June 24, 2025 • 29 mins
Seth returns for part two of his in-depth conversation with Hannah Simone. This week, they discuss Seth's prolific work in diversifying Hollywood spaces and assembling incredible ensemble casts, like Deli Boys.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Yeah, that's what everybody talks about, like how do you
assemble a cast?
Speaker 2 (00:21):
How do you bring it all together? I mean it
feels like also everybody just wanted to be a part
of this show. And I remember the first after, like
the first year of the show. You know, you go out,
you go to a bar and you meet all these
actors of different levels of acclaim, some brand news, some
who are just like household names.
Speaker 3 (00:40):
And it was always so funny to me because I'd.
Speaker 2 (00:43):
Say eighty percent of people would say to me, you know,
I was almost in the cast of New Girls, And I.
Speaker 3 (00:48):
Was like, how many people did they see? Because everyone
in town must have come in.
Speaker 4 (00:54):
For the show. I see everyone.
Speaker 5 (00:56):
That's what I said.
Speaker 2 (00:57):
He must have auditioned everybody in town, because everybody had
a story of how they almost, you know, because that's
how it feels some time almost made the show. And
it was like the how there was a timeline where
you had to move fastly to move fast, but how
thorough you had to be to create a great cast.
(01:20):
I think a lot of people don't have an appreciation
for it. They just see the show and they go
like it must have been obvious, but you got a hunt.
Speaker 4 (01:27):
Oh.
Speaker 5 (01:27):
We we hunted and hunted and hunted, and it was
right at the start where like we had to see
more people. The crazy thing is I was Jewel Mike
casting partner was doing another show, and it was the
first time we worked on two things separately, Like we'd
watch each other's tapes and everything, but like she was
like doing a pilot and I was doing a pilot.
(01:49):
And then I got Rock of Ages the movie. So
I was doing Rock of Ages the movie. So I
was spending the mornings at Warner Brothers watching people sing
for like the first round of auditions, then at lunch
driving cross town to spend four or five hours in
auditions or producer sessions and like it. And then at
(02:12):
night I was I was watching like opposite tapes like
all night. So I was literally in the office sometimes
to like one two in the morning or at home
like just watching tapes over and over and over. And
uh yeah, it was nuts. But we saw like that
was the first time I saw like four hundred people
for a role, like you know, like and especially for
(02:34):
the coach role because then we switched it from a
white guy to diversity and and and then when you know,
we didn't get Lamar, and I had to sort of
start all over.
Speaker 4 (02:45):
It was like then we really saw everybody.
Speaker 2 (02:47):
Yeah, and then Damon was on and then day we
got called back.
Speaker 4 (02:51):
That was that way my.
Speaker 3 (02:54):
Low key always felt that that was just like strategy.
Speaker 2 (02:57):
They knew that Fox was going to have a huge
show and they were just like, I'm gonna keep Diamond,
Sure I will.
Speaker 5 (03:04):
That was always my thought, Oh yeah, because because little
insider like supposedly.
Speaker 4 (03:09):
That show was like not coming back, and it was
like a.
Speaker 5 (03:14):
Lot of sources were like, don't worry Fox, it's a
safe second what they call it.
Speaker 4 (03:19):
And and then it got picked up.
Speaker 5 (03:20):
But you know, I think it worked and nothing made
me happier when we did get picked up and they
created Winston because it couldn't be Coach, you know, and
they they saw we saw more people. But I was like, guys,
Lamar was so amazing, like, lets please have accepted the assistance.
Speaker 2 (03:43):
Exactly what we were talking about earlier. He just had
the offer and man, it was like first pilot season.
Speaker 3 (03:48):
For him too. It was a bird in the hand,
You're gonna go for it. But then that show didn't
go and he became available again.
Speaker 5 (03:55):
Right He was he was testing. He was standing outside
side the window of that office, like waiting for the
rehearsal for the test, and his manager called, I'm looking
at him on the other side of the window from
my desk, and she's like, he got an offer? Can
you get him an offer? And I'm like, nobody knows
(04:15):
who he is at this point. I can't get an offer.
My test is in an hour, and it like my
test fell apart for that character that day.
Speaker 2 (04:23):
But doesn't I want to show you what's meant for
you is meant for you because it came back around
for sure.
Speaker 3 (04:28):
Damon's fine. Damon rejoins the cat.
Speaker 4 (04:32):
I know.
Speaker 3 (04:33):
It was amazing, and we talk about that.
Speaker 2 (04:34):
We had did a whole interview with Damon about this
about how Damon came back to the show. How because
we at all, you know, we were new, we were
getting our feet wet. They were trying to write for
our characters. There was a lot of like, you know,
the learning curve was happening for everybody and we were winning.
Speaker 3 (04:50):
It was wonderful, but there was a learning curve.
Speaker 2 (04:53):
But when Damon showed up, he has this energy where
he doesn't take any of it really seriously, he shows up,
he has a great time, He supports everyone in the room.
He feels no pressure, right, no pressure because he's truly
grown up on stage, so he knows the thing. He's got,
no stress, no sweat, And it really was the big
(05:15):
first moment of permission for all of us to have fun.
Speaker 3 (05:21):
That's end of sentence.
Speaker 2 (05:23):
And it was transformative and lamore and like, you know,
Damon's relationship and friendship to this day is so close
and so tight, right, and they know that they both
had a hand in each other, you know, being on
the show and the way it happened looked kind of
crazy on the outside, but it was exactly how it
was supposed to be. Yeah, you know personally and professionally,
(05:47):
it was beautiful.
Speaker 5 (05:47):
And I look to Liz and Brenton, Dave and Catherine
and Jake, you know, the conversation was guys, like we're
not just going to have a new coach after the
pilot and like.
Speaker 3 (05:57):
It's not Young and the Restless, where we're.
Speaker 5 (05:59):
Just gonna it's not going to happen that way, and
and it was it tormented them, how do we create
a new character? Like it was so thoughtful and sought
out and processed and discussed, and I you know, look,
I love Damon Waymans Junior. Like I did a pilot
(06:20):
during the pandemic he was the lead of which, unfortunately
in the Warner Brothers debacle when when it first you know,
sort of when.
Speaker 4 (06:32):
David Saslove first took over, we got.
Speaker 5 (06:34):
Killed on the the at the table read like, they
picked up the pilot. We were about to shoot the
show in Canada and then they canceled us the day
of the table read for the first episode.
Speaker 4 (06:45):
So so I've gotten to cast and work with Damon again.
I just I love that guy. I think he's top notch.
Speaker 3 (06:53):
Yeah, he's magic.
Speaker 4 (06:55):
Yeah, totally.
