How We Role: A Podcast for Actors by Casting Networks
How We Role: A Podcast for Actors by Casting Networks, breaks down an actor's journey, one topic at a time. Join award-winning actor, writer and host Robert Peterpaul alongside industry talent and experts as they discuss how to build a successful career as a performer and beyond in the entertainment industry. From inspirational casting stories to practical advice on the craft of acting, tune in to expand your skill set and book that role.
Discover fresh casting calls at castingnetworks.com.
How We Role: A Podcast for Actors by Casting Networks
Casting Authentic & Kind Actors with CD Seth Yanklewitz (New Girl, Deli Boys)
Emmy-nominated Casting Director Seth Yanklewitz (New Girl, The Hangover) shares insights from his journey in Hollywood, blending wisdom from studio executive experience with his current return to independent casting at Yanklewitz-Pollack Casting.
Alongside host Robert Peterpaul, Seth discusses his authentic casting approach for Hulu's Deli Boys, the importance of building chemistry in ensembles, and practical audition advice that can transform actors' careers.
This episode covers:
• Acting choices Yanklewitz likes to see in self tapes.
• How he casts authentic (and kind) ensembles.
• The vital industry lesson Sandra Bullock taught him early on.
Yanklewitz has led the casting of standout projects like Hulu’s Deli Boys, MGM+’s The Institute and Netflix’s #1 hit Incoming. His acclaimed credits span both film and television, earning multiple honors from the Casting Society. Prior to launching Yanklewitz-Pollack, he was Executive Vice President, Casting and Talent at MGM and MGM+.
This is - How We Role. Discover fresh casting calls at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
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Hi, my name is Seth Yanklowitz. I'm 5'11" and I was raised in Hollywood, florida.
Speaker 2:When it comes to working in entertainment, there's a lot of hows, and they all boil down to how we navigate this wild industry. While how we follow our dreams is uncertain, how we roll along the way is in our hands. Welcome to how we Roll, a podcast for actors by Casting Networks. Hi actors, it's your friend, robert Peterpaul, back here on the mic. I am so glad you chose to follow your dreams today by tuning in to another incredibly inspiring episode of how we Roll. Today, I'm thrilled to welcome veteran casting director Seth Yanklowicz to the show.
Speaker 2:Seth Yanklowitz is an Emmy-nominated casting director whose award-winning work spans genres. You know his art from iconic shows like New Girl and movies like the Hang. The Executive Vice President of Casting and Talent at MGM and MGM+, seth has returned to his independent roots with the launch of Yanklowicz-Polak Casting. He recently led standout projects like MGM's the Institute, netflix's number one hit, incoming and Hulu's Deli Boys, which we dive into today Incoming. From breaking down the difference between working as a studio exec versus an independent casting director to generously sharing his wisdom on all things auditions, seth gives us so much to take in and take with us as we roll along. If you find value in today's conversation. I hope you'll pass the wisdom on by sharing this episode with a friend, or two, or seven. After all, we're all better when we grow together.
Speaker 2:Did that kind of rhyme Speaking of, I want to hear your questions. Did that kind of rhyme Speaking of, I want to hear your questions? There should be a link in the show notes to do that very thing. Submit your hows so we can answer them here on the podcast for you. Or feel free to DM us at Casting Networks and at Rob Peterpaul. Now here's how we roll with casting director Seth Yanklowicz, and we're rolling Friends. I am so thrilled to share some time together with veteran casting director Seth Yanklowicz. How are you doing today?
Speaker 1:Seth, I am awesome. It's a great day the Emmy nominations. Maybe there's some excitement this year. I don't know, could be, maybe.
Speaker 2:I'm so excited for you. I can't wait to get into all that in Deli Boys. I'm loving Deli Boys. If you're not watching this show, you're truly missing out, and so my fingers and toes are crossed for you. But before we get there, I just want to say, in researching you and learning more about you and asking friends about you, I truly admire the way you seem to lead with kindness and joy in this industry, and it feels good to see a good person win, so I'm extra excited.
Speaker 1:That is touching and appreciative and I guess I got to give credit to my mom and dad. Oh, you know. Yeah, I look. You know I was trained by one of the grand dames of this business and it was tough. It was a tough training and obviously I'm better for it and times are different and you know a lot of the old ways no longer occur. But you know I also worked in corporate jobs where the atmosphere was tough.
Speaker 1:When you spend so much time in a room with actors and you understand the daily heartbreak that they have to go through, not for any other reason than they can't get every single job they audition for, you know you sort of just have to open your heart a little bit more to everyone and, and you know, give of yourself a little bit more than not. And so, yeah, I mean I guess that's sort of how I've always run my rooms and run my sessions and dealt with. You know, every job was just just maybe a little kinder and happier and more joyful. Look, especially now there's so much to not be joyful about. That, like you got to find the joy and happy everywhere we can.
