May 12, 2025 • 49 mins
Today on What's My Frame I'm joined by Casting Director, Jesse Griffiths. After more than a decade as an actor, Jesse pivoted to a career in casting, founding Jesse Griffiths Casting (JGC).
Jesse's heart for championing inclusion and diversity in the casting process is evident in all facet's of his work. Hosting monthly workshops for the BIPOC Community; creating a safe space for artists to be heard, supported and given the freedom to crate at their highest level and most authentic self. Today Jesse shares the thought he put into crafting his office, from his own experience as an actor. A powerful takeaway from this episode is Jesse's advice for finding freedom in your work and sharing your take on the character.
Dedicated to nurturing the next generation of artists, Jesse has taught at colleges and universities across Canada as well as countless other private institutions. He leads a monthly workshop for Toronto’s BIPOC community and serves as a mentor at the Canadian Film Centre’s Actors Conservatory.
Jesse is a member of the Casting Society of America (CSA) the Casting Directors Society of Canada (CDC) and sits on the professional advisory committees for Seneca College, George Brown College, and Toronto Metropolitan University. He serves on the boards of the CDC, the Toronto Gay Hockey Association (TGHA), and Buddies in Bad Times Theatre—the world’s longest-running queer theatre.
A proud recipient of the ACTRA Toronto Sandi Ross Award, Jesse holds a BFA in Theatre Performance from Toronto Metropolitan University. Now let's get to the conversation!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hi everyone, today what's my frame?
I'm joined by casting director Jesse Griffiths.
After more than a decade as an actor, Jesse pivoted to a career
in casting. Founding Jesse Griffiths casting
his heart for champion inclusionand diversity in the casting
process is evident in all facetsof his work.
Hosting monthly workshops for the BIPOC community.
Creating a safe space for artists to be heard, supported,
(00:23):
and given the freedom to create at their highest level and most
authentic self. Jesse shares the thought he put
into crafting his office and thespace actors create in from his
own experience as an actor. And a powerful take away from
this episode is Jesse's advice for finding freedom in your work
and sharing your take on the character.
Now let's get to the conversation.
(00:45):
Hey Jesse, welcome to What's My Frame?
Hey, how's it going? It's.
Good. I'm so glad to have you here.
For anyone who isn't familiar with your career, we start every
episode kind of the same way, with a little bit of your
creative back story and some of the influential mentors or
creative opportunities that opendoors to get you here today.
Absolutely, yes. I, you know, I had a career as
(01:07):
an actor for about 10 years. So I went to, you know, an arts
high school. I went to a Conservatory style
training program here in Torontowhere I studied acting for four
years at Toronto Metropolitan University.
And you know, I was doing, I wasan actor for yeah, about a
decade in film and TV and obviously lots of commercial
(01:28):
work and working in, you know, regional theatres all across the
country. And kind of, you know, at that
eight or nine year mark, certainopportunities came up to like be
a reader in auditions. And then, you know, back in the
day when we had a lot of in person auditions.
So I was a reader for a while with a great casting director
named Jason Knight and John Buckin who are here in Toronto.
(01:51):
And that kind of led to a part time casting assistant job and
then a full time casting assistant job.
And then that kind of became my life for a little while.
And I was stepping away from acting and wasn't fully ready to
kind of make the jump into casting.
And so I went back to acting fora little bit.
And then another casting director named Stephanie Goran
(02:11):
reached out of the blue and asked if I wanted to come on and
be her associate. So I worked with her for a
number of years and she's also very, very accomplished, well
regarded casting director here in Toronto.
And after working with, you know, four or five years of
doing the assistant work, I madethe pivot into like, oh, I think
that I know somewhat of what's going on.
I'm really into this and maybe it's time to do my own thing.
(02:33):
So that's kind of how I got intoit.
So I've and Stephanie and Jason and John are still wonderful
mentors and friends and colleagues and they've taken
great care of me. Yeah.
And you now have your own office.
So after that four or five yearswith Stephanie, was that when
you made the leap to open your own office?
Yeah. So while working with Stephanie,
you know, I had people reach outto me, you know, do you want to
(02:56):
cast our music video or a low budget short film or whatever it
might be? And so I was kind of doing that
on evenings and weekends. And after a certain point, you
know, working all day every day,then all day every weekend, I'm
like, I think that I need to decide what's going on here.
And I made the pivot to opening my own office with Stephanie's,
like, full support and blessing.So it was a it was a really nice
(03:18):
transition, yeah. Well, there was many reasons
that I wanted to have you on thepodcast, but I do think it's
it's very valuable for artists to hear, especially during times
like we're currently in where some people are re evaluating
how they are most creatively fulfilled and what is the most
realistic career to still stay in the arts.
(03:39):
But also have a sustainable career in financial security.
So when was there a pivotal moment that you you realized
was, or is it just because the casting opportunities kept
coming and that was directing the narrative for you?
Yeah, I, I, I think that probably it's like some of the
other guests, I never started out thinking that I wanted a
(04:00):
career as a casting director. I think like all I knew was
acting and you know, and I had AI, had a decent career, was
able to kind of eke out a livingwhile also, you know, working
bartending and restaurant jobs and doing all that to make ends
meet. And I loved acting.
I love the industry and obviously I still do.
I think that there came a point when I was just kind of
(04:25):
wondering like how am I best serving this industry?
And there are people that I knewas actors that truly wanted it
more than I did. And I thought, I think that
there are other ways that I can be a benefit to the industry.
And it was really hard because, you know, I think for a lot of
actors, people feel like if theyleave or they pivot or they try
(04:48):
new things that they're quittingor they're giving up or they
can't hack it. And I had those thoughts too,
that people would judge me forward and, and kind of when I
finally made it official and said, this is what I'm doing,
there was nothing but an outpouring of like support and
love and congratulations. And truly, you know, this is the
best industry to work on. People are so loving and
(05:10):
supportive and truly want the best for each other.
You know, it's competitive and only only one person can get the
role of the job. But at the end of the day, it
really is about the connections and the networking and the
friends and family kind of buildalong the way.