Speaker 2 (07:11):
I have to ask this question on behalf of all
actors that are listening, and we've got a lot of
them that listen to the podcast, And I know this
might be hard.
Speaker 3 (07:18):
To nail down.
Speaker 2 (07:18):
I'm sure you've got this question before, but how do
you know, like what can actors do or not do?
And then how do you know when they're doing it right?
Like is there anything that they can do?
Speaker 4 (07:31):
You know?
Speaker 5 (07:31):
Look, again, it's like a question I always get, and
it is if we knew new it, like I'd be
a kabillionaire, right, because I'd be charging people for the answer.
But the truth is, like this is what I say.
You have to come in prepared. That does not mean memorized.
It means prepare. You have to make choices, you know,
(07:53):
and smart choices, and oftentimes sometimes they're wrong. But like
a casting director will fall in love with you or
see something a sparkle, a shine, and it makes us
want to fight for you. So like, you know, be smart,
be kind to the room, and be open and willing
(08:14):
to work. If you come in thinking you've got the
job and you know what the job is, it's just
going to read wrong, right, And you have to be
open and available to take directions, to have the conversation,
to work the material. You know, look, there's no silver
bullet in this business. There's just not right because if
(08:37):
there was, again, a lot more people would be in
the one percent of things. So I just say, like,
do everything you can to be prepared, like reading the
script or fighting to get the script, to read the
script if it's out there, right, like really working on
the character, knowing who the character is, and educate yourself,
(09:02):
like do research on the showrunner, what is the tone,
watch their previous stuff, or the director.
Speaker 4 (09:08):
If the director's going to be in rome, how do
they direct?
Speaker 5 (09:11):
See what you can find out who's gonna you know, Yes,
you may get a crappy reader opposite you. That happens,
so you've got to be prepared for that and hopefully
hopefully not, but it happens, you know. So I think
it's like this sort of age old like be prepared,
you know, and be willing to play to play.
Speaker 3 (09:34):
Yeah, it's funny.
Speaker 2 (09:35):
I feel like it's like that unwritten rule thing where
I think a lot of new actors going in don't
understand that if you get a note or a piece
of direction, that means you're doing a good job most
of the time, and they now want to see next
level you take the direction? What can you do with
this moment? But I think a lot of actors immediately
(09:57):
go like, well, I did it wrong. I screwed up,
and I must have done it wrong, and they and
they just shrink, they become now they become super self conscious,
right because they go like, oh, I already screwed it up.
Speaker 3 (10:08):
It's over. And that's what I've shared with actress. I'm like,
if you get direction or a note, what.
Speaker 2 (10:14):
An awesome opportunity now to like show your skill, to
show that you can do it and do something special
with it, which is I remember going in for the
outsourced audition and he kind of kept us all in
one room together for like ten hours, all of us
just kind of hanging out. It was very interesting, and
they were doing mixing and matching and there was a
British actress in there and I remember what she said
(10:36):
and I've never forgotten that either, but she was sort
of like, learn the lines so well that when you
walk in the room you can forget them, and so
that you can kind of be you're going to do
the lines now. But then if there's a moment where
you want to just take a breath, or the reader
you know, opposite you, does something that you didn't expect
they were going to do, and you have an honest reaction.
(10:57):
You know what you're going to say, you know what
the scene is, you know what I'm sorry. Yeah, but
you can now authentically be in the moment because you're
not trying to go like, wait, that wasn't the right cue. Sure,
you know what you're doing. Sure, And there was like
that was like a real moment of like oh yeah,
to be the character, not just sit here and know
so I can memorize lines yeah, which a lot of
(11:17):
people get caught up in two yeah.
Speaker 5 (11:20):
And I always say, like, just hold the paper. If
you got to hold the paper, hold the paper, like
I don't. I can barely remember anything at my age,
so it's like if like you know now we can
we have just anything to be prepared that makes you better.
And you know, I always say people are like, what
(11:40):
happens if you flow the line then just ask.
Speaker 4 (11:42):
To stop and start.
Speaker 5 (11:43):
Over, or if you if you if it's in your
mind and you know, maybe you can attest to this.
But I sort of have pride about how I ran
my casting rooms, like I always let people have at
least one take that they were proud enough of so
that when they left they could be like, Okay, I
(12:04):
did it right, even if I knew they weren't getting
the part, or they knew they weren't getting the part right, like.
Speaker 4 (12:09):
Let's at least have one take.
Speaker 5 (12:11):
There were many, many, many times where I was like,
you're not happy, you want to do it again? And
they're like do you mind, And I'm like, yeah, no,
let's do it like I want you to like do
one great one.
Speaker 2 (12:22):
So I think it is so kind Seth because everybody
gets in their car, they relive it over like analyze ourself.
We go like, oh god, now I get I want
to go back and to just get the gift, even
if we're not getting the job, just for our mental
health to know, right, you know, I put one on
the table. I'm proud of, like I can stand by that,
and most people don't give that opportunity. Again, you were
(12:43):
just like a unicorn of a human being.
Speaker 4 (12:46):
I mean, look, it is the hardest profession in the world.
I say, right, like, yeah, we've got to find some
like peace and love in there.
Speaker 2 (12:55):
Yeah, just moments of kindness. That's just a kind thing
to do. Yeah, so somebody can at least because you know,
actors do that. It's not like there's a lot of jobs,
especially ones that are meant for you that will live
on and allow you to like build from that. Those
are rare and so we know you can go to
a thousand. Always said it's like a numbers game. You
got to just keep showing up. And I've also said
(13:15):
you never know what you're auditioning for. I did never
mind Nirvana with you. I don't know if I felt
the most connected to that character, but I was going
to go out and take full advantage of this opportunity
because I knew what you had done before, and I
was like, I get to be in front of seth
and if he can see something, who knows what could happen.
(13:35):
And it was so weird that that belief is what
ended up happening, the truth of what happened at the
end of it. But I and still to this day,
now why I will always like I will if I
can get in a room, I'll always get in the room.
Even if I want the role, I'll do it because
I never know that director might be doing something else,
that producer might be working on something else.
Speaker 3 (13:56):
Like you just don't know where it could land.
Speaker 2 (13:58):
To just show up and do your best work. Yeah,
no matter what, because it's a relationship. It's a relationship business.
Speaker 4 (14:04):
That is exactly correct.
Speaker 5 (14:06):
I mean I will literally interview for every job too,
like whether I mean, granted, I like the money and
I have kids I'm raising, so I'll take the job.
But like sometimes I'm like, I don't really want this job,
but like I'll take it. But like those showrunners could
be making something else, that director could do something down
the line, and you know, maybe they liked me enough
(14:26):
where the next time they want to interview me again, Like, yeah,
I'm a big I have zero ego about I've done
all this.
Speaker 4 (14:36):
Start offering me jobs.
