Mary V. Buck and Susan Edelman of Buck/Edelman Casting have, over the past fifteen years, cast more than one hundred and fifty projects including films, series, pilots and movies-of-the week. Their diverse body of work includes the MOWs Noah, The Tempest, No Greater Love, A Father for Charlie, Against the Wall, A Dangerous Affair and Enemy Within; the TV-series Malcolm in the Middle, The George Lopez Show; the mini-series In The Best of Families and Favorite Son; the pilots for Cupid, Ask Harriet, House Rules, Party of Five, All American Girl, The Wonder Years and Melrose Place; and the features Star Trek II and The Little Mermaid. Buck and Edelman have both worked as casting consultants for the Fox Broadcasting Co., and have been nominated for ten Artios Awards, winning twice.
EDELMAN: We have a very similar approach to our work. We have similar tastes and laugh a lot together.
BUCK: The thing that attracted me to Susan and why I wanted so much to work with her was her sense of humor. The pressure during the casting season is so intense that if you are not working in an environment where you can stop, take a minute and find the laughter and joy in the job, you could easily turn into a neurotic person. What people in other areas of film and television don’t sometimes realize is that casting directors answer to a lot of people. We have to treat actors well and make sure that they come in to the audition well prepared; we have to make sure that our producers are happy which, on a pilot, could consist of six or seven people. We have to keep the director, the production people, the studios, the networks, the agents and managers all happy. In the midst of all this, we are expected to be creative, come up with new ideas and treat everybody with kid gloves. So, it is essential to be able to laugh amidst all the pressure.
EDELMAN: By developing an attitude of not taking it all so personally. It’s worth remembering that many, many factors go into an actor getting a role. It’s not just about your talent. You may look too similar to someone else in the film, you may not be the right age or they may want a name. Also, it’s important for actors to know that their career may span fifty years, and during these years they will go through many ups and downs. Therefore, in order to remain sane and happy, they have to think of the long term, they have to hold on to their passion, and should never allow an audition to debilitate them. If it does, they won’t last more than a year.
BUCK: I also want to add that I believe that every actor needs to go into some kind of therapy. I don’t think you can be a good actor if you haven’t explored yourself thoroughly. Finding out who you are, what makes you tick, what buttons can be pushed and learning how to deal with those buttons, will help you tremendously to deal with this process. All the knowledge you gain about yourself will help you to get into the audition room with a little more confidence.
BUCK: It’s an instinctive thing. Often, someone brings something into the room that makes them much more special than anybody else. If it’s followed up with talent and they can make the role come to life, that’s even better. There are people who just have “it” naturally. We’ve been known to sit here for days, reading actors who are merely okay. Then all of a sudden someone walks in and you say, “Yes!” There’s a palpable energy that enters the room with them. Of course, sometimes they are a disappointment, because when they start the audition, nothing happens. On the flip side, often a person walks in who looks like everybody else, but as soon as they begin, you realize that they’re really special. Then there are other times the actor who walks in is so close to the role, that the two are just born for each other. Or the actor is so appealing that the writer and producer will gear that role to bring up the unique characteristics of the actor.
EDELMAN: All of this stuff is, perhaps, the wrong information to be giving actors, because if you are trying to figure out what the casting director or producer or director wants, you are not doing the work. You can’t try to be what we want you to be. You can’t think, “I need to be appealing.” You can’t worry about any of that. If you come in well prepared and do a good job, even if you are not right for a role, our note will say, “Remember for other things.” Actors should not be obsessed with trying to figure out what we’re looking for in a particular role. Because whoever you are, we may have the perfect role for you in two months. Worry only about your work and not about anything else.
BUCK: We respond well to actors who have done their homework. That is, they have picked up the material, worked their sides, made a choice, come in and delivered the audition. Just try to have a good time and then leave. You don’t need to schmooze. If you are right for the role, you’ll go further. If you’re not, you won’t. If you do a good job, we will remember you for other parts. But what we will remember more than a good audition is a really bad one. It sticks in the mind.
EDELMAN: We all hate it when actors are ill prepared. Some actors don’t prepare so that later they can use the false alibi of, “I didn’t get the job because I didn’t have the time to prepare for it, not because I was not good or right.” They do that to protect their heart. But you can’t do that. The audition process is part of this business. You must separate from it emotionally and recognize that a career can last for fifty years. Think of the long haul.
BUCK: In twenty years of casting, working with John Frankenheimer on HBO’s Against the Wall was probably one of the best experiences I’ve had. He lets you do your process as a casting director if he trusts you. We were already on the project before he came in. He’s an imposing man. There’s something very special about him and he has an incredible background. We met him and showed him pictures and résumés of who we thought would be right for the movie, and he responded very quickly to our proposals. We immediately knew that we were all on the same page and it made the experience a fulfilling one. He also stated that he wanted to see only two or three actors for each role. Agents hate to hear this, but it’s great for the casting director. It was also a terrific experience because he’s great with actors. If he feels that an actor is not in the room and present, or is just kind of walking through it, he will push to get the best out of them.
BUCK: You have to make your own decisions about how you want to do that. Read everything, listen to everyone’s advice, but then mold them into what you think you should do. Always make sure to do the practical, professional things well. Get the script in advance, prepare thoroughly, make strong choices, treat the receptionist well, etc. And after an audition, whether you get the job or not, have the power to get in your car and drive away from it knowing you tried to do your best and let go of it. Also, make a firm decision about who you are, and bring that into the room. Look in the mirror realistically. And as I said before, if you can, get some therapy and explore your depths. If you have no money, there are sliding scale groups you can go to. You can also do this through meditation and other techniques. I know that this inner work can be painful but you have to do it. Acting is the riskiest career in the world. Belief in yourself may be the ticket that keeps you going and therapy may help.
Mary V. Buck
SVP, Casting Warner Bros. Television
818 954 7645 phone
300 Television Plaza
Bldg 140, 1st Fl
Burbank, CA 91505
Susan Edelman Casting
818.905.6200
13272 Ventura Blvd
Ste 210
Studio City, CA 91604