working on more varied projects, including book trailers and commercials. "I love the comedy in commercials."

On Her Involvement with the British talent contest show The Callback
    Brette was a judge. "My good friend in London produced the show. And it was different because there was a service element involved. We were trying to find not only triple-threats, but role models." The contestants were all between the ages of 8 and 13. The experience had its perks. "I loved the judges, especially a casting director from Manchester." But there were challenges involved with filming. "The kids were a bit of a pain in the ass, and really weren't prepared." It was difficult for the judges to come to a consensus on a winner. And the biggest challenge? "I was running a 104 degree fever and was basically delirious. That was pretty heinous. But I got through it and apparently didn;t suck, so all is well."

Her Favorite Director She's Worked With
    Brette picks Adam Reid (Hello Lonesome). "He really does know how to make you feel things." Reid - who's also served as writer/cinematographer/producer on his films - has a talent for creating relatable characters and for immersing the viewer in the experience of the film, Brette says. She also cites his talent for using music in film. "I remember one time I saw something of his he did as a lark - just filming his kid in a pool floating on a little raft - and from the way he joined the visual with a specific piece of music, I felt like it was one of the most brilliant things I'd ever seen."

Actors She Wishes More People Knew About
    Brette names two - one primarily working in theatre, one working in film. "I had the pleasure of casting Rick Foucheux, a brilliant theatre actor, when I worked in the D.C. area. People don't realize how thriving theatre scenes in areas outside of NYC can be. He's booked a year in advance down there." Brette also cites Boston based film actor Tom Kemp. "He's marvelous." Both actors also serve as good examples of a strategy for actors that Brette recommends - finding out what the best market for you is, beyond just NYC or LA.  

Actors' (Im)proper Use of Social Media
   Brette says that problems arise when actors "just don't know when to stop." She often finds that after she's helped an actor out in some way, that fortunate actor keeps pressing and pushing for attention and assistance. "They won't stop asking me for more." She's also critical of actors' posting promotional material for a project of theirs on her Facebook page - without even asking. "Definitely not cool."

Brette's opinion of "networking" classes as found at Actors Connection, Actors Green Room, etc.
   Brette finds them to be useful. As she explains it, more and more people are trying to become working actors, and "the doors to get in are closed more tightly." Brette cites several factors - such as the continual rise in expenses in the industry and the decreased amount of time and space available to casting offices - as contributing to tougher odds for actors to advance their careers. It's harder even for represented actors to get access to casting directors. "Generals" - scheduled meetings between actors and casting directors set up by agents - happen less frequently. Classes like the ones offered at Actors Connection, Actors Green Room, and elsewhere are mutually beneficial for the actor and the casting director, Brette says. The actor gets to meet the CD and show his/her work. For the CD, it's a structured environment where everything is controlled. She gets to meet the actor, see his/her work, and have a brief chat within a few minutes, minus any akwardness.

Things for actors to consider
   Brette feels it's important for actors to be very clear about the kind of work they'd like to do. "I tell actors to pursue what you watch.. what you love." Brette also advises actors to consider the kind of market they're currently auditioning in - and to explore the possibilities of working in markets outside of NYC or LA. She references several friends who were actors and failed to find traction in NYC, but found a niche in another market - Atlanta, Boston, Washington D.C., anywhere with a thriving film, television, or theatre scene. Brette encourages actors to look into what work is being done where, and find where you best fit. She also comments that actors should spend time reaching out to creative people in the industry - writers, directors, producers - as well as casting directors and agents. Lastly, Brette advises actors to know they want their life to look like, and to know their limits. "What matters is having a full life, which acting is a part of."

The Brette Goldstein Movie
   Title? "Oy vey."
   Playing Brette will be? An unknown... or, Kristen Vangsness (of Criminal Minded).
   Mainstream or arthouse? Mainstream.
   MPAA Rating? Rated R - "mostly for language."

Thanks to Brette, and thanks to you for reading!