Speaker 5 (14:37):
I tell everyone like, I will fight for every job
put me up to fight for, Like, let me show
you why it's mine.
Speaker 3 (14:44):
Yeah, that's right.
Speaker 2 (14:45):
I mean Jake, I remember talking. I remember asking Jake
when someone was like, Hannah, you should own it's the
only offers and Jake Johnson told me he was like,
that's some bullshit. He's like, don't you want to go
in Hannah and show them what you'll do with it,
because then that's what you're going to get to do
with the character, right as opposed to like you get
the offer, you go on and they're like, no, we
actually done like this, then that wasn't meant for you.
(15:09):
He was like, show them what you can do. If
they want an audition, show up and show them what
you can do, so at least it's the right fit
for you as an artist and for them as a show.
Speaker 5 (15:18):
Plus, who needs to set yourself up for failure in
terms of like being wrong for it in the end,
and then like.
Speaker 2 (15:26):
We've all been part of things where you're just sort
of like, oh, this wasn't like a good fit of people,
and so a New Girl never felt like that to me.
Speaker 3 (15:37):
New Girl in.
Speaker 2 (15:37):
Terms of the chemistry of that ensemble, you never had
a question, which is why I think it just like
bursts through the screen.
Speaker 3 (15:45):
You never had a question that.
Speaker 2 (15:47):
This was a perfectly cast show, which makes me want
to talk about another perfectly cast showed that you have
(16:09):
done Deli boys well of all of my favorite people
on planet Earth.
Speaker 4 (16:14):
Yeah, it's amazing.
Speaker 3 (16:16):
Tell me how you put that cast together.
Speaker 5 (16:18):
So I much like New Girl, probably this and maybe
How I Met your Father are my two favorite like
ensembles of people that I really feel beyond proud of
having assembled and being part of having assembled because it
(16:39):
works so seamlessly. You know, when I got the opportunity
to interview for the job, I started to research, and
much to my embarrassment or just lack of world history knowledge,
I didn't know that Pakistan and India had a war,
and like it was very you know, southern India and
(17:02):
Pakistan like and so when they said that the show
creator of Dalla said, really wanted Pakistani's because that's how
it's written, and he's a Pakistani, Like, I was like,
oh God, Like, you know, there was going to be
a lot of people who you would just go to
for the audition that I couldn't just go to. So
we from the moment of starting had to dive way
(17:27):
deeper and go out to you know, there's there.
Speaker 4 (17:32):
Was one name.
Speaker 5 (17:33):
It was like, Hassan Minaj was like the one Pakistani
guy like, and it was not available. So it was like,
what are we doing? And again as Fali was in
the very first Fox Night of Comedy that we put
on when I was a Fox exec in twenty ten
twenty like my first year, and so I remembered asif
(17:54):
from that and obviously his career had taken off.
Speaker 4 (17:56):
He had done some Marvel stuff.
Speaker 5 (17:58):
So he came in and and and I had been
watching obviously Miss Marvel, just because I love to watch everything.
And Sager had this amazing beard, and I was just like,
that guy's beard, it's amazing. We got to audition him,
you know, but like you slowly found out people were
Pakistani and not just Indian, and you know, we had
(18:19):
to reject a lot of people so we went, you know,
I mean, we hunted and dug and went nationwide and
you know, like all over, and we went into neighborhoods
and put posters in delis, in restaurants, in bookstores that
(18:39):
were like Pakistani, I mean, and we were like, do
you want to audition to like the people who owned
the store? We were like, do you have an auntie?
Who would you know?
Speaker 3 (18:50):
I will see this.
Speaker 2 (18:51):
I have this interject quickly because I do remember when
so when I moved to La and I knew I
really wanted to act, That's why I came down here,
but I had been posted because there were just no
opportunities for me.
Speaker 3 (19:03):
I do remember getting a call from GERSH and they were.
Speaker 2 (19:07):
Like, and that was right after slum Dog, So all
of a sudden it was the never mind Nirvana and outsourced.
All of a sudden, I had a little more attention
on it. And I remember my agent calling and being like,
wait a minute, are you even like a little bit Indian?
Do you have something Indian in you? Because they were
those who had to be authentically Indian casts and I
was like, yeah, I'm half Indian.
Speaker 3 (19:27):
They're like, you just booked your first audition and he
was like, it's fine because had a blank resume. And
it was that that.
Speaker 2 (19:35):
Got me in the room because authentic casting truly does
open doors for people that can't get in. It happened
for me with those two pilots, right, and then a
great casting director being able to see me as outside
of that was like the story. So that was the same,
I guess with Delli boys, and you needed Bakisani actors.
Speaker 5 (19:57):
Right, Pakistani or Northern Indian, And you know Porna's mom
has a tie to Pakistan and Northern India.
Speaker 2 (20:05):
My grandmother, my grandmother was from Lahore, right but indeed
so pre nineteen forty seven.
Speaker 4 (20:11):
Correct, correct, exactly right? And so.
Speaker 5 (20:16):
And so the story goes like once they changed the
aunt the porner's role was originally a male and they
switched it to an auntie and I immediately was like,
we have to get Porna. Like I'd only seen her
in never have I ever And it really is nothing
about that character actually tells you she could do lucky.
(20:36):
But she was so fierce and I was so in
love with her, like just as an actor and like
she was so cool that I was like, it's her,
it's her. I'm telling you, she can do it. She
can do this part. And they had a meeting with
her and immediately we made her an offer. Like she
didn't even read for us. She got offered the part
(20:56):
after a meeting. But I just and again like Max,
I don't know that I fully knew how much she
would like and and you know, take on the role
so brilliantly. But I knew she had to be part
of this cast and was like a badass, and you know,
that cast really came together.
Speaker 4 (21:16):
It took a while.
Speaker 5 (21:17):
It was It wasn't like like in a week we
had in two weeks we had. It was like four
week five weeks hit like because we had to hunt
and find and dig and read and read and it
was on zoom and there were chemistry reads on zoom
because we were still like.
Speaker 2 (21:36):
How does a chemistry read on zoom go? And how
can they be?
Speaker 3 (21:41):
Like how do they work? What's a successful one look?
Speaker 5 (21:43):
Like? Well, so that Damon Wayne's junior show I Killed
the Orange Face Bear was completely done. Yeah, we never
we never The actors never met until they shot the
pilot ever, like not even the table reading was on zoom,
So like this is what you see when you're doing
(22:04):
a chemistry like how you and I are looking at
each other. Yeah, and and so we're all like black
on zoom, like we go dark and the two actors
see each other and we just see the two of them,
and it you can actually tell if people have chemistry,
oddly enough, and you can really tell when they don't
have chemistry sure, like it's even almost like painfully more obvious.