Speaker 2:Yeah, you got to find the joy, you got to find the happy and I so appreciate that. I mean every person I've talked to that knows you has said now that I did this whole like creepy research situation. I'm like, I went deep, I called the FBI. Everyone said that you are just so funny, so kind, you bring the party. And I love to hear that, because if we all did that on our own little corners of the world, I mean, how much brighter would the world be? And I think it's interesting too. You mentioned that rejection, that open heart. I know casting's used to that on a different level now as well, especially when you dabble in independent casting, as you're now back in, you get rejected and it almost becomes a superpower right All the time.
Speaker 1:In fact, I'm literally sitting waiting for them to actually send me the rejection email or get the call on a movie I met on, because like a week and a half ago or two weeks ago at this point and haven't heard, and I'm like their casting was supposed to start fast, so I'm just waiting for someone to officially tell me I didn't get it. But like it is what it is right. I got to have the meeting, I got to meet new producers and you know, if it's not this one, it'll be the next one.
Speaker 2:I love that. What do you do in that waiting period as a casting professional, because I feel like it's hard not to psych yourself out sometimes.
Speaker 1:I don't psych myself out anymore. I mean, certainly there are were times, you know, where, like I needed the job very badly for like money for my kid, like things, that like for life, right, so you get a little cuckoo, but luckily I'm having a good run and so you know, I usually give it like a good five days, like one week, and then I like send a like hey, checking in email. I'm real good at the checking in email. I love that. Yeah, friendly, hello, like a gentle nudge, as I like to say yeah. And so I did do that and he was like oh, they're meeting one more person. Like well, well, next week. But next week came and then holiday came and so that's why I'm assuming we didn't get it, but that's okay, listen, you never know.
Speaker 2:It's so funny because as actors, that is such a parallel journey that waiting and waiting, and waiting. Now I want to sing that song Waiting from Shrek, the musical, and I also want to sing. They Called Me Cuckoo. Do you know that from Death Becomes Her Because you said cuckoo? Okay, sorry, I got to calm down. But one thing you did not get rejected for Seth was the Academy of Motion Pictures class of 2025. I just saw this on your Instagram. Congratulations. Tell us about that. That's so amazing.
Speaker 1:Oddly enough, back when all of my big movies were big like casting directors weren't in the Academy in the way that they are now. Like casting directors weren't in the Academy in the way that they are now. And so you know, because back then you had to get invited by a producer, if I'm correct, and now that we have our own branch and all the things. So I really got in for my past body of work as much as like yes, I still do movies, but not big, huge blockbuster movies. Like you know, I sort of got started in doing and did with my old partner Jewel.
Speaker 1:Yeah, it was my second chance at trying and you know, you know I got in and it's it's truly an honor. Like I I don't I need to emphasize like how cool it is that to get into the Academy Like it's not just like you work in Hollywood and you get accepted. Like it's not. You know I got into the television Academy when I got nominated for an Emmy for new girl, like. So you know that came to me, that one, you know, um one I had to like work a little to get and so it made it a little sweeter when I got in and you know I was very fortunate to have two, three very big casting directors nominate me and support me in my trek to get in and you know, I now get to join in a cool class of people.
Speaker 2:Yeah, and what a year to join. I mean, we have finally a casting category coming. How does that feel? Richard Hicks, deb Zane, kim Coleman.
Speaker 1:I'm sure there's more than I'm forgetting Bernie Telsey, who really fought to get an Academy Award. And that's on top of the people in the past who tried and maybe weren't successful. Who tried and, you know, maybe weren't successful but, like this group really, and I've been around and either worked with or hired, when I was a studio exec, most of these people. So it's an honor. It's an honor and it'll be amazing to get to check a ballot box in the first you know, academy Award for a casting director.
Speaker 2:Yeah, historic, that's going to go in the museum, which is so much fun, and they're not sponsoring this episode, but maybe they should. Before we get into all this even further, we got to hop back in that DeLorean. Go back in time because I just need to ask you a little bit about your early beginnings here and mine your beautiful brain for insights for all the actors listening and casting professionals listening too. You know you walked a similar yellow brick road that I think a lot of casting folks walked Maybe not as much nowadays because there's a bit more resources but you thought you wanted to be an actor I don't need to tell you this. And then at NYU you were like nope. And then I believe you worked with Liz Lewis casting. That was sort of your first foray into the business. Can you just talk about that pivot and sort of trusting yourself, because you made that decision at a young age and you're still doing it and I think that's so admirable. And a lot of us don't trust those feelings that we get and they can pass us by.