So truly it was just kind of a pivot and when I kind of started
doing this job, you know, for those who don't know, it's it's
(05:31):
a very creative job. You know, you have to think
outside the box and think, brainstorm and have ideas, but
it's also, you know, Excel spreadsheets and lists and names
and lots of organization. And so I kind of geek out on
those things too. Like it's equal part left and
right hand side of the brain. So that's why I just seem like a
good fit. And, and truly, you know, people
(05:51):
ask me all the time, like, do doI miss it?
Do I regret it? And I kind of like I miss the
people, but I, I know, I know that I'm on the right path where
I'm supposed to be. And there is something to be
said. I didn't pivot because the
opportunities kept on coming, but I was acknowledging that
those opportunities were there. And sometimes you have to just
open and listen for those thingsto happen.
(06:12):
And, and you know, it's, I do feel it's the kind of the
universe guiding in a way where you meant to be and, and kind of
I'm on the path where I'm going to be now and I'm really happy.
So here we are. And how has casting creatively
fulfilled you maybe in a different way than acting did?
Because I think those that have creativity and them, it just, it
(06:34):
has to get out in different ways.
Like it's, if it's in you, it just, it has to get out for you
to feel your best. So I'm curious how how it's
creatively fulfilled you? Yeah, that's a that's, I've
never had that question. That's great.
I think part of it is, you know,now when I'm absorbing content,
whether it's like going to see aplayer watching a show, you
know, there are opportunities. We are always kind of thinking
(06:56):
what, what would I do? Or that's great, great casting.
But then there are opportunitiesI find where I'm truly just
enjoying the show for what it is.
And that for me is when I'm like, oh, everyone did a great
job that I can, even as a creative in this industry, I can
turn off that side of my brain and really just enjoy the
content. I really enjoy that.
Part of what I enjoy is when we are working with, you know,
writers and directors and showrunners and other actors,
(07:19):
like they do have in mind of a very specific image of who this
character is or what the projectlooks like.
But throughout the entire courseof, you know, casting a project,
there is almost this kind of broken telephone that happens
where, you know, the writer and or director or producer will
create the breakdown of who theyhave in mind.
And then we interpret that. And then agents interpret that
(07:42):
and then actors interpret that. And so there is like 4° of
separation from beginning to end.
And that's when the creative element comes in for everybody.
Opportunities to kind of reimagine, reinterpret, or kind
of re express what a character looks like.
And the really fun times are when you know it's someone
completely unexpected that you just are responding to, that,
(08:03):
you know, you put forward, and all of a sudden they're
rewriting the show or they're creating a new character for
this actor that you, you know, discovered or found or educated
them on. Actually never heard someone so
specifically say how many times each individual is interpreting
it because so often as actors, we forget the other the other
pieces that were involved in that.
And it is. It's so many different people
(08:25):
working on how they project and perceive that character.
So it is a fool's errand for us as actors to try to guess what
the writer initially wanted because other people have also
dabbled in there as well. Exactly.
What did you take from your timein the room as an actor in
crafting your office and the environment you wanted to create
(08:47):
for actors? Such a good question.
I for me, for an actor to do thebest work, they need to have as
much information as possible to interpret the material.
But at the end of the day, it is, you know, I walked into what
I described as like a warm room or a colder room and feeling the
(09:11):
support from casting on the other side, even if it's over a
Zoom or even if it is a self tape, Knowing that there's
someone there who is there in your corner, who is supporting
you, who wants you to do well. Reminding myself that people do
their best work when they feel like they're in a safe space.
I think that that's really important.
(09:32):
I want to set actors up for success as much as possible.
So giving them as much time as they can to prepare something if
there are questions to ask them and just to know that we truly
want the best for them. And, and I do a lot of these
kind of workshops and chats withlike actors and they're like,
you know, what are you looking for and how do you get the role
and all these things. And I think sometimes actors are
(09:54):
a bit short sighted and like, oh, it's, it's this job I need
to get booked this one. And what I try to encourage
people is like this is developing a long term
relationship with casting. So you might not be right for
this role, but if you do a greatjob, we are remembering you
later down the line. And what I really do encourage
them to do is to think about notwhat it is that we want to see,
(10:16):
but what it is that they want toshow us.
Because over time, that is how we develop who you, who we think
you are as a person, as an artist, as a creator.
And if you're kind of changing who you are too much every
single time, it it makes a bit harder for us to kind of
pinpoint what you're capable of.Yeah.
Now, I'm always such a huge proponent of even when you are
regularly auditioning with an office, especially in the
(10:39):
virtual in the self tape era, tostill get in those classes and
get in those casting accesses through SAG after foundation and
and things like that. Because that's how we get to
build that rapport and just be human beings, be creatives that
love the craft. How do I want to say this just
just to be people that geek out over art versus.
(10:59):
Trying to discuss. About making, you know, booking
this job or what have you, can you walk us through a little bit
of how, having such a deep understanding of the actor's
brain and how we process, how doyou like to give notes and
redirects in the room? How do you like to help craft
that performance and move it closer to what you know the film
makers are looking for? Great question.
(11:22):
I think that, you know, I, I, I do a lot of like audition
workshop classes where I'll kindof come in and we'll chat and,
and what I always say is it's really actually great for
casting directors to do those things, especially in this era
of like, you know, Zoomer self tape 1 fewer and fewer times we
are interacting directly with actors.
(11:43):
And that is like something that I've really noticed.
So when I was an associate, you know, we would be seeing, you
know, 1 actor every 5 minutes for 8 hours a day, you know,
three days a week in the room. And it becomes a bit of a muscle
that you're like constantly stretching and working and kind
of and clarifying your vocabulary and vernacular and
how it is you kind of communicate with actors.
(12:05):
You know, I think that sometimespeople might default to like
louder, softer, faster, slower. And those are kind of like just
really basic things. And what I do trying to say is
like, I cannot, you know, they're acting teachers for a
reason. That's what they do is to make
actors better. But what what we try and do is
make the audition a bit better. So providing, you know, context
(12:26):
about the moment before or wherethis is happening in the script,
the actors don't always have access to that information.
But also to give them enough of a note and clarity that they're
still able to interpret where they want that piece to go.
If it becomes to hit this momentnow, then they're just going to
play that beat and then all the work before can go away.