Speaker 2 (22:27):
How do you know if it's they don't have chemistry,
or if it's bad juggling, do you know what I mean?
Like if they're just feeling panicky and there's like one
hundred people their ound black and they're just it's weird
and they're in their closet, you know, or well, how
do you tell the difference?
Speaker 5 (22:41):
You can tell when nerves have crept in versus it's
just not working. And I think when when someone is
not juggling, that's nerves potentially, And so you sort of
just like, let's do it again, Like why don't you
take a beat, We'll go to the next scene, We'll
come back to that one. Like there's things to just
get them loosened up, right, if they don't have chemistry,
(23:05):
you're like Okay, let's see the next scene, you know,
because you're like, this is not working and and and
then maybe like they pull it together, and so then
you're wrong, and so you go back and do the
first one. But like, if there's no chemistry, you know,
it's just not working. The scene's not working.
Speaker 3 (23:22):
Right.
Speaker 2 (23:23):
What's the first time you saw I guess the three
of them together. Was it shooting than the first episode
because porna ye didn't?
Speaker 3 (23:30):
Yeah, can with anybody.
Speaker 5 (23:32):
So again, I don't know if you like the story
out there is so Sager and Asif tested for the
same role, and it was clear it was gonna be
Awesif from that, like he just destroyed it. Yeah, And
I went to Volley, who was the show co showrunner
at the time, I know, I know, and Jenny and Nora,
(23:54):
and I was like, guys, please do me a favor.
Can we please test Sager for the other brother? And
Folly was the only one who is hesitant and he's
told this story, so I'm not calling it out, you know,
I'm not being uncool. And I was like, just do
me a favor, Like I go, a test is no harm,
no foul. The only person it stinks for is BA
(24:16):
who has to make a new deal, Like do you
know what I mean? Like I was like, just for
just for me, and so everyone agreed. And the minute
he read for the other part, and you know, I
called and I spoke to his manager, and I think
like I gave her like a lot of tips of
like what the opposite of Osiff was, so he didn't
(24:39):
like bring the energy from that character into this character.
And he nailed it and it was apparent that it
was him, and we were just like, oh shit, we
did it. We got it, like and andvllly has given
me credit like somebody I think I interviewed for a
job and they had checked up on me after the
interview or before the interview with Vali, and he told
(25:02):
them that story and they were like, Wally's a big
fan of yours.
Speaker 4 (25:04):
And I was like that's very sweet, like.
Speaker 5 (25:08):
But yeah, I mean, and that's how Sager and so
like once we got the boys and then Porna, like
we knew we had a show, right, so then it
was now like and then Ickball and Brian George came
and we felt like we were giving like true cred
to like industry titans, right, like the guys who did
(25:30):
it really broke the mold for Indian and Pakistani actors
right from the beginning, and it also felt like it
carried a true authenticity to this community.
Speaker 4 (25:42):
Of back here.
Speaker 5 (25:44):
And and then like and Abdullah said, was like Banana's
over the Moon that we got Ickball and Brian like.
Speaker 4 (25:52):
He just thought we were He just was like, these
are the people I grew up watching. No way they're
doing my show.
Speaker 5 (25:58):
And I was like, your show's amaze, Like your writing
is brilliant, Like this show is brilliantly written, Abdullah, So
it it obviously the writing matters, you know. And Jenny
and Nora, our producers, are like the best of the
best of the best, Like I will do anything they
ask me at any point, but yeah, you know. And
then Marissa Ross and Crystal are our Chicago casting directors,
(26:22):
and they did the same thing we did. We were like, guys,
you're going to have to go out on foot into
your community there.
Speaker 4 (26:31):
And like post signs because we all did like the
through breakdown.
Speaker 5 (26:36):
You can do like nationwide searches like now like a
virtual open call. So we had done that, but like
I was like, you have to go in to the
restaurants and the stores and ask people if.
Speaker 4 (26:49):
They will audition for you.
Speaker 5 (26:51):
And they did that too, and like they wound up auditioning,
and when people would come in, they'd be like.
Speaker 4 (26:56):
Do you have an auntie that wants to audition her cousin?
They were like, did your brother? Like any mom and dad?
Speaker 2 (27:03):
And like so they again it makes me think about
just that agent and girsh running through the hall has been.
Speaker 3 (27:09):
Like anybody got anybody who knows anybody.
Speaker 4 (27:12):
That's even a little bit can then take the.
Speaker 3 (27:15):
Box a little bit. We'll take them right now. These
pilots have come out of nowhere. Where are these people
in the town.
Speaker 2 (27:23):
I have to say, we were supposed to talk for
thirty minutes. It's been an hour. Another hour, I know
because it is a real gift to actors, a real
gift to actors who are starting out, who are successful
in this business.
Speaker 3 (27:36):
You know, all of us just want to work and
have great jobs.
Speaker 2 (27:39):
And truly the gateway into all of those jobs are
casting directors. And you are the best of the best,
all the awards, all the flowers. You know, I speak
of you so lovingly and so does everybody else. And
what you have done for my community. You now see
the effects so many, so many people have talked about
(28:03):
watching CC and then they knew that.
Speaker 3 (28:07):
It was possible for them.
Speaker 2 (28:09):
Then they took the acting class, they moved to LA,
they kept trying, and then all these other casting directors
and all of these show runners could see as just
as an American girl that lives in the apartment like
you know, in.
Speaker 3 (28:22):
Friends, and they could see it differently. And that truly
begins with how you remembered me but then did not
stick me in that box and you're continuing to do
it with authentic casting on Deli Boys.
Speaker 2 (28:37):
You just it's so incredible. Do You've had the most
phenomenal career and you've never compromised your integrity or dignity
around actors and we feel it.
Speaker 3 (28:46):
And I love you.
Speaker 5 (28:48):
I love you to the max and I'm so honored
to get to talk to you about this. And obviously
the show New Girl is a career highest for me.
Speaker 4 (29:00):
And you know, I'm just proud of the show, the everything.
So I love you, I love you too. I thanks you, Okay,
bye bye.
Speaker 3 (29:11):
That was the mess around in iHeartMedia Production.
Speaker 1 (29:14):
Our executive producer is Joel Monique, our senior producer is
Abu Zafar Bei Wang provided engineering and editing services.
Speaker 2 (29:21):
Additional production from Daniel Goodman, Wendy Heisler, and Kyle Shevron.
Our theme song was written and composed by Ronald Jukebox Jackson,
Catch you next time.
Speaker 3 (29:31):
Bye,
Yeah, that's what everybody talks about, like how do you
assemble a cast?