Speaker 1:Yeah, you know, as I've said a hundred times and you sort of said, I realized after my first semester of Tisch that I didn't want to act, but I also knew that I didn't want to do a math or science class and so I stayed in the acting program. But really, you know, they give you a paragraph in a binder full of paragraphs for internships and I sat up on I think it was the third floor at Tisch, or yeah, the third floor or fourth, at the administration floor and read through the book and you know, it was like you get to act, you get to direct, you get to be with actors, and it all sounded really exciting and I applied and I got it, the internship for the spring, and it was with Liz Lewis Casting, and I never left and I immediately fell in love, you know, and it truly felt like I got to do everything I would have ever wanted to do. I was acting because I read with actors, I was running a camera, you know, you gave them correction, so like, obviously, on a small scale level, it felt like a full circle of job, right, yeah, and and I was good at it, you know, and so I worked my way up pretty fast through her company, through her company, and, and, yeah, and, and it. There was no looking back, so I started that at 20. Wow, not 20 now. So it's been a while. That's so special.
Speaker 1:Yeah. And you know, I guess I've always led with like my heart and my brain simultaneously right, like even if the job wasn't going to be the most money, but like I had to do it creatively, I made the leap right when I left Lewis. Like I made the leap because I was like there's got to be more than commercials out there for me. I didn't know what it meant, I didn't know how to get to it, but like I just thought there was and so that risk paid off. And then from that risk paying off got me to my first assistant job in LA with Bonnie Timmerman and my first movie, which was Pearl Harbor, as the assistant.
Speaker 2:Casual, casual way to start, you know, before we get too far down that road. I got to say I did call up Liz and she went on and on about you. She called you the life of the party. She said she still misses you in the office to this day because you just made everything so much brighter and more fun. And she told me to ask you what floats your boat the most in the day-to-day job of casting? Because, as actors may think, it's all auditions. That's probably what like 25% of your day. There's a lot more going on. So what floats your boat? Liz wants to know.
Speaker 1:Nowadays, I really love sort of the puzzle of putting the ensemble together, even if, right, we're not at role three, four and five, or five, six and seven, like we're constantly like thinking about who will fit. So you know, I also love the attachment process, it attaching the leads, whether it's in my tv work or in my indie movie work. I find it sort of invigorating and it's what makes the job different. Even though it's the same job, it's still different, right? Yeah, because like it's a new set of agents that you have to like beg, not beg, but convince and share the story and explain why and, like you know, get everyone like jazz, like it's a bit of a salesman's job you know, especially when you're attaching at the beginning.
Speaker 1:So yeah, that's sort of my day to day excitement.
Speaker 2:Yeah, and I know Deli Boys was a completely different process for you in this regard, but, as you mentioned, sort of attaching a lead and then building them around it, can you just describe what that process is like in a nutshell for actors? Because I'm assuming and what I've read is that you have to build out the rest of the cast, sort of based on the star. But how much does like the star being attached inform that and how do you figure out? I feel like chemistry reads aren't done as much anymore. Maybe they are with big ensembles like you put together, but how do you kind of like figure that part out?
Speaker 1:So chemistry reads are still a thing, even when it's big, and usually when you get like the star who may green light it, they're so willing and invested that they want to be part of the process and so they're like I'll read with any actors you want, which, by the way, they mean and they do, and it's really helpful, it really.
Speaker 1:You know, I just did a show, not a movie but a show, for it's called the Wonder Project, part of Amazon Prime, and we put Scott Foley as the lead male and he was cast first and sort of the foundation and he read with every single female opposite him that we put in front of him and it honestly informed everything and we flew him in for it and he was game and like he really went the extra mile and I mean he's spectacular in and itself but you know, as like the nicest guy in Hollywood reputation and like I'm here, oh, I love that.
Speaker 2:I'm here too, and in Connecticut I think, yeah, yeah, he lives down the road, okay, nice.
Speaker 1:But yeah, it's you know, first getting the base or the foundation really helps then, because then we know, you know the age of the next person.
Speaker 1:Like who do you believe they fall in love with or who could be their child? Who could not be their child? Like you know, I'm a big believer in like let's change a line in the story and have one of the kids adopted I have adopted children and then that way we can have diversity, like. There's so a line in the story and have one of the kids adopted I have adopted children and then that way we can have diversity Like. There's so many things you can do. But once you know who your base is, you know it helps and informs as you go outward.