I think that what I, what I try to encourage is like, not
(12:50):
perfection. You know, I think that
especially in this era of like self tapes, people are trying to
craft the perfect audition, which they feel like they can
because it's kind of under theirpurview now that they can do 20
takes at something. And what happens in those
moments is by take 8, you know, the choices are a bit rounder
and there's a little less sparkle in the eyes and it just
(13:11):
kind of lost that, that lightning in a bottle aspect.
So there's an element of, you know, making choices and
sticking with them and allowing opportunities to explore, but
still being present and allowingyourself to be vulnerable, make
mistakes. But that's actually some of the
juicier stuff. What is the best way 'cause we
will include it in the show notes?
(13:32):
Is there any website or links orsocials that we can follow to
stay up to date where and when you are teaching?
Sure. Yeah.
IE everything's on our website. So Jesse, give us casting.com
and we're on Instagram and LinkedIn under those same names.
So definitely check those out. I do like a monthly workshop
over Zoom for like the bipod community here in Toronto, but
(13:55):
it's kind of expanded across Canada.
And so those are opportunities that we get together and it's
kind of, it can be panels or audition workshop prep or just
kind of career consultations. Recently we've been doing what
we call our office hours, which is like one on 110 minute
meetings of just people, you know, here's my demo or resume.
Do you have questions? And it's really an opportunity
(14:17):
kind of for me to connect with performers and for them to, you
know, ask questions that they, you know, been on their mind or
else just to have a nice like one-on-one and kind of
demystifying the casting process.
So we do those once a month. It's obviously all free of
charge. And we're kind of expanding into
the LGBTQ plus community as wellfor those opportunities and just
(14:37):
trying to open ourselves up to be available for like people who
have questions about the industry because it can be
confusing and overwhelming and scary and lonely and all those
things. So we're trying to do our best
to kind of bridge that gap a little bit.
Amazing. I think that is so, so valuable
because the more time passes in,the more distance that starts
creating between actor and casting.
(15:00):
I think there's more room for the actor nerves and the
whispers and the misconceptions about the casting process.
And when you can just have a fewminutes to discuss and demystify
that process, there's so much value.
And it frees up that space and your artistic brain so that you
can focus on the actual part of your job that you have control
of, which is what you put into the audition versus totally
(15:24):
you're getting up in your head. And also like, like podcasts
like these, what a great opportunity for people and also
to hear from a number of other casting directors, you know,
we're it's such a unique and interesting career.
Like for like there are a lot ofpeople, you know, you don't go
to school to become a casting director.
People don't know about this career.
And from hearing, you know, other guests in your podcasts
(15:45):
are all passionate about the industry and they're here
because they love actors. They love, you know, to be
creative. And it just, it's a really
interesting unique niche, you know, job that we haven't and
everyone does it a little bit differently, but we're all kind
of in it for the same reason. So it was fun hearing some of
the other guests as well. Well.
Thank you for checking out the show, it means a lot.
(16:06):
Yeah, of course, gotta do my research are.
There any little Nuggets or pieces of advice for how actors
can strengthen their self tapes and or their self directing
strengths and and those muscles?Yes, I mean, that's a really
great question. Without kind of getting too in
(16:26):
the weeds on it. Like at this stage in the game,
the tech element needs to be at a certain level, you know, so
you don't need to spend thousands of dollars on having a
good home setup, but you need tohave a decent camera.
It needs to be at eye level. You can't have a distracting
background. You should have a reader.
It needs to be well lit, like just all those, like those
basics. I won't get into all that, but
(16:46):
it needs to be at a certain level that's like presentable.
I know most casting directors would agree, like we can see a
great tape even if the tech elements are not there, but not
all of our creative partners can.
And we want to make sure we're presenting you in the best
possible light. So that just kind of burn on
what it should be for self tapes.
(17:07):
It's it's a great opportunity tolearn from your previous work.
And I don't know how many actorsare actually going back and
watching their own self tapes with a critical eye.
And, and it's like after the fact, it could be like a week
later, you know, after you've already submitted it, you know,
you did or didn't get the job, whatever it might be.
But going back and watching withthe critical eye, what's
working, what's not working and,and fine tuning that and
(17:30):
challenging yourself to, you know, if there are new
opportunities to try something else to do better there.
That's those are two things. The third, as I said, is, you
know, and kind of repeating an earlier statement is that and
people talk about, you know, making a big decision, making
big bold choices and how to stand out.
And that for me is a bit like, what does that even mean?
(17:50):
It just seems a little bit kind of, I don't like making big bold
choices sometimes that that creates the expectation for
someone to make something out ofnothing, which is not always the
case. And I've said this before, like
if you're if you're the barista at a coffee place and you've 4
lines, it is not the barista show.
Like your knowing what your roleis in a larger project is really
(18:12):
important. And sometimes just doing the
best possible four line reads you can is just as good as not
making it about this character. So like knowing what your role
is in the story and how you're supporting the lead or the other
narrative. And kind of the last thing that
I didn't say earlier is truly, you know, we type of big bold
ideas, but what I like to do is be bold in the sense of bringing
(18:36):
yourself to every project. Like even if it's just like 10%
of who you are. So you're not always putting on
this mask or a character, but you truly like bringing a bit of
yourself to it. You're not going to write for
every role, but if you are, the roles are addition for there's
that 10 percent, 15% of yourselfin that role.
It's going to feel natural and authentic and organic and be
(18:57):
comfortable and vulnerable to beable to play versus feeling like
you have to be somebody else forone, two, 5-10 days on set.
And that can feel disorienting, confusing and anxiety ridden.
You know, all those things. So that's what I focus on, tech
and self critique and challenge yourself to be present with
yourself. Yeah.
(19:18):
No, I last week in class, an instructor who I, I so respect,
he said, I don't want to catch you acting.
And I was like, wow, we don't even think about that.
With all of the different movingpieces.
There's so much excitement and nerves and so much thought and
process. We forget where we crossover
(19:39):
into the, you know, the Venn diagram of where the cat
character and we blend over and just not to be acting, just to
be present. Having an understanding of both
the US and Canadian markets, howdo you see them compare and
contrast? How are you seeing?
I mean, I know that there's a big CBS show coming to Toronto
(20:01):
in the the summer and how are you seeing the spaces compare,
contrast and also the Toronto market expand even further?