Speaker 2 (00:21):
How do you bring it all together? I mean it
feels like also everybody just wanted to be a part
of this show. And I remember the first after, like
the first year of the show. You know, you go out,
you go to a bar and you meet all these
actors of different levels of acclaim, some brand news, some
who are just like household names.
Speaker 3 (00:40):
And it was always so funny to me because I'd.
Speaker 2 (00:43):
Say eighty percent of people would say to me, you know,
I was almost in the cast of New Girls, And I.
Speaker 3 (00:48):
Was like, how many people did they see? Because everyone
in town must have come in.
Speaker 4 (00:54):
For the show. I see everyone.
Speaker 5 (00:56):
That's what I said.
Speaker 2 (00:57):
He must have auditioned everybody in town, because everybody had
a story of how they almost, you know, because that's
how it feels some time almost made the show. And
it was like the how there was a timeline where
you had to move fastly to move fast, but how
thorough you had to be to create a great cast.
(01:20):
I think a lot of people don't have an appreciation
for it. They just see the show and they go
like it must have been obvious, but you got a hunt.
Speaker 4 (01:27):
Oh.
Speaker 5 (01:27):
We we hunted and hunted and hunted, and it was
right at the start where like we had to see
more people. The crazy thing is I was Jewel Mike
casting partner was doing another show, and it was the
first time we worked on two things separately, Like we'd
watch each other's tapes and everything, but like she was
like doing a pilot and I was doing a pilot.
(01:49):
And then I got Rock of Ages the movie. So
I was doing Rock of Ages the movie. So I
was spending the mornings at Warner Brothers watching people sing
for like the first round of auditions, then at lunch
driving cross town to spend four or five hours in
auditions or producer sessions and like it. And then at
(02:12):
night I was I was watching like opposite tapes like
all night. So I was literally in the office sometimes
to like one two in the morning or at home
like just watching tapes over and over and over. And
uh yeah, it was nuts. But we saw like that
was the first time I saw like four hundred people
for a role, like you know, like and especially for
(02:34):
the coach role because then we switched it from a
white guy to diversity and and and then when you know,
we didn't get Lamar, and I had to sort of
start all over.
Speaker 4 (02:45):
It was like then we really saw everybody.
Speaker 2 (02:47):
Yeah, and then Damon was on and then day we
got called back.
Speaker 4 (02:51):
That was that way my.
Speaker 3 (02:54):
Low key always felt that that was just like strategy.
Speaker 2 (02:57):
They knew that Fox was going to have a huge
show and they were just like, I'm gonna keep Diamond,
Sure I will.
Speaker 5 (03:04):
That was always my thought, Oh yeah, because because little
insider like supposedly.
Speaker 4 (03:09):
That show was like not coming back, and it was
like a.
Speaker 5 (03:14):
Lot of sources were like, don't worry Fox, it's a
safe second what they call it.
Speaker 4 (03:19):
And and then it got picked up.
Speaker 5 (03:20):
But you know, I think it worked and nothing made
me happier when we did get picked up and they
created Winston because it couldn't be Coach, you know, and
they they saw we saw more people. But I was like, guys,
Lamar was so amazing, like, lets please have accepted the assistance.
Speaker 2 (03:43):
Exactly what we were talking about earlier. He just had
the offer and man, it was like first pilot season.
Speaker 3 (03:48):
For him too. It was a bird in the hand,
You're gonna go for it. But then that show didn't
go and he became available again.
Speaker 5 (03:55):
Right He was he was testing. He was standing outside
side the window of that office, like waiting for the
rehearsal for the test, and his manager called, I'm looking
at him on the other side of the window from
my desk, and she's like, he got an offer? Can
you get him an offer? And I'm like, nobody knows
(04:15):
who he is at this point. I can't get an offer.
My test is in an hour, and it like my
test fell apart for that character that day.
Speaker 2 (04:23):
But doesn't I want to show you what's meant for
you is meant for you because it came back around
for sure.
Speaker 3 (04:28):
Damon's fine. Damon rejoins the cat.
Speaker 4 (04:32):
I know.
Speaker 3 (04:33):
It was amazing, and we talk about that.
Speaker 2 (04:34):
We had did a whole interview with Damon about this
about how Damon came back to the show. How because
we at all, you know, we were new, we were
getting our feet wet. They were trying to write for
our characters. There was a lot of like, you know,
the learning curve was happening for everybody and we were winning.
Speaker 3 (04:50):
It was wonderful, but there was a learning curve.
Speaker 2 (04:53):
But when Damon showed up, he has this energy where
he doesn't take any of it really seriously, he shows up,
he has a great time, He supports everyone in the room.
He feels no pressure, right, no pressure because he's truly
grown up on stage, so he knows the thing. He's got,
no stress, no sweat, And it really was the big
(05:15):
first moment of permission for all of us to have fun.
Speaker 3 (05:21):
That's end of sentence.
Speaker 2 (05:23):
And it was transformative and lamore and like, you know,
Damon's relationship and friendship to this day is so close
and so tight, right, and they know that they both
had a hand in each other, you know, being on
the show and the way it happened looked kind of
crazy on the outside, but it was exactly how it
was supposed to be. Yeah, you know personally and professionally,
(05:47):
it was beautiful.
Speaker 5 (05:47):
And I look to Liz and Brenton, Dave and Catherine
and Jake, you know, the conversation was guys, like we're
not just going to have a new coach after the
pilot and like.
Speaker 3 (05:57):
It's not Young and the Restless, where we're.
Speaker 5 (05:59):
Just gonna it's not going to happen that way, and
and it was it tormented them, how do we create
a new character? Like it was so thoughtful and sought
out and processed and discussed, and I you know, look,
I love Damon Waymans Junior. Like I did a pilot
(06:20):
during the pandemic he was the lead of which, unfortunately
in the Warner Brothers debacle when when it first you know,
sort of when.
Speaker 4 (06:32):
David Saslove first took over, we got.
Speaker 5 (06:34):
Killed on the the at the table read like, they
picked up the pilot. We were about to shoot the
show in Canada and then they canceled us the day
of the table read for the first episode.
Speaker 4 (06:45):
So so I've gotten to cast and work with Damon again.
I just I love that guy. I think he's top notch.
Speaker 3 (06:53):
Yeah, he's magic.
Speaker 4 (06:55):
Yeah, totally.
Speaker 2 (07:11):
I have to ask this question on behalf of all
actors that are listening, and we've got a lot of
them that listen to the podcast, And I know this
might be hard.
Speaker 3 (07:18):
To nail down.
Speaker 2 (07:18):
I'm sure you've got this question before, but how do
you know, like what can actors do or not do?
And then how do you know when they're doing it right?
Like is there anything that they can do?
Speaker 4 (07:31):
You know?