Links to credits for artists mentioned in the article

Tom Kemp

http://www.imdb.com/name/nm0447376/

Rick Foucheux

http://www.abouttheartists.com/artists/244713-rick-foucheux

Adam Reid

http://www.imdb.com/name/nm1027261/?ref_=fn_al_nm_3

THE INAUGURAL INTERVIEW: MARY EGAN-CALLAHAN, HOUSE CASTING

   I can say that I have very few distinct memories of the actual places I've auditioned. They all tend to blend together - concrete sidewalk, generic lobby, maybe an old fashioned and cramped elevator (or every once in a while, one of those cool new ones with that sweet little tv screen giving the news and such), drab hallway, door, closet-sized space with a table near the window that's always looking out onto the backs of other buildings and never the street, person I give my headshot to and then try to ignore in my work.
    House Casting is an exception to the rule. The place is beautiful. I almost forgot that it's in the "trendy" Meat Packing District. Having worked in a restaurant in the area for two years, I have a somewhat jaundiced opinion of the neighborhood. But House, and even the entire side of the street it resides on, feels like an alcove. Quiet, fresh, always with shade, never too much pedestrian traffic, no super annoying hipster types or "models" as you might find on 9th Avenue. And that's before you even get in the building. I've even got to spend a minute on the first floor art gallery below House's space. I've never been in said gallery, but it looks like one of those real deal NYC art galleries. Every once in a while, I'm reminded that I in fact grew up in NEW BRI-AIN, CT and can still be stopped dead in my tracks by one of those sights that, like, totally look like places I saw in films about New York. Go figure!
  Finally, after having dorked out enough over the swank elevator that you can fit six big cows into, I'd arrive at the place itself. House feels and looks like either an unpretentious art museum or Patrick Bateman's apartment if he were a nicer, non-homicidal person. You almost feel like you're in someone's - wait for it - HOUSE. Literally, whenever I've been waiting to audition there I've almost felt like I socially climbed and snuck into some swank party. There's a sense of space, air, and your being welcome. That vibe of openness carries through the staff, as I found in my interview (on a typically jumping day at House) with Casting Director Mary Egan-Callahan.
   Mary has been at House since 2005, working with fellow CD Rebecca Yarsin under Executive Director Neil Myer. She came from Liz Lewis Casting, where an internship meant to further her career as an actor unexpectedly opened her eyes to a passion for casting. Her fellow University of Rhode Island alum, Brooke Thomas, also got a start with Liz Lewis, and the two colleagues and friends maintained a professional partnership that encouraged them to start their commercial auditioning class, Brooke and Mary. Winner of the 2011 Backstage Award for Reader's Choice, the class has helped many an actor find comfort and confidence in that most oddly challenging type of venue - the commercial. Also, Brooke and Mary's background in improv and comedy - and their creative use of employing improv with comedians to help them adjust to scripted work - led them to attract several comedians into the class that have now gone on to very big things, such as Ed Helms, Jessica St. Clair, and Nick Kroll, among others.
  At any time, one (or more) out of every four commercials you'll see will have been cast by Mary and the House team. In spite of the controlled chaos going on at House, Mary granted me some valuable time to field questions.

As an icebreaker - what's the all time strangest role you had to cast?
"A Korean guy with a Scottish Accent."

Basically, every actor I talk to says that the venue they fear the most - more even than Shakespeare - is the commercial. Why is something that would seem to be so easy so hard for actors?
"You're being yourself. There's nothing - no character - to hide behind. You need to be confident in being yourself to be a good commercial actor."

A lot of comedians have taken your commercial class and gone on to be successful, in commercials and beyond. Do comedians have an edge in the commercial world over "serious" actors?
"Comedians are in demand right now. Really, you just want to be as well rounded as possible to help your chances. We encourage people to be triple threats (that's sing-dance-act, for the non-"Glee" readership).

You're big on improv. Why is it so valuable in preparing for commercial work?
"We found that very talented comedians with strong improv backgrounds weren't necessarily good using a script. They needed help bringing what they could do on stage into the studio. So when Brooke and I started the class, we actually added an "improv/comedian only" class for that purpose. That's how we got a lot of the people that have now gone on to big things into the class, and why we get so many people from the Upright Citizens Brigade, Peoples Improv Theatre, and Magnet Theater."

Are there any other obstacles comedians face in transitioning from the comedic stage?
"Bringing it down to scale for the camera. Being able to transfer their appeal from "performing" to being filmed. It's the difference between being funny and acting funny. They just need to be funny rather than perform as they're accustomed to."

You and Brooke both speak very highly of the theatre program at the University of Rhode Island. You've said that the head of the department at the time, Judith Swift, pushed you to not be lazy and take things for granted. What was it about URI - and your study of theatre in general - that benefited you the most in your career?
"My work ethic comes from the theatre. There's a misconception that theatre is an easy major. There's a lot more work for theatre majors than most other majors. I'd be back at the dorms working long after my non-theatre friends had called it a day. You just have to know and be able to do so much."

You originally planned on just doing a casting internship. That changed into a new career direction, moving from an aspiring actress to a casting director. Many actors might face a similar career crossroads. When you made the decision to pursue casting as a career, how were you able to know it was the right move?
"It gave me the chance to have a life. I hated auditioning. I like stability."

