Mary Jo Slater has brought her extraordinary eye for casting to over fifty television productions, dozens of Broadway and off-Broadway shows, and over twenty-five features, including: The Gingerbread Man, Spawn, The Grass Harp, Murder in the First, Mother, The Wings of Courage and Ace Ventura: Pet Detective.
Originally Slater trained as an actress, then worked as an assistant agent, an agent, and finally as a casting director, when she put together the Broadway cast for Neil Simon’s Chapter Two. While in New York, she continued casting theatre, as well as the daytime drama One Life to Live, for which she won an Artios Award. Relocating to Los Angeles, she was made vice president of talent at MGM in 1986 and held the position for four years, supervising the casting of Thirtysomething, Dark Shadows, Baby Boom and over two dozen MOWs, series and pilots. She currently works independently under the banner of Slater & Brooksbank Casting.
I absolutely do. Look at my son, Christian (Slater). He was raised in New York, and at thirteen his agent was Sam Cohn at ICM (a very powerful agent who spotted Christian in an off-Broadway play). Sam used to say that he was so glad Christian was raised in New York, because it made him much savvier and grainier than other young actors. He had acting sophistication at a young age because there’s so much diversity in New York theatre. In New York, people would work for $40 a week and be grateful to be part of a production. Here in Los Angeles, it’s, “What’s the bottom line? Do I get a percentage? What’s my back end?” The creative attitude of, “Let’s put on a great show,” does not exist anymore and this saddens me greatly.
Being related is very helpful but not essential. For example, because of my work, Christian grew up backstage in theatre. When I cast for Broadway shows, he would come along and watch the other actors audition. He was like a sponge. He learned through observation. But his chance to appear in The Music Man on Broadway at an early age was a fluke. It had nothing to do with being connected. Stars such as Robert De Niro and Jim Carrey had no connections when they started out. They had something special and someone caught on to it and here they are.
Absolutely. When I came to Los Angeles in 1986, Jim Carrey was one of the first actors I met. At MGM, we were doing a pilot for NBC and Jim came in and read for the network. He was astonishing! Not only was he brilliantly funny but he blew me away with his real and sensitive moments. So I turned around to the network folks, full of excitement... and they were bored. They didn’t give him the role! Here was an actor with limitless ability, who had to pay his dues for many years before the community recognized his talent.
Regrettably, no. There’s so little time. We work twelve hours a day. In my free time I go to movies. I see everything. That’s where I find new faces for the films I’m casting.
Yes. There’s no better way to exhibit your talent to directors than a good tape. In fact, lately my job has become salesman. I have to sell actors and end up renting the videos because the actor’s agent doesn’t have a demo of the actor I’m trying to sell. In features especially, you often get a role only through a tape. Some directors don’t even want to read people—they don’t want to talk, they just want to see tape.
Obviously talent does help. Looks also help. And so does perseverance. Sprinkle a little luck into the mixture and perhaps one can become a working actor. I have great respect and admiration for anyone who wants to be an actor. I discourage them and yet I encourage them, because you’ve got to do what you’ve got to do. Don’t let anyone tell you any differently. You’ve got to believe in yourself and you’ve got to go for it. But remember, there are other avenues you can pursue in the business—writing, directing, casting, editing, etc. You do have other options to become a part of the business.
I wish there was just one simple plan and I could say, “Take these steps and you’ll be successful.” Early in my career, I was determined to move ahead and not remain an agent. I wanted to go on to the next level and into casting. So I called everybody I knew who might in any way be connected to producers. I put the word out in Los Angeles and in New York. When you open your mouth, things do happen. It happened for me.
Ken Harper, who produced The Wiz on Broadway, has said The Wiz got produced because he talked to absolutely everyone he met everywhere about his idea of doing a black version of The Wizard Of Oz. If you really want something, you’ll find a way to get it. You can get what you need by putting it out there. I believe you can actually will it and bring it to you. So radiate positive energy, hone your fundamental skills, do your groundwork. If you’ve got the chops, you’re inevitably going to rise. Cream always rises!
Slater Brooksbank Casting
818.560.2495
13100 Telfair Ave. Sylmar, CA 91342