Speaker 2:Oh, I love that. I was at the RDO this year and Bernie Telsey talked about how Anne Hathaway read with each and every actor for the Idea of you. Was that the film? I really enjoyed it. Telsey talked about how Anne Hathaway read with each and every actor for the Idea of you. Was that the film? I really enjoyed it. But even just to hear, like you're saying, with Scott, someone of that caliber putting in that much passion and it makes sense because they want it to be good and they want to click with people and you're someone who seems to really just find people that click, I almost think of what you do as creating communities and as someone who leads with kindness. I wonder how do you gauge that when you're putting together an ensemble, how do you sort of gauge how easy it is not only to work with an actor but how they're going to be as a team player?
Speaker 1:It's a very good question and there's a lot of work put into it which might be sort of our secret to keep, but you know you do want to have an amazing set and you do want to create a safe and amazing atmosphere and you want people. You know, look, an actor's job is to give and receive right and if you're not willing to give, it's extremely hard for someone else to give so you can receive. And you know Hollywood talks and behaviors are known and you know it is extremely helpful when you cast a number one or number two that lead by example and with respect and you know, be as committed to your craft as possible and be as in character as possible and do your work.
Speaker 2:You know, but you got to you if you're number one for a reason, and it matters Besides just being a good person, because things feel very insular. Now, like you know, we have our self-tape set up and sometimes we have a reader, sometimes they're FaceTiming in whatever you need to do to get it in, but it can become very insular, so do you have any thoughts there?
Speaker 1:You know well, watch the number one when you're on set, you know. Watch how they talk to the producers, watch how they talk to the director, watch how they talk to the gaffer, watch how they talk to costumes. Like you know, hopefully, knock on wood, you get an amazing number one who is there and you can learn from example. Like, everyone is there working to make the best show possible Right, to make the best show possible Right. And so I think, like, again, like, doing your work, showing up on time, knowing your lines when you get the job right, not necessarily for an audition to have to have it memorized, but like these are all things that set examples for younger actors. So again, like, as quickly as you become a star is as quickly as you can not be a star right In this business. Like, and it can revolve around behaviors.
Speaker 1:So I just urge everyone young, starting like, be humble, listen, learn, like, watch everything as you're on set. Like you don't have to go home. Maybe sit in the back of the stage and watch how the lighting is set, watch the director set up a camera, learn as much as you can. I mean, there's so much more access these days, like it's, you know, usually a director won't mind if you stand in the back and just watch them while they're while they're shooting a scene that you're not in, or you know, unless you're Seth Rogan in the studio, then they're like did you see that episode?
Speaker 1:yeah, or if it's like coverage, like be there to do the coverage for your actor, don't make an act with no one like that's a huge thing for actors, like, yeah, you're able and willing and they let you, like, be the actor acting off screen for you know, in the role. So, yeah, there's a ton of things that actors can do.
Speaker 2:Yeah, I love that and even as someone starting out, I think, be someone's reader, you know, volunteer time to just read with somebody and I think that extends you know volunteer time to just read with somebody, and I think that extends.
Speaker 1:Every time I talk to, like, a graduating class of university students or I go in to speak to, you know, an acting school, I always say, like look around, you now have 32 readers for your audience. Like you should never not be reading for someone or asking someone to read for you. Like that's what this community is about. Like, yes, they're competition, yes, you're going to go up against them, but like take them on the journey right.
Speaker 2:Yeah, and it gives back to you too. I mean, that's when I first started. I loved being a reader back when we went into offices more because I learned so much. And then sometimes you see these luminaries coming in and you see them flub align. You see that they're really good but they're just not right for the part. And I mean you learn so much with that bird's eye view. And speaking of the luminaries, you've worked with so many people we all look up to. I wonder if you've seen a common thread in them all and how they conduct themselves. Is it that kindness Like do you have an example of someone you thought did it the best?
Speaker 1:Sandra Bullock Ah that doesn't surprise me.
Speaker 1:Is I literally work. I did one movie with her. She was a producer as well as the lead actress and I if someone was like you can't do anything else for the rest of your career except jobs for her, I would be like thank you very much, like it was a masterclass in star power. It was a masterclass in giving and caring and working for the better of the project and fighting for what was right and I just it was one of the best experiences I've ever had on a movie.
Speaker 2:Oh, I love that. Was there anything tangible she did that you wish other people recreated on sets?
Speaker 1:No, I mean just the way she protected, like the director, and fought for, like the integrity of the movie and what her vision was, whether it was right or wrong. Like you know, she had a vision, they had a vision and she went too bad for it and that is a star right. That is why she is one of the top what three female stars in the world. You know what I'm saying. Like, yeah, look, it takes time to get that. Not every actress can do what she did. So you know, she certainly worked her way up to it. I'm sure she wasn't doing that 25 years ago or 30 years ago. But, like I'm just saying, like it was so magical to see her care so much about minutia.