Yeah, that's a great question. You know, obviously as a
Canadian, I'm a good proponent for the work that we're doing.
And, you know, having done casting in the States and in
Canada, obviously there's incredible actors both North and
(20:22):
South the border. I think some of the best actors
in the world are here in Toronto, you know, well trained
and eager to work and very grateful for the productions
that come in. Toronto's very much like a right
right now a service talent. We're doing a lot of great work
for US productions to come in here.
I think that where we can improve is the self creation of
our own work. And I know there's like work
(20:43):
being done there, but it's it's an entirely different market.
You know, we look at populationsand funding and it is, it's, I
think that sometimes as Canadians, we're a bit hard on
ourself and what we're accomplishing.
But I think that what we're having available and the
opportunities we're creating is actually quite, quite
impressive. I think that all, you know, a
(21:03):
lot of times younger actors feellike the need that they have to
get out or go somewhere else to,to build their career.
And I certainly understand and respect that.
You know, I know a lot of actorswho have stayed in Toronto and
have had incredible careers and are able to support themselves
and have a family and, you know,grow old and retire.
I think that part of the acting lifestyle, which is what I kind
(21:25):
of struggle with a little bit, is you have to also sometimes go
where the work is. You know, you could be got a
great job that brings you to Atlanta.
You have to be there for two months and all of a sudden
you're saying goodbye to your friends and family and partner
and dogs. And it can be tricky that way.
People will always need content.They're always going to need
actors. I think that we're just kind of
in a bit of a pay era of readjustment.
(21:46):
And I think that, you know, I'm always optimistic.
So the lights at the end of the tunnel, but it's been, it has
been a tough go for a lot of people.
Same. I I try to always look on the
bright side and I'm cautiously optimistic.
For the summer and fall and episodic season, I'm cautiously
optimistic. You are known for Champion for
artists and inclusion. How does that influence the
(22:08):
projects you take on and the film makers that you work with?
Great question. You know, when I, when I first
started, I was just so eager to collaborate with with anybody.
You know, I just want to like meet new people and work on
great projects. And from that came an
opportunity to collaborate with,you know, the LGBTQ plus
(22:30):
community as well as other marginalized communities on
their projects that did not havea lot of money, but had had
incredible stories and scripts and the creators behind it.
So those are the people we started collaborating with and
those the people who have kind of continuously come back to us
for the work that we do. And while they might not have
the biggest budgets, these are also projects that have gone on
(22:51):
to screen at Tribeca and Cann and TIFF and like great film
festivals all around the world. It was an opportunity to educate
myself on like my own, like unconscious bias and how I, how
I approach casting and having some really great meaningful
conversations. You know, one of our first, the
first things we did, I was talking about our, our workshops
(23:12):
that we did earlier. But one of the first things I
did was kind of had an open hallwith anyone who wanted to come
from the bipod community in terms of what is casting like
not doing well and how do you not feel supported and what are
your notes? And it was a really, you know,
obviously it was an incredibly educational time, also very a
(23:33):
very vulnerable experience of being open to like critique.
But I learned so much and the connections made from that were
integral in terms of how we moveforward.
So for me, you know, I, it's, this is on my website, you know,
it's under a kind of philosophy page.
But like, I don't, I don't get to pick obviously who we cast,
but I do get a choice in who we bring in the room.
(23:55):
And so I take that responsibility very, very
seriously. Also, having done this for a
number of years, the confidence to have difficult creative talks
with our producers or writers ordirectors in terms of, you know,
who we're looking for and what the breakdowns look like and if
there are opportunities to expand race, gender, age,
(24:18):
ethicity, do any of those things, It's really important.
But those are difficult conversations to have sometimes.
But it's something we take very seriously.
I want to just take a moment andrecognize that contribution and
and what a gift you gave those artists to feel completely
heard. Like I'm not going to like tear
up, but it's just there is not enough opportunities for us to
(24:43):
just get to speak and just be vulnerable and our our most
authentic self to then be able to do our best work.
And it it takes people like yourself holding that space for
people to feel seen and heard and accepted to then go on and
and do the craft. So thank you for doing that.
My pleasure, you know, I, it is,I say it, you know, it was also
(25:06):
like self-serving in the sense that I was able to learn so much
and connect with those actors ona different level.
And the respect I have for them also grew that much more because
I think that we have this us andthem casting versus actors and
that they're, you know, people don't want to see is, you know,
rocking the boat or stepping outof line or being inappropriate
(25:27):
or causing trouble or whatever it might be.
And really what it is, is an opportunity to have an open
dialogue. This is for everybody of what's
not working and how we we can dobetter.
Just because it's, we've been doing it for how many years
doesn't mean it's the best approach.
And I think it's sometimes people are scared about changing
things or raising their voice. And it's scary for everybody.
It really is. But I think it's really, really
(25:49):
important to have those conversations or else or else
something changes. Going off of that, how have you
seen the industry and, and your producers and the film makers
that you're working with be morereceptive to having those
conversations and also taking your your guidance and hearing
what you have to contribute to the conversation to move the
needle? Just like incredibly receptive.
(26:12):
I think what's been really greatis by kind of establishing that
this is our mandate and this is how we work.
It's kind of been a bit of a flag for like a good flag of
like, or a beacon, I should say,of like the, we're attracting
those people who want to work with us, who are open minded and
receptive and are open to challenge and critique and
collaboration. And so I haven't had to have
(26:36):
that many difficult talks. And as much anymore.
I, I'm not saying it's, it's based on us, but it's also
that's, we've established this is how we work.
And so if you want to work with us, this is how it's going to
be. But also the industry as a whole
has been changing and pivoting. You know, we are seeing a better
representation on all levels, you know, starting with the
writers and then the producers. And, you know, in some
(26:59):
instances, it's important to have, you know, experts in their
field, whatever it might be like.
It's important to have a diversity of all shapes and
sizes on the production team. And that's kind of what we're
seeing is people willing to spend money to hire the
appropriate personnel. And also the stories themselves
are changing. You know, once those stories
(27:19):
change and the the POV where they're coming from, then all of
a sudden the different types of actors are looking at changes
too. And then it just this, the whole
cycle repeats and grows. I just think the industry's like
that much better off for it. Absolutely.