Speaker 5 (07:31):
Look, again, it's like a question I always get, and
it is if we knew new it, like I'd be
a kabillionaire, right, because I'd be charging people for the answer.
But the truth is, like this is what I say.
You have to come in prepared. That does not mean memorized.
It means prepare. You have to make choices, you know,
(07:53):
and smart choices, and oftentimes sometimes they're wrong. But like
a casting director will fall in love with you or
see something a sparkle, a shine, and it makes us
want to fight for you. So like, you know, be smart,
be kind to the room, and be open and willing
(08:14):
to work. If you come in thinking you've got the
job and you know what the job is, it's just
going to read wrong, right, And you have to be
open and available to take directions, to have the conversation,
to work the material. You know, look, there's no silver
bullet in this business. There's just not right because if
(08:37):
there was, again, a lot more people would be in
the one percent of things. So I just say, like,
do everything you can to be prepared, like reading the
script or fighting to get the script, to read the
script if it's out there, right, like really working on
the character, knowing who the character is, and educate yourself,
(09:02):
like do research on the showrunner, what is the tone,
watch their previous stuff, or the director.
Speaker 4 (09:08):
If the director's going to be in rome, how do
they direct?
Speaker 5 (09:11):
See what you can find out who's gonna you know, Yes,
you may get a crappy reader opposite you. That happens,
so you've got to be prepared for that and hopefully
hopefully not, but it happens, you know. So I think
it's like this sort of age old like be prepared,
you know, and be willing to play to play.
Speaker 3 (09:34):
Yeah, it's funny.
Speaker 2 (09:35):
I feel like it's like that unwritten rule thing where
I think a lot of new actors going in don't
understand that if you get a note or a piece
of direction, that means you're doing a good job most
of the time, and they now want to see next
level you take the direction? What can you do with
this moment? But I think a lot of actors immediately
(09:57):
go like, well, I did it wrong. I screwed up,
and I must have done it wrong, and they and
they just shrink, they become now they become super self conscious,
right because they go like, oh, I already screwed it up.
Speaker 3 (10:08):
It's over. And that's what I've shared with actress. I'm like,
if you get direction or a note, what.
Speaker 2 (10:14):
An awesome opportunity now to like show your skill, to
show that you can do it and do something special
with it, which is I remember going in for the
outsourced audition and he kind of kept us all in
one room together for like ten hours, all of us
just kind of hanging out. It was very interesting, and
they were doing mixing and matching and there was a
British actress in there and I remember what she said
(10:36):
and I've never forgotten that either, but she was sort
of like, learn the lines so well that when you
walk in the room you can forget them, and so
that you can kind of be you're going to do
the lines now. But then if there's a moment where
you want to just take a breath, or the reader
you know, opposite you, does something that you didn't expect
they were going to do, and you have an honest reaction.
(10:57):
You know what you're going to say, you know what
the scene is, you know what I'm sorry. Yeah, but
you can now authentically be in the moment because you're
not trying to go like, wait, that wasn't the right cue. Sure,
you know what you're doing. Sure, And there was like
that was like a real moment of like oh yeah,
to be the character, not just sit here and know
so I can memorize lines yeah, which a lot of
(11:17):
people get caught up in two yeah.
Speaker 5 (11:20):
And I always say, like, just hold the paper. If
you got to hold the paper, hold the paper, like
I don't. I can barely remember anything at my age,
so it's like if like you know now we can
we have just anything to be prepared that makes you better.
And you know, I always say people are like, what
(11:40):
happens if you flow the line then just ask.
Speaker 4 (11:42):
To stop and start.
Speaker 5 (11:43):
Over, or if you if you if it's in your
mind and you know, maybe you can attest to this.
But I sort of have pride about how I ran
my casting rooms, like I always let people have at
least one take that they were proud enough of so
that when they left they could be like, Okay, I
(12:04):
did it right, even if I knew they weren't getting
the part, or they knew they weren't getting the part right, like.
Speaker 4 (12:09):
Let's at least have one take.
Speaker 5 (12:11):
There were many, many, many times where I was like,
you're not happy, you want to do it again? And
they're like do you mind, And I'm like, yeah, no,
let's do it like I want you to like do
one great one.
Speaker 2 (12:22):
So I think it is so kind Seth because everybody
gets in their car, they relive it over like analyze ourself.
We go like, oh god, now I get I want
to go back and to just get the gift, even
if we're not getting the job, just for our mental
health to know, right, you know, I put one on
the table. I'm proud of, like I can stand by that,
and most people don't give that opportunity. Again, you were
(12:43):
just like a unicorn of a human being.
Speaker 4 (12:46):
I mean, look, it is the hardest profession in the world.
I say, right, like, yeah, we've got to find some
like peace and love in there.
Speaker 2 (12:55):
Yeah, just moments of kindness. That's just a kind thing
to do. Yeah, so somebody can at least because you know,
actors do that. It's not like there's a lot of jobs,
especially ones that are meant for you that will live
on and allow you to like build from that. Those
are rare and so we know you can go to
a thousand. Always said it's like a numbers game. You
got to just keep showing up. And I've also said
(13:15):
you never know what you're auditioning for. I did never
mind Nirvana with you. I don't know if I felt
the most connected to that character, but I was going
to go out and take full advantage of this opportunity
because I knew what you had done before, and I
was like, I get to be in front of seth
and if he can see something, who knows what could happen.
(13:35):
And it was so weird that that belief is what
ended up happening, the truth of what happened at the
end of it. But I and still to this day,
now why I will always like I will if I
can get in a room, I'll always get in the room.
Even if I want the role, I'll do it because
I never know that director might be doing something else,
that producer might be working on something else.
Speaker 3 (13:56):
Like you just don't know where it could land.
Speaker 2 (13:58):
To just show up and do your best work. Yeah,
no matter what, because it's a relationship. It's a relationship business.
Speaker 4 (14:04):
That is exactly correct.
Speaker 5 (14:06):
I mean I will literally interview for every job too,
like whether I mean, granted, I like the money and
I have kids I'm raising, so I'll take the job.
But like sometimes I'm like, I don't really want this job,
but like I'll take it. But like those showrunners could
be making something else, that director could do something down
the line, and you know, maybe they liked me enough
(14:26):
where the next time they want to interview me again, Like, yeah,
I'm a big I have zero ego about I've done
all this.
Speaker 4 (14:36):
Start offering me jobs.
Speaker 5 (14:37):
I tell everyone like, I will fight for every job
put me up to fight for, Like, let me show
you why it's mine.
Speaker 3 (14:44):
Yeah, that's right.