Speaker 2:Yeah, you know, and that could be vulnerable too. It's like let yourself care, just like how you care about independent casting. What an odd transition. You're back in this world with Yanklowitz Pollack. Congratulations on this and all the things. I'm just going to keep congratulating you on a loop. You can pull the string and I at NGM and you've worked at other networks, you know before that. I wonder, how does your experience as an executive now shape how you come back to independent casting? Like, what are you taking with you from that?
Speaker 1:Well, that's a great question and so much, like I always say, what I bring now is I know the conversations that are having, are that are happening and what they're what they're saying saying when the casting director hands over the actors for approvals, you know, I can also sort of alert my producers from the start what will be needed. You know, a lot of casting directors are like this is my art and we have to just find the best actor. But the truth is it is show business for a reason. Right, there is marketing, there is publicity, there is getting people's butts in seats in theaters and getting them to turn their TVs on and watch things. And that comes with recognizable actors and people you can sort of see on screen. That you know and that's why you check it out.
Speaker 1:And so you know, as someone who, like, worked inside, like, I get to say to my producers and I was an independent like they're going to want somebody recognizable in this part. We should really focus on these names. Or like let's go this direction. Or you know, like, listen, we're never going to get sold or picked up if we don't have enough diversity, like we have to have more diversity. Like and say, like these roles, those directions, as it were.
Speaker 2:Yeah, I knew you were serious about that because you couldn't see everybody, but you took your glasses off at one point and I said this is serious.
Speaker 2:No, I love that you took all that down for us. And I wonder, speaking of that diversity, you've talked a lot about how it was so important, specifically with Deli Boys, which congratulations again. The show is so good and it's giving me so many different notes of different genres, while it's hilarious as well, which is kind of a movement. You know everything's blending nowadays. I wonder, having worked on so many high profile projects and then coming to this, where I believe at the top they said we want this to be an authentic cast, and you had that challenge. I think you literally put flyers up in Chicago neighborhoods to find authentic talent, which is amazing LA too everywhere.
Speaker 2:Well, can you share a little bit about what you learned through this process?
Speaker 1:Abdullah Saeed, our creator, and you know then Jenny Connor and Nora Silver, our producers. Their biggest thing, once we got the job, was like authentic, we are not going to just like put an Indian actor in and say they're Pakistani. No, Not going to happen. Right, there was no going to be. Like a Syrian actor playing an Indian, like it just was not going to be. Like a Syrian actor playing an Indian, like it just was not going to happen. So, right away, there were no big names to put in it. I mean, there was Hasan Minhaj. He was not available. We had to move on.
Speaker 1:Right, like so we had to do a deep dive, you know, and look, I know I've had a couple interviews and I've said, like we put posters, and I know it can be standard for casting, it's just, that's like how it used to happen, right?
Speaker 1:Like not everyone is having open calls and like literally walking the streets asking people if, like their aunt, their grandma, like do they have a cousin that will audition? Like it's just it doesn't really happen that way anymore. So I know, like some people might have heard me say that and they're like we do that every project, okay, sure, but like not really Right, cause I do a lot of projects and, yes, you have to go far and wide and maybe you've looked online or you know you've asked an agent like, but like we were on our on our feet walking into delis and restaurants and breweries and, like any respectful of you know Muslims and Pakistanis Can we, we're looking for and and we?
Speaker 1:you know we had to audition them because we never knew what raw talent would come out of it. You know, and there were so many small roles as the episodes were going to go that even if they weren't right for one of the big roles, we might be able to use them for a smaller role. So we had to hold on to them, right. And Marissa Ross and Crystal in Chicago, they did an amazing job and you know it was truly a collaboration. Once we got episodically to like we got this person, you got that person. Should we fly them out? Like no, we, I think we got it covered here. Like we found someone's grandma. She read we're going to get you the tape Like it was.
Speaker 2:Oh my gosh that's so fun I was going. I was gonna ask you too, what was the most wild find this time around? It sounded like there might have been a lot of them, but was there something that took you down a wild path where you ultimately cast this person?
Speaker 1:I mean someone's grandma is pretty yeah, yeah, I mean I I think it was like someone's aunt, like, who auditioned and like got like, yeah, indian mom, role, role, but like it, there there were. You know a lot of like I have a friend. You know the other part of this. There were so many different gangs, like you know, like Asian gangs and Indian like that. We had to dig into those communities as well and it was like a small faction in Asia that this gang came from and it like just so happened, I mean like this guy, will Trong, who played in there. He like had long hair. So, yeah, you know, we did a lot of it, a lot in every episode, in every category the nomination which we're manifesting and it's going to happen is going going to be well-deserved.