And the more that those shows are recognized during award
season and they are positively shared by the audience on social
(27:41):
media, it's I mean, at the end of the day, it is a business.
And the more popular that those authentic stories become, the
more that they are encouraged toproduce and create more of them.
And it just on itself. When you're meeting with a film
maker about their project, what do you like to discuss and learn
about their vision to help inform your work and going into
(28:03):
your your casting process? Also really great question.
You know, there it's that's a great question.
I don't think I've ever had thatone before either.
So let me think about appropriate response.
I also want to see like how if this is something, if this is a
collaboration, like it's almost kind of like a first date in a
way, like we both want this to work, but is the vibe right?
(28:25):
Like are we on the same page in terms of frequency?
I want to know, I want to know how they collaborate.
There are some people that are not open like this is what they
want. They want person look like this,
sound like this, do this or theyhave their like dream list of
people that they can't get thosepeople the next best thing.
And I want to know like I'm I like to collaborate.
(28:45):
For me, like the best idea wins.It doesn't matter who it comes
from. So I'm curious about their level
of collaboration. I'm I'm always curious about
like how they like to work with actors.
Is there a comfort level? Like some directors default to
casting to do a lot of like the legwork up front and some want
to be very hands on. So I'm curious about that, you
(29:07):
know, I also work with a lot of like first time directors, which
is and producers and writers, which is really exciting, you
know, kind of guide them throughthose initial stages.
It can also be like they don't know anything about the casting
process. So it can be like here's casting
one O 1 and how it works. So, you know, if that's the
case, I also like to know like or find out like what do you not
(29:28):
know about, about how this job works just so we can all get on
the same page. But every project is different
just in terms of acknowledge and, and, and history and
collaboration level and obviously their own personal
characteristics and how they operate.
But it's that's really what I enjoy about this is like kind of
pivoting to meet someone on their own level.
(29:49):
There's a lot of variety in our work, which is.
There certainly is. I think that's one of the joys
when you and your office are narrowing down your selects to
share with the creatives. What are some of those final
stage decision factors? Great question.
We, we want to make sure that we're capturing what it is our
(30:11):
client wants. So if our client has been
specific that they want, you know, a certain actor, as I
said, in terms of, you know, age, ethnicity, gender, body
type, whatever it might be, we do want to make sure we're
giving our like clients what they asked for.
But also, if I was just giving them like exactly what they
wanted, I wouldn't be doing my job, you know, So not that I
(30:34):
always throw in, you know, some wild cards, but they're people
that I'm like, this is kind of outside of what you asked for.
But I think that they're really quite good and worth looking at.
So I do always want to make surethat I'm doing that depending on
the role size. I also want to make sure that
I'm showing newer actors, you know, especially for smaller
roles, I think it's really important to get newer actors on
(30:54):
or in the eyes of on the radar of of directors and producers
and writers. Obviously, like diversity is
like very important. You know, if, if I'm showing a
list of all white actors for a role that should be any
ethnicity that that's a problem.And that kind of stems from the
very beginning of, you know, whoare requesting self tapes from.
So that's that's important. You also want to make sure
(31:16):
you're presenting a range of like performances, like are they
all reading it the same way? If they are, that's going to be
boring for everybody. And so that kind of goes back to
our original question of like what it is you're looking for
the self tape. You know, if you're just doing
exactly what you think that we want to see them, we're going to
see the exact same thing. And then how we differentiate.
So going back to question, we had to stand out, you know,
(31:37):
being authentic and trusting your God and trying new things.
Really important. That's it.
Yeah. Any advice for how actors can
strengthen their casting profiles and materials and the
way that they present themselvesto casting?
I think just ensuring like you're like the the basic for
like your resume is up to date, your current headshots, if your
(32:01):
hairstyle changes, having different couple couple options
for your photos online, like demos are always great to have.
If you have one, people feel like they need to have, you
know, 30 minutes of material before you make a demo.
And for me, it's like anything is anything is good and it is
like for me, it's a resume, right.
So once you get better stuff andbetter in terms of either a like
(32:22):
more well known or just be like better produced, better looking
like to always be kind of cycling through.
And it is one of those things ofquality over quantity.
We don't need to see like 10 minutes of something.
I'd rather see 2 minutes of really great material and also
show a range. You don't need to show us like
every single thing you've ever done, but you know, a range of
scenes is important. I think that's really good.
(32:43):
You know, I do like to see the actors who are training and even
some of the best actors we're booking all the time are still
going to class and they're stilllike learning from their peers
and making mistakes and trying things out.
You know, I think that, you know, that's one of the things
we kind of struggle with a little bit, you know, here in
Canada, but also in the States where you have conservatorial
(33:04):
stuff programs or, or, you know,university settings for training
is that there's a emphasis on, you know, getting good grades
and doing well in those institutions versus treating
them as an opportunity to reallykind of stretch your limits and
make mistakes and kind of fail. So going back to class,
especially as a, you know, either a younger actor or, or
(33:25):
established actor, I think is really important to reconnect
with yourself, but also kind of reconnect with your peers,
especially in this era of like, you know, zooms and self tapes
where we're not together anymore.
I was talking to another actor about this last week.
Like the waiting room was alwayskind of a thing where you'd like
you would see friends or like acquaintances or people you
(33:45):
hadn't touched base with a whileand it could lead to dinner or
coffee or whatever it might be. And that opportunity to kind of
connect is a little bit missing.So finding opportunities to come
back together and doing some training I think is really
essential. OK, completely great.
I'm such a big proponent as looking at your fellow actor as
your creative community, not your competition.
And I think there is again, withthat disconnect and just the
(34:08):
longer that we are a part or more virtual and, and
one-dimensional, it, it feeds into that insecurity of, you
know, these are your these are your creative peers.
This is these are people that are going to be giving you jobs,
you're down the road or you're going to be helping them with
something, you know? Yeah.
When you have seen an actor audition a number of times, are
you still watching reels, looking at their resume to see
(34:30):
what's new? Or are you going off of memory
from their last audition with you whether to make that
audition invite for the next next submission?