Speaker 2 (14:45):
I mean Jake, I remember talking. I remember asking Jake
when someone was like, Hannah, you should own it's the
only offers and Jake Johnson told me he was like,
that's some bullshit. He's like, don't you want to go
in Hannah and show them what you'll do with it,
because then that's what you're going to get to do
with the character, right as opposed to like you get
the offer, you go on and they're like, no, we
actually done like this, then that wasn't meant for you.
(15:09):
He was like, show them what you can do. If
they want an audition, show up and show them what
you can do, so at least it's the right fit
for you as an artist and for them as a show.
Speaker 5 (15:18):
Plus, who needs to set yourself up for failure in
terms of like being wrong for it in the end,
and then like.
Speaker 2 (15:26):
We've all been part of things where you're just sort
of like, oh, this wasn't like a good fit of people,
and so a New Girl never felt like that to me.
Speaker 3 (15:37):
New Girl in.
Speaker 2 (15:37):
Terms of the chemistry of that ensemble, you never had
a question, which is why I think it just like
bursts through the screen.
Speaker 3 (15:45):
You never had a question that.
Speaker 2 (15:47):
This was a perfectly cast show, which makes me want
to talk about another perfectly cast showed that you have
(16:09):
done Deli boys well of all of my favorite people
on planet Earth.
Speaker 4 (16:14):
Yeah, it's amazing.
Speaker 3 (16:16):
Tell me how you put that cast together.
Speaker 5 (16:18):
So I much like New Girl, probably this and maybe
How I Met your Father are my two favorite like
ensembles of people that I really feel beyond proud of
having assembled and being part of having assembled because it
(16:39):
works so seamlessly. You know, when I got the opportunity
to interview for the job, I started to research, and
much to my embarrassment or just lack of world history knowledge,
I didn't know that Pakistan and India had a war,
and like it was very you know, southern India and
(17:02):
Pakistan like and so when they said that the show
creator of Dalla said, really wanted Pakistani's because that's how
it's written, and he's a Pakistani, Like, I was like,
oh God, Like, you know, there was going to be
a lot of people who you would just go to
for the audition that I couldn't just go to. So
we from the moment of starting had to dive way
(17:27):
deeper and go out to you know, there's there.
Speaker 4 (17:32):
Was one name.
Speaker 5 (17:33):
It was like, Hassan Minaj was like the one Pakistani
guy like, and it was not available. So it was like,
what are we doing? And again as Fali was in
the very first Fox Night of Comedy that we put
on when I was a Fox exec in twenty ten
twenty like my first year, and so I remembered asif
(17:54):
from that and obviously his career had taken off.
Speaker 4 (17:56):
He had done some Marvel stuff.
Speaker 5 (17:58):
So he came in and and and I had been
watching obviously Miss Marvel, just because I love to watch everything.
And Sager had this amazing beard, and I was just like,
that guy's beard, it's amazing. We got to audition him,
you know, but like you slowly found out people were
Pakistani and not just Indian, and you know, we had
(18:19):
to reject a lot of people so we went, you know,
I mean, we hunted and dug and went nationwide and
you know, like all over, and we went into neighborhoods
and put posters in delis, in restaurants, in bookstores that
(18:39):
were like Pakistani, I mean, and we were like, do
you want to audition to like the people who owned
the store? We were like, do you have an auntie?
Who would you know?
Speaker 3 (18:50):
I will see this.
Speaker 2 (18:51):
I have this interject quickly because I do remember when
so when I moved to La and I knew I
really wanted to act, That's why I came down here,
but I had been posted because there were just no
opportunities for me.
Speaker 3 (19:03):
I do remember getting a call from GERSH and they were.
Speaker 2 (19:07):
Like, and that was right after slum Dog, So all
of a sudden it was the never mind Nirvana and outsourced.
All of a sudden, I had a little more attention
on it. And I remember my agent calling and being like,
wait a minute, are you even like a little bit Indian?
Do you have something Indian in you? Because they were
those who had to be authentically Indian casts and I
was like, yeah, I'm half Indian.
Speaker 3 (19:27):
They're like, you just booked your first audition and he
was like, it's fine because had a blank resume. And
it was that that.
Speaker 2 (19:35):
Got me in the room because authentic casting truly does
open doors for people that can't get in. It happened
for me with those two pilots, right, and then a
great casting director being able to see me as outside
of that was like the story. So that was the same,
I guess with Delli boys, and you needed Bakisani actors.
Speaker 5 (19:57):
Right, Pakistani or Northern Indian, And you know Porna's mom
has a tie to Pakistan and Northern India.
Speaker 2 (20:05):
My grandmother, my grandmother was from Lahore, right but indeed
so pre nineteen forty seven.
Speaker 4 (20:11):
Correct, correct, exactly right? And so.
Speaker 5 (20:16):
And so the story goes like once they changed the
aunt the porner's role was originally a male and they
switched it to an auntie and I immediately was like,
we have to get Porna. Like I'd only seen her
in never have I ever And it really is nothing
about that character actually tells you she could do lucky.
(20:36):
But she was so fierce and I was so in
love with her, like just as an actor and like
she was so cool that I was like, it's her,
it's her. I'm telling you, she can do it. She
can do this part. And they had a meeting with
her and immediately we made her an offer. Like she
didn't even read for us. She got offered the part
(20:56):
after a meeting. But I just and again like Max,
I don't know that I fully knew how much she
would like and and you know, take on the role
so brilliantly. But I knew she had to be part
of this cast and was like a badass, and you know,
that cast really came together.
Speaker 4 (21:16):
It took a while.
Speaker 5 (21:17):
It was It wasn't like like in a week we
had in two weeks we had. It was like four
week five weeks hit like because we had to hunt
and find and dig and read and read and it
was on zoom and there were chemistry reads on zoom
because we were still like.
Speaker 2 (21:36):
How does a chemistry read on zoom go? And how
can they be?
Speaker 3 (21:41):
Like how do they work? What's a successful one look?
Speaker 5 (21:43):
Like? Well, so that Damon Wayne's junior show I Killed
the Orange Face Bear was completely done. Yeah, we never
we never The actors never met until they shot the
pilot ever, like not even the table reading was on zoom,
So like this is what you see when you're doing
(22:04):
a chemistry like how you and I are looking at
each other. Yeah, and and so we're all like black
on zoom, like we go dark and the two actors
see each other and we just see the two of them,
and it you can actually tell if people have chemistry,
oddly enough, and you can really tell when they don't
have chemistry sure, like it's even almost like painfully more obvious.
Speaker 2 (22:27):
How do you know if it's they don't have chemistry,
or if it's bad juggling, do you know what I mean?
Like if they're just feeling panicky and there's like one
hundred people their ound black and they're just it's weird
and they're in their closet, you know, or well, how
do you tell the difference?