Speaker 2:I feel like this was such an adventure. You know, as I mentioned earlier, this show is also a great example of blended genre. Obviously it's a comedy, but the high-stakes action is so intense, so intense. I wonder, I guess, two things how can you tell an actor understands the rhythm or the tone right away? And then how can you put that into a bit of advice for our listeners, because I think that's something early on that people can miss.
Speaker 1:So obviously, like a show like New Girl or Single Parents, right is, or how I Met your Father, is very different than Deli Boys. Yeah, abdullah Saeed, jenny, and you know Nora and Michelle Nader, who then became the showrunner, yeah, on set, like upping the levels, right, and giving you know Asif Ali, I will say also set a great tone as a number one. His comedy is that as well.
Speaker 1:Right, his comedy is that as well, right, and I think once, like he set that bar, and then Sagar, who brought it down a little because of his sort of character, and then you bring in, like the brilliant Porna, as Lucky it's just like I said this.
Speaker 1:I think on stage with her at an Academy sort of screening, I was like I knew she was brilliant, I knew I had to have her the minute Lucky was a female, I wasn't. I don't even know if I knew how brilliant she actually is Right Like to pull this show off like it's next level comedic brilliance and and like like I think, once she matched Asif and the like, it just brilliantly came together. And that's you know. That's the producers, that's you know Jenny Connor and Nora and Michelle Nader.
Speaker 2:Oh my gosh. Yeah, I mean even just looking at the fact of like she'll shoot and kill someone and I don't want to spoil anything for anybody and then there's a joke moment. After that she lands the joke. It's like people understand of that level where the joke needs to sort of be and how to make it sing.
Speaker 1:I'm such a fan of hers oh my gosh, she's incredible during filming, like speaking in um you know their native language to each other and like, just like have a shorthand and I think, like in a weird way, that like fed down and like got everybody amped and it's just they knew how to like do it yeah.
Speaker 2:I mean, you all know how to do it. The show is so good and I'm again crossing my fingers for you. I got to ask you a Casting Networks member question. This is from at Amina Anina. She noticed that you work with a lot of the same actors who I'm sure have become your friends over the years. She wants to know how often do you bring folks back and what is it that makes you want to work with them again and what is it that makes you want to work with them again?
Speaker 1:Great question, amina. Yeah, you know. Look, I think casting directors fall in love with actors. That's our job, right. We fall in love with and we like to reuse people. We like to keep employing actors. There's also, you know, look, our reputations are on the line when we send someone to set Like, because we're not there to babysit you. And if an actor does has bad behavior, it comes back to us. Believe me, we are the first to hear about it.
Speaker 1:Or if something not it doesn't have to be bad behavior Like God forbid something goes wrong, or if the acting isn't the way it was in the audition, like we hear right away. So you know, when you build up a sort of repertoire of actors, you like reusing them and then on the converse of that is especially in the beginning of my career. You know Jewel Bestrop, who was my partner in her workings with, like Vince Vaughn and Ben Stiller, where I got my comedic casting education from all those guys. They like comedy guys like to reuse their comedy friends.
Speaker 1:And if you go back those early movies, like Rob Riggle, ed Helms, jason, you know Sudeikis, like they're all playing small parts in the bigger movies and that's how they rose to then being number one on their call sheets. Right, they played the small parts. It's always in the comedy world. You know you say like, do one great scene in something and get recognized, and get recognized, yeah. So come in, do an amazing scene, be hysterical, and I guarantee you people are going to be like, oh my God, I got to bring that person in for my next job.
Speaker 2:Yeah, you're so right. It's like Rebel Wilson and Bridesmaids I mean Steve Buscemi in the Adam Sandler movies. It happens over and, over and over again and it almost makes me want to ask you what makes someone memorable. But I know that's such a specific question that happens subject to subject, I think.
Speaker 1:Being prepared, doing a great performance, being able to take direction, make choices, like and again, like just being a good person, right?
Speaker 1:Everyone has bad days, we do, you get it, and you can't always be on and want to have conversations, but I always made my casting and audition rooms warm and welcoming. Look, I knew if an actor walked in and just wanted to get to work, and we got to work. But I also wanted to fall in love with them and so you talk to them after and you remember things about them and so you check in like how is your kid? Or like how was that vacation last time you were in the office, right, and you build up a relationship and that's what makes you want to fight for actors and that's what makes you want to keep bringing them in. I have always sort of kept a slight personal professional thing. You know, a lot of casting directors are very friendly with actors and I do have a ton of friends that are actors. But, like I wanted also for actors to feel respected in their lives and it doesn't have to mesh all the time.