Yeah, I think that if they're established enough that I'm
familiar with their work, I'm probably not going back to their
demo as much or their resume. So I feel like I, I'm familiar
(34:51):
with their work already to be seeing them, but the more I, the
more I'm bringing someone back, the more I'm going to also
challenge them with new material.
Like I think sometimes even as casting directors, we kind of
get stuck in how we view an actor or what they're capable
of. Either they're, you know, are
they comedy or they're drama or,you know, whatever it might be.
And I think it's really important that we as casting
(35:13):
directors know that, you know, an actor is an actor and they
can do, you know, so many great things.
Just even recently I was workingon just a short film and it was
heavy drama piece and this, you know, kind of second City actor
was submitted for the lead rolesand and truthfully, initially
I'm like, no, he can't do this. Like he's the second city guy.
And then, you know, brought him in and he was incredible because
(35:37):
he was open and vulnerable and kind of the right amount of
funding where it needed to be, but also like so heartfelt.
And it was just a reminder. Like we can't be pigeonholing
people into these roles or what what they what we think that
they can do. Like it's important to really
always know the people are reinventing themselves and an
actor as an actor, as an actor. And once again, you might not be
(35:59):
right for every role, but it's good to keep your mind open.
Yeah. And we touched on your heart for
education and teaching and giving back.
Why is that, on a personal levelimportant to you?
Were there teachers when you were coming up as an actor that
were influential or or why is that something that you want to
give a considerable amount of your time to?
(36:23):
I think for a couple different reasons, like, you know, first
and foremost, as I said, I really just do think like people
do their best work when they feel comfortable and safe and
supported and you do that by making those connections.
That's really important. I think that, you know, if I
could be really honest, I think that was instilled with me for
my family who you know, are justopen and loving and giving and
(36:44):
just that was kind of my community growing up.
I know that with this role, you know, there, there is an
opportunity to provide opportunities to people and I
take that responsibility very seriously.
And so I just knew that I wantedto make sure that I was
(37:04):
providing opportunities for people to do their best working,
to connect and to learn. And and I just didn't have that
opportunity as an actor that much to connect with casting
directors. And I think they would have been
really helpful. And this is a hard job.
You know, it is weekends, it's evenings, it's, you know, it can
be very time consuming. And so I know that they're, you
(37:25):
know, everyone's doing their best.
I think, I think I've just made it a priority.
So I just realized how importantit is for myself and for the
actors in the community, and I enjoy it.
I just like connecting with people in a setting that's not,
you know, an audition necessarily, but we can have a
chat and ask some real questions.
You have a beautiful declarationon your website titled Do
(37:48):
Better. How can we, as artists and film
lovers also do better? Yeah, I think that.
I think that by doing better, itis I think there's always an
opportunity to give back. I really do for anyone at any
stage in their career, you know,mentorship is such an important
(38:10):
thing and I think it's kind of lost sometimes in our industry,
but there's always someone who'sgoing to be coming in after you
that I could learn something from you.
And so that's one of the things I talked to young performers
about. And I know it's not easy to
track down like someone to be your mentor, but I've been so
lucky. And actually if I can go back, I
think that's why it's really important that that I do this
(38:30):
kind of community workshop giving back type thing where
like I'm not in the position where I can give a younger
casting director other work. But I've had that happen to me
through Stephanie and Jason and John and other casting directors
in the city who who I've connected with and who think
that I do good enough work that they'd recommend me.
(38:50):
And while we go, we talk about this being a super competitive
industry like it is. But as we said earlier, at the
end of the day, we're kind of all in this together.
And not every casting director can get every, every project.
And so if you're playing like the long game of building up
solid connections, good working relationships like, that's going
to yield better results than taking the quick buck or
(39:11):
stealing a job or undercutting someone.
If you want to be in this industry for over a long time, I
think you just got to take care of people a bit better.
Are there any resources or linksthat we can share in the show
notes that you have found incredibly impactful to the
bipod community or the folks that you are working with that
(39:32):
either you have discovered yourself or you have found out
about and been informed in your in your workshops?
Great question. You know, my resources might be
a little bit different because they're probably more Canadian,
Canadian focused, but you know focusing like ACTRA, obviously
our union here in Canada does a lot of great work with their
(39:54):
diversity, equity and inclusion programs.
I've done a lot of workshops there in Canada.
We have a lot, we have some screen offices specifically
designated, we have the Black screen office, the Indigenous
screen office where their goal is to promote, fund, support
marginalized communities than the development of their work.
So that's really important. Um, programs for a young film
(40:16):
makers and female identifying film makers.
I think that there's, I mean, I don't have a listen.
Maybe I should. It's not list on my website, but
I think that those would be a couple of great resources to
start and maybe I need to do a better job of educating myself
on what those resources are, butbut they're.
You're doing a lot. It's not a criticism.
No, no, no. That's all.
(40:37):
It's an opportunity, you're right, an opportunity.
All right. What is a creative venture or
challenge you'd like to take on in the future?
I think so. I think I've been at this like 7
or 8 years and we do a lot of really great work in like the
indie world, indie features that's really cool video games
and lots of commercial work. I think like the next step for
(40:59):
for us in our office is to take on, you know, we'd love to do a
big streamer, like give us Netflix, give us one of those
crave ones, but that would be the next big adventure.
We just finished Co casting the live performance of The Lion
King here in Toronto with my with my old boss and colleague
Stephanie. That was the experience of a
(41:21):
lifetime, you know, seeing triple threats sing, dance, act
like it's just very powerful. And so I'd love to do more live
theatre musicals, but those opportunities are so slim and
rare. But that's, that's a, that's a
medium that I'd really, really enjoyed as a obviously as a
former theatre kid, I really, yeah, my heart was full after
(41:44):
those auditions. Oh yeah, no, as as a musical
theatre grad myself, you, you geek out on anytime you're
around. There is a certain different
energy in live performance than any set I've ever been on.
It's just it's different and it's so.
There is like there's I mean. Nothing like it.
No, I probably cried like every day at least once in those
(42:05):
auditions because it's like whensomeone's singing their heart
out and it's just so genuine in front of the soul.
It's there's nothing more powerful than that.