Family is very important for you. I must ask - how would you feel about your kids getting into acting?
"They're already close to the industry. My daughter booked a commercial at one year old - she just happened to be here on a day they were casting something, and she was right for it. Since then, my kids have gone out for some things. When they're old enough to really consider the proposition of going after it, if they want to, I'd support them."

You cast a lot of commercials - the one in four figure staggered me. How does that feel, to have that much influence in the industry?
"I really don't think about it. It's just another day in the office."

What actor or actors would you advise aspiring actors to watch?
"The Carol Burnett Show. Or Saturday Night Live - the old ones."

If you had a chance to be cast in a commercial, would you do it?
"Sure, I'd do it. Once an actor, always an actor. I think that's why Brooke and I are good teachers - we can relate to everyone that comes to class."

Finally, when the movie is made on your life, what will be the title?
"An Irish-Catholic Girl."

Who will play you?
"Maura Tierney or Connie Britton."

Will it be arthouse or mainstream?
"Mainstream."

Any car chases?
"No."

And, the Motion Picture Association of America will give it what rating?
"R."

Thanks to Mary for her time and insight. And thanks for reading!

The WHY: Welcome to Behind the Casting Curtain

  I pulled into Nazareth, I was feelin' about half past dead,
  just need to find a place where I can lay my head...
     The Band, "The Weight"

   I'm not usually one for classic rock quotes, but I've always loved that song and I've always loved that particular line about feeling tapped out and needing a spot - not just to "lay your head," but to claim some small piece of real estate as your own. For sure, as an aspiring actor, that's why I'm looking for - some place in the industry I love to call my own. I'm sure most if not all aspiring artists can relate to that. I'm also sure every aspiring artist can relate to that feeling of being "half past dead." Tired, dejected, deflated, depressed, done. Depending on your temperament, you might battle those feelings yearly, monthly, weekly, daily, and/or hourly. This is hard work, trying to make a dream come true. That's not bitching, it's just calling it like it is. It takes, amongst other qualities, a lot of strength to mark out your territory in this business.
   Now none of the above is ground breaking news. There are a lot of battles to be fought and a lot of obstacles to overcome in the course of one's campaign toward THAT - "that" being however you define success, for you. No new news there (harder to say that than write it, ha).
   But what might cause a bit of a "sea change" in an aspiring artist's outlook is to fix on that prospect - of a tough uphill climb to get to your dreams - with a little more specificity.
    For one, what is THAT for you? In simple, exact words, what is the dream you're chasing? Do you even know for sure what it is? Is it some ideal success that's set in stone, like being an actor that commands $20 million a picture? Or, in all honesty, would you be happy as a pig in slop to just be able to make a living somehow in the industry you love? There's no right answer. And, you might not even have an answer - I'm not sure I do. But I'd like to figure it out. So I decided to start asking people who've found their spot. People who aren't in front of the camera.
   Why not ask ACTORS who've made it? Well, because we've kind of read that story, a couple of times. And, to be honest, you can find that story in some glossy magazine with full page ads. I wanted to turn my attention to the people that hire us - or, in actuality, select us to be considered for hiring by their client. Casting Directors, simultaneously the most loved and loathed beings in the acting universe. The people behind the table, or the camera, or sometimes the one way glass. Oh, the power they wield (kind of - the final decision isn't often theirs). What kind of a sadist would willingly toy with the hopes and dreams of others?
  The answer is, no kind of sadist. Thus far, I haven't met or interacted with a CD who isn't at least respectful and polite. Even the ones that were too busy or unwilling to subject themselves to an interview were courteous. This is a business, after all. And, upon closer inspection, they aren't all that different from you and me. Namely, creative people with needs of both satisfying their creativity and paying rent. And, since being a casting director isn't just something one is born into (well, so far as I've encountered), there's usually a lot of interesting stuff that happened along the way to that casting chair, and a lot of interesting stuff going on now. The general course of interviews with Casting Directors is, IMO,  just pretense to get in ten to twenty questions all asking how you can get cast. I've rarely seen one that just focuses on the Casting Director as, well, an ARTIST.
  So, if you're looking just for tips on how to get cast, you might be disappointed. Or maybe not. Surprisingly, when not being pressed desperately for the one thing that will make you a star, my subjects will organically offer up advice both sage and sound. But, that isn't the main focus. The focus is on how these people found their spot in this business we all love. I wanted to write something I might be interested in reading, not as homework or research, but as a look into another artist's work. I think you might find it interesting, too. But do keep a pen and notebook close by - they are Casting Directors, after all.