Speaker 2:Yeah, I love that. Well, something that might mesh is if you were to be able to whisper something in someone's ear before their audition. And I wonder if you could whisper one thing into an actor's ear before their audition. What would that be?
Speaker 1:Just breathe.
Speaker 2:Oh, I love that. That's a good reminder in life.
Speaker 1:You know like just take a breath right before yes, and then start.
Speaker 2:I love that. Do you ever notice the actors exhale? That's something I'm curious about. Yeah, like before an actor starts an audition, do you notice people sort of like letting all their air out versus taking air in? Yeah, sure.
Speaker 1:I mean, I do that a lot Like releasing sound, which is what? Like when I studied at NYU, we had a whole class on releasing sound, you know, like during work, and yeah, there's something to say with like taking a breath, releasing the breath and then starting the scene, because then you're in it.
Speaker 2:Yes. Well, I'm going to release a sound right now because we're about to play a surprise game. I'm going to insert a little theme song here. It's called Casting Keywords. It's a fan favorite segment. I don't know if it is Seth, but I hope it is. I'll say I'm going to say a word or a phrase commonly found in your work in the casting field in general, and you please just respond quickly with the first piece of advice that pops into your head. So it's sort of like word association-ish.
Speaker 1:Let's do it.
Speaker 2:Okay, I got a lot here. The first one is breakdowns. Read them. Oh, that's important Slates.
Speaker 1:Keep them happy.
Speaker 2:Okay, wait, I need to stop on slates for a second, because I feel like slates are the part where you can sort of show a little bit of personality without taking it too far. Is there a favorite slate you've seen?
Speaker 1:You don't want to take that in. No, I mean just like smiles, keep it, move through it, and don't want to take that okay. No, I mean just like smiles, keep it, like move through it and like yeah don't make a bit like make weird jokes because it might not play. So just like yeah, bright and happy, bright and happy oh, right now.
Speaker 2:Bnh. I love that early self-tape submission, so when someone gets it in before the deadline, um.
Speaker 1:We, we don't, we don't see it as a bonus.
Speaker 2:Okay, interesting Making a choice.
Speaker 1:Imperative.
Speaker 2:I think a lot of actors hear that and sometimes they don't really know what that means. So what does it mean to you?
Speaker 1:So if you get sides and for some reason you don't have a script, or even if you do get the script right, you need to make a choice because you might't have a script. Or even if you do get the script right, you need to make a choice because you might not have ever met the director or spoken to somebody to get their opinion or their take on it. You have to come in with a choice on who the character is. Even if it's wrong, it is a clear choice. Then, as the casting director, I can can say great, great audition. Now what if he was? You know, having just left a funeral and trying to like not be down.
Speaker 1:I mean, whatever the direction is right, yes, yeah so.
Speaker 2:I love that, and then walking into his apartment and finding that they took everything and there's a raid. Sorry, I'm going back to Deli Boys. Okay, audition attire. So what to wear?
Speaker 1:Do not go full costume.
Speaker 2:I'm going to throw out my lab coat after this, please. Virtual auditions.
Speaker 1:I love them. You get to do your best. Take every single time, embrace it, love it, do it Well every single time, embrace it, love it, do it well.
Speaker 2:What about like a live one, where you're in the session or there's a director?
Speaker 1:session. Yeah, I mean great, they're all like any version. Like take the audition right. Look, I've said this repeatedly, so it is well documented. This is how I feel. I think a million more actors who would have struggled for a lot longer years got a leg up when we went to self tapes, and way more people have bigger jobs now. That would have had COVID never happened. Of course, we are trying to get back into a room and love live audition and want to be there with you and for you and hold you and hug you after your audition tape, but also like we get to see a lot more of you, you know.
Speaker 2:So yeah, I love that, Love that outlook. Ok, general meetings.
Speaker 1:Love them. I have a 98 percent general to job turnover from my executive days.
Speaker 2:Oh my gosh, that's amazing. I'm pretty proud of it. What about mindset, so that can apply to the meetings, or just even going in physically for an audition?
Speaker 1:Here is what a general is, for. It is so I can fall in love with you. Put you on my go-to list. Fall in love with you. Put you on my go-to list, because I am definitely heart set on finding you a job. And so, like communicate, be real open, have a conversation. We want to get to know who you are. We want to know what you like. We want to know what you've read, what movies you're watching, what shows do you like? What shows do you want to be in? Like who do you emulate as an actor? Like where did you study? Like where'd you grow up?