And there's a vulnerability thatcomes like, it's just an
inherent vulnerability that comes with really opening up
your soul. And so, yeah, it was, it was a
beautiful experience. And to see someone perform at
their highest level using the gifts and talents that they
(42:27):
have, it's just such a gift to be in the same room and witness.
It's just, yeah, it gets you through so much of the BS of
this business. Yeah, exactly.
And that sort of feels like it truly feels like a gift.
It feels like an offering. It feels like I'm doing this for
you. And there there is that
vulnerability and sincerity and generosity that just like, yeah,
it's, I'm not saying it can't befound on film, on TV, Of course
(42:50):
it can. There's just something so
organic, authentic about those experiences that they can really
touch you. Going off of that, are there any
favorite audition experiences orstories that you've been a part
of where perhaps it was seen an actor get a chance at bat many
times and then get the role? Or there any favorite actor
(43:12):
audition journeys or stories? There's, there's like there's
been a number I think that, you know, I've had, you know, I was
working on one project where they were looking for a very
specific age body type. They wanted a thin, geeky 17
year old to play the lead in a feature.
(43:34):
And you know, we auditioned eventually all across Canada, I
think over like 300 submissions.And we like we did, we did our
we did our work. And the guy that they ended up
going with was just kind of the the exact opposite of all those
things and did not fit the specs, but came in and just was
the show like this. He was this character and
(43:55):
brought a whole different light to him.
And it was an opportunity for myself, but also the creative
team. And that's why I like like to
work with people who are open collaborators because they're
like, this is not what we wanted.
This is better, you know, and like just so exciting.
And I said or no other opportunities or experiences,
you know, bring someone in and they, it's not what they had in
(44:16):
mind, but they've rewritten a part for them or they created a
part for them or they got a rolein something else because of
that audition. I was working on a show that
just just airing right now on onCBC and Netflix called North of
North, which takes place in the Arctic in Canada.
(44:36):
And they, they sent me across the Arctic for about three weeks
doing open calls with those fromthe Inuit community.
So going to community centers and schools and just hopping on
the local radio to get people out and going to these places
that, you know, no roads and everything might be flown in.
(44:58):
Population 3000. It was just a really, really
exciting opportunity to meet people who had no acting
experience, but just some of them were the role or they are
like there's their face or theircharacter or as their energy was
like, oh, you, you know, you don't have any acting training,
but you can do this. And that was that was really
exciting opportunity. Talked about this a little bit
(45:19):
about community and different things, but how do you
creatively recharge? Because there is forecasting
same as actors, there's a lot ofenergy put out and sometimes not
as much coming in. So how do you recharge?
That's good. I, I play a lot of sports.
I'm in. Yeah.
For me, like for me, recharging is, is physical energy and just
(45:43):
kind of working the body and kind of giving you a break from
the minds. Last night I went with a couple
of friends to the anniversary oflike, The Shining at one of the
theaters here in Toronto, which is like, it's a film.
I, you know, I haven't seen it in like, you know, over a
decade. But like, to go back and sit in
the theater and eat popcorn and see, like, it's just a really
good movie. This is really fun.
(46:03):
Yeah. There's nothing like just going
to an actual theater and being away from your phone, being away
from distractions and seeing, I mean, I'm a purist.
I think that it's just differentseeing something on screen or
even on the TVII was, you know, I was watching Paradise on my
phone and I was like this, I'm not getting the experience that
(46:26):
everyone's talking about. So I put it on the TV and I was
like, OK, now I'm like, I'm in the world in a different way.
And I think that there's something to be said for just
going and supporting theater andbeing there and taking that time
and unplugging. But.
Yes, actually box, but that's the point too.
I think that I am guilty about being glued to my phone.
(46:47):
Like just glued constantly. And so even if I'm at home, like
on the couch watching TV, like the phone is always kind of
there and just is. So, you know, if I'm at a movie,
I'm not on my phone. If I'm in live theater, I'm not
on my phone. And you're like, oh, this is
what it feels like to be disconnected.
And sure, there might be some anxiety knowing when you turn it
on, there might be 3 voicemails and 10 missed emails.
(47:10):
But the those two hours of silence at your point, that's
recharging for me, absolutely. What is something you look
forward to accomplishing in the future of JGC?
I think I want to grow, I want to grow my team, I want to take
on new projects, I want to do work.
Casting across Canada and travelis always so exciting, but at
(47:35):
the end of the day, what I what really just kind of is rewarding
is providing opportunities to actors.
So the more projects we work on,the more opportunities there are
for actors to be cast and and the more hopefully our industry
here in Canada will grow. Yeah.
Elliot, is that time of the episode?
For our last question, what is 1?
Oh, already. I know it's like already been an
(47:56):
hour. It's crazy.
What is one thing you wish you could go back and tell your
younger self? So I there are times when I was
like, you know, this, this career as an actor, enjoy it.
Like, have fun with it. Don't take things too seriously
and don't get ahead of yourself.Yeah.
(48:20):
Jessie, it has been such a joy to chat with you and to hear not
only your insight and the way that you are taking your
experiences and helping others, but just to witness all that you
are putting into our business. It's, it's really just a joy and
I'm, I'm so excited to see what's next.
Yay. Well, I really appreciate you
reaching out. I, I, I love his conversations.
And as we discovered you asked, you asked some really great
(48:42):
questions that like I, I had to pause and think and that just
the sound of a good interviewer and someone I feel like
comfortable being vulnerable with.
So I really appreciate you reaching out and and thanks for
thanking me for this. Hi everyone, thanks for
listening and being the absolutebest part of our creative
community here at What's My Frame?
(49:03):
If you'd like to learn more about our guests, please check
out the show notes and please join us on socials at What's My
Frame? To stay in the know for upcoming
events, I'm your host, Laura Linda Bradley.
We'll see you next Monday.
Hi everyone, today what's my frame?
I'm joined by casting director Jesse Griffiths.
After more than a decade as an actor, Jesse pivoted to a career
in casting. Founding Jesse Griffiths casting
his heart for champion inclusionand diversity in the casting
process is evident in all facetsof his work.
Hosting monthly workshops for the BIPOC community.