Speaker 5 (22:41):
You can tell when nerves have crept in versus it's
just not working. And I think when when someone is
not juggling, that's nerves potentially, And so you sort of
just like, let's do it again, Like why don't you
take a beat, We'll go to the next scene, We'll
come back to that one. Like there's things to just
get them loosened up, right, if they don't have chemistry,
(23:05):
you're like Okay, let's see the next scene, you know,
because you're like, this is not working and and and
then maybe like they pull it together, and so then
you're wrong, and so you go back and do the
first one. But like, if there's no chemistry, you know,
it's just not working. The scene's not working.
Speaker 3 (23:22):
Right.
Speaker 2 (23:23):
What's the first time you saw I guess the three
of them together. Was it shooting than the first episode
because porna ye didn't?
Speaker 3 (23:30):
Yeah, can with anybody.
Speaker 5 (23:32):
So again, I don't know if you like the story
out there is so Sager and Asif tested for the
same role, and it was clear it was gonna be
Awesif from that, like he just destroyed it. Yeah, And
I went to Volley, who was the show co showrunner
at the time, I know, I know, and Jenny and Nora,
(23:54):
and I was like, guys, please do me a favor.
Can we please test Sager for the other brother? And
Folly was the only one who is hesitant and he's
told this story, so I'm not calling it out, you know,
I'm not being uncool. And I was like, just do
me a favor, Like I go, a test is no harm,
no foul. The only person it stinks for is BA
(24:16):
who has to make a new deal, Like do you
know what I mean? Like I was like, just for
just for me, and so everyone agreed. And the minute
he read for the other part, and you know, I
called and I spoke to his manager, and I think
like I gave her like a lot of tips of
like what the opposite of Osiff was, so he didn't
(24:39):
like bring the energy from that character into this character.
And he nailed it and it was apparent that it
was him, and we were just like, oh shit, we
did it. We got it, like and andvllly has given
me credit like somebody I think I interviewed for a
job and they had checked up on me after the
interview or before the interview with Vali, and he told
(25:02):
them that story and they were like, Wally's a big
fan of yours.
Speaker 4 (25:04):
And I was like that's very sweet, like.
Speaker 5 (25:08):
But yeah, I mean, and that's how Sager and so
like once we got the boys and then Porna, like
we knew we had a show, right, so then it
was now like and then Ickball and Brian George came
and we felt like we were giving like true cred
to like industry titans, right, like the guys who did
(25:30):
it really broke the mold for Indian and Pakistani actors
right from the beginning, and it also felt like it
carried a true authenticity to this community.
Speaker 4 (25:42):
Of back here.
Speaker 5 (25:44):
And and then like and Abdullah said, was like Banana's
over the Moon that we got Ickball and Brian like.
Speaker 4 (25:52):
He just thought we were He just was like, these
are the people I grew up watching. No way they're
doing my show.
Speaker 5 (25:58):
And I was like, your show's amaze, Like your writing
is brilliant, Like this show is brilliantly written, Abdullah, So
it it obviously the writing matters, you know. And Jenny
and Nora, our producers, are like the best of the
best of the best, Like I will do anything they
ask me at any point, but yeah, you know. And
then Marissa Ross and Crystal are our Chicago casting directors,
(26:22):
and they did the same thing we did. We were like, guys,
you're going to have to go out on foot into
your community there.
Speaker 4 (26:31):
And like post signs because we all did like the
through breakdown.
Speaker 5 (26:36):
You can do like nationwide searches like now like a
virtual open call. So we had done that, but like
I was like, you have to go in to the
restaurants and the stores and ask people if.
Speaker 4 (26:49):
They will audition for you.
Speaker 5 (26:51):
And they did that too, and like they wound up auditioning,
and when people would come in, they'd be like.
Speaker 4 (26:56):
Do you have an auntie that wants to audition her cousin?
They were like, did your brother? Like any mom and dad?
Speaker 2 (27:03):
And like so they again it makes me think about
just that agent and girsh running through the hall has been.
Speaker 3 (27:09):
Like anybody got anybody who knows anybody.
Speaker 4 (27:12):
That's even a little bit can then take the.
Speaker 3 (27:15):
Box a little bit. We'll take them right now. These
pilots have come out of nowhere. Where are these people
in the town.
Speaker 2 (27:23):
I have to say, we were supposed to talk for
thirty minutes. It's been an hour. Another hour, I know
because it is a real gift to actors, a real
gift to actors who are starting out, who are successful
in this business.
Speaker 3 (27:36):
You know, all of us just want to work and
have great jobs.
Speaker 2 (27:39):
And truly the gateway into all of those jobs are
casting directors. And you are the best of the best,
all the awards, all the flowers. You know, I speak
of you so lovingly and so does everybody else. And
what you have done for my community. You now see
the effects so many, so many people have talked about
(28:03):
watching CC and then they knew that.
Speaker 3 (28:07):
It was possible for them.
Speaker 2 (28:09):
Then they took the acting class, they moved to LA,
they kept trying, and then all these other casting directors
and all of these show runners could see as just
as an American girl that lives in the apartment like
you know, in.
Speaker 3 (28:22):
Friends, and they could see it differently. And that truly
begins with how you remembered me but then did not
stick me in that box and you're continuing to do
it with authentic casting on Deli Boys.
Speaker 2 (28:37):
You just it's so incredible. Do You've had the most
phenomenal career and you've never compromised your integrity or dignity
around actors and we feel it.
Speaker 3 (28:46):
And I love you.
Speaker 5 (28:48):
I love you to the max and I'm so honored
to get to talk to you about this. And obviously
the show New Girl is a career highest for me.
Speaker 4 (29:00):
And you know, I'm just proud of the show, the everything.
So I love you, I love you too. I thanks you, Okay,
bye bye.
Speaker 3 (29:11):
That was the mess around in iHeartMedia Production.
Speaker 1 (29:14):
Our executive producer is Joel Monique, our senior producer is
Abu Zafar Bei Wang provided engineering and editing services.
Speaker 2 (29:21):
Additional production from Daniel Goodman, Wendy Heisler, and Kyle Shevron.
Our theme song was written and composed by Ronald Jukebox Jackson,
Catch you next time.
Speaker 3 (29:31):
Bye,
Hosts And Creators
Lamorne Morris
Hannah Simone
Popular Podcasts
Bookmarked by Reese's Book Club
Welcome to Bookmarked by Reese’s Book Club — the podcast where great stories, bold women, and irresistible conversations collide! Hosted by award-winning journalist Danielle Robay, each week new episodes balance thoughtful literary insight with the fervor of buzzy book trends, pop culture and more. Bookmarked brings together celebrities, tastemakers, influencers and authors from Reese's Book Club and beyond to share stories that transcend the page. Pull up a chair. You’re not just listening — you’re part of the conversation.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!