Speaker 1:Like yeah you know like we get like real and and I'm open to sharing too I mean, there's a lot of actors out there. You could find that I've had generals with that have like good things to say.
Speaker 2:I'm sure no everybody seems to. Yeah, I love that. Make it human, I mean being a human.
Speaker 1:I think that's something that gets lost sometimes in all the business sauce over the years and get too, in your head, so I appreciate that I had one general with Russell Tobey where, when I was at Fox, where he said so many things and we were just like, oh my god, this is so much information, enemies and like, but you couldn't help but like fall in love with him right, yeah, just like oversharing.
Speaker 2:Yeah, just gotta be yourself. If that's your vibe, yeah, then that's your vibe you gotta be you yeah, be yourself. Did you ever see just friends, the ryan reynolds movie? Yes, okay, remember when she's like, be yourself, be yourself. Sorry, improv in auditions.
Speaker 1:It's important when you're doing a comedy, but know who if it's?
Speaker 2:you know, don't? You don't want to change the entire script. You got to really be careful. Number of takes, because I think maybe there's a world where you do it exactly as written and then you do an improvised take or different intention.
Speaker 1:I always say, like, send me two, so I can pick.
Speaker 2:I love that.
Speaker 1:When you get into like three or four, that's just like.
Speaker 2:Yeah, don't say that. How do you even save that on your phone? How are you even uploading a file that big? I mean, that's wild. Okay.
Speaker 1:Advice for casting professionals. For anybody listening that wants to get into your world, oh, I mean, start watching every single thing you can get your hands on. All genres, all types of you know, film, tv, anything watch it.
Speaker 2:I love that. Take it right now. I'm trying not to watch this. Hornet assault my window. Don't come in. That'd crazy. What if I got stung, like I'd be okay. We always you won the game. There's no prize, but you won. We always end the show with a gotten and a given, and so every episode ends with the best piece of advice you've gotten in this industry and then the best piece you have to give, and that can be for actors or just in general in the entertainment landscape. But, seth, please give us a gotten first.
Speaker 1:I was told at the very beginning to keep my mouth shut, my ears open and listen very carefully at, like the big players in the room, to understand how it all works.
Speaker 2:That's really good advice. No one said that before. Yeah, pay attention. And if you're an actor, you should love observing. Right, we love observations. Okay, and what's the best piece of advice you have to give, with all the experience you now have under your belt?
Speaker 1:you now have under your belt. I just be prepared. Like, truly, like, you know, do all the research you can do before you enter the room. You know, for actors this is a job interview, so know how to pronounce every single word in the script. Know where the cities are in the script, if they're real.
Speaker 2:Know what the?
Speaker 1:lakes and the mountains are, if it's real, you know, take a listen to the songs that are in the scripts.
Speaker 2:They all inform what's happening and my biggest piece to that is like try to watch something that this creator has created before, so you totally understand what you're walking into yeah, that's excellent advice and I will say, to bring it back to deli boys, that's another reason to cast authentically, because then you have those people on set who can bring exactly what you were talking about to every moment and they can sort of be the representative of whatever community they're representing in that moment. Yeah, because they inherently know it.
Speaker 1:I believe I got that job because I, you know, embarrassingly did not know there was a war between India and Pakistan, and did research the two, three nights before to prepare for the job, learned about it and then realized, as I was going in, like I can't bring in a list of Indian actors, they would none of them from Mumbai would like I literally would have been not listening to the direction immediately at my meeting.
Speaker 2:So yeah, yeah, I love that. Well, I was gonna say where did you learn how to listen?
Speaker 1:That's such a valuable skill, but it sounds like it harks back to the first piece of advice you got, which is to you know yeah, because I will tell you in life, it is hard for me to listen, so I have to work on listening on a daily basis, and I actually worked with a gal at Fox, with my boss, who was a very good listener, better than I was, and so, yeah, I appreciate you admitting that I get that too.
Speaker 2:It's easy for me to listen in a podcast setting, but in life I feel the need to fill the silences. This is going to become my therapy session. It's hard.
Speaker 1:It's hard for us, you know, especially, yeah, we want, to want to keep things upbeat and happy, and so then jokes come out, and sometimes it's okay to just sit in the silence.
Speaker 2:I know it is Everybody. Please Well, don't sit in the silence now. Keep listening to another episode, maybe, but I love that we shared this time together. I appreciate you so much. I admire you.
Speaker 1:I appreciate you.
Speaker 2:Well, thank you for being a role model we can all look up to in this industry that's leading with kindness, because we need that just in the world in general. So thank you, seth. Everybody watch Jelly Boys right after you finish listening to this On Hulu On. Hulu is now streaming. Thank you,