Creating a safe space for artists to be heard, supported,
(00:23):
and given the freedom to create at their highest level and most
authentic self. Jesse shares the thought he put
into crafting his office and thespace actors create in from his
own experience as an actor. And a powerful take away from
this episode is Jesse's advice for finding freedom in your work
and sharing your take on the character.
Now let's get to the conversation.
(00:45):
Hey Jesse, welcome to What's My Frame?
Hey, how's it going? It's.
Good. I'm so glad to have you here.
For anyone who isn't familiar with your career, we start every
episode kind of the same way, with a little bit of your
creative back story and some of the influential mentors or
creative opportunities that opendoors to get you here today.
Absolutely, yes. I, you know, I had a career as
(01:07):
an actor for about 10 years. So I went to, you know, an arts
high school. I went to a Conservatory style
training program here in Torontowhere I studied acting for four
years at Toronto Metropolitan University.
And you know, I was doing, I wasan actor for yeah, about a
decade in film and TV and obviously lots of commercial
(01:28):
work and working in, you know, regional theatres all across the
country. And kind of, you know, at that
eight or nine year mark, certainopportunities came up to like be
a reader in auditions. And then, you know, back in the
day when we had a lot of in person auditions.
So I was a reader for a while with a great casting director
named Jason Knight and John Buckin who are here in Toronto.
(01:51):
And that kind of led to a part time casting assistant job and
then a full time casting assistant job.
And then that kind of became my life for a little while.
And I was stepping away from acting and wasn't fully ready to
kind of make the jump into casting.
And so I went back to acting fora little bit.
And then another casting director named Stephanie Goran
(02:11):
reached out of the blue and asked if I wanted to come on and
be her associate. So I worked with her for a
number of years and she's also very, very accomplished, well
regarded casting director here in Toronto.
And after working with, you know, four or five years of
doing the assistant work, I madethe pivot into like, oh, I think
that I know somewhat of what's going on.
I'm really into this and maybe it's time to do my own thing.
(02:33):
So that's kind of how I got intoit.
So I've and Stephanie and Jason and John are still wonderful
mentors and friends and colleagues and they've taken
great care of me. Yeah.
And you now have your own office.
So after that four or five yearswith Stephanie, was that when
you made the leap to open your own office?
Yeah. So while working with Stephanie,
you know, I had people reach outto me, you know, do you want to
(02:56):
cast our music video or a low budget short film or whatever it
might be? And so I was kind of doing that
on evenings and weekends. And after a certain point, you
know, working all day every day,then all day every weekend, I'm
like, I think that I need to decide what's going on here.
And I made the pivot to opening my own office with Stephanie's,
like, full support and blessing.So it was a it was a really nice
(03:18):
transition, yeah. Well, there was many reasons
that I wanted to have you on thepodcast, but I do think it's
it's very valuable for artists to hear, especially during times
like we're currently in where some people are re evaluating
how they are most creatively fulfilled and what is the most
realistic career to still stay in the arts.
(03:39):
But also have a sustainable career in financial security.
So when was there a pivotal moment that you you realized
was, or is it just because the casting opportunities kept
coming and that was directing the narrative for you?
Yeah, I, I, I think that probably it's like some of the
other guests, I never started out thinking that I wanted a
(04:00):
career as a casting director. I think like all I knew was
acting and you know, and I had AI, had a decent career, was
able to kind of eke out a livingwhile also, you know, working
bartending and restaurant jobs and doing all that to make ends
meet. And I loved acting.
I love the industry and obviously I still do.
I think that there came a point when I was just kind of
(04:25):
wondering like how am I best serving this industry?
And there are people that I knewas actors that truly wanted it
more than I did. And I thought, I think that
there are other ways that I can be a benefit to the industry.
And it was really hard because, you know, I think for a lot of
actors, people feel like if theyleave or they pivot or they try
(04:48):
new things that they're quittingor they're giving up or they
can't hack it. And I had those thoughts too,
that people would judge me forward and, and kind of when I
finally made it official and said, this is what I'm doing,
there was nothing but an outpouring of like support and
love and congratulations. And truly, you know, this is the
best industry to work on. People are so loving and
(05:10):
supportive and truly want the best for each other.
You know, it's competitive and only only one person can get the
role of the job. But at the end of the day, it
really is about the connections and the networking and the
friends and family kind of buildalong the way.
So truly it was just kind of a pivot and when I kind of started
doing this job, you know, for those who don't know, it's it's
(05:31):
a very creative job. You know, you have to think
outside the box and think, brainstorm and have ideas, but
it's also, you know, Excel spreadsheets and lists and names
and lots of organization. And so I kind of geek out on
those things too. Like it's equal part left and
right hand side of the brain. So that's why I just seem like a
good fit. And, and truly, you know, people
(05:51):
ask me all the time, like, do doI miss it?
Do I regret it? And I kind of like I miss the
people, but I, I know, I know that I'm on the right path where
I'm supposed to be. And there is something to be
said. I didn't pivot because the
opportunities kept on coming, but I was acknowledging that
those opportunities were there. And sometimes you have to just
open and listen for those thingsto happen.
(06:12):
And, and you know, it's, I do feel it's the kind of the
universe guiding in a way where you meant to be and, and kind of
I'm on the path where I'm going to be now and I'm really happy.
So here we are. And how has casting creatively
fulfilled you maybe in a different way than acting did?
Because I think those that have creativity and them, it just, it
(06:34):
has to get out in different ways.
Like it's, if it's in you, it just, it has to get out for you
to feel your best. So I'm curious how how it's
creatively fulfilled you? Yeah, that's a that's, I've
never had that question. That's great.
I think part of it is, you know,now when I'm absorbing content,
whether it's like going to see aplayer watching a show, you
know, there are opportunities. We are always kind of thinking
(06:56):
what, what would I do? Or that's great, great casting.
But then there are opportunitiesI find where I'm truly just
enjoying the show for what it is.
And that for me is when I'm like, oh, everyone did a great
job that I can, even as a creative in this industry, I can
turn off that side of my brain and really just enjoy the
content. I really enjoy that.
Part of what I enjoy is when we are working with, you know,
writers and directors and showrunners and other actors,
(07:19):
like they do have in mind of a very specific image of who this
character is or what the projectlooks like.
But throughout the entire courseof, you know, casting a project,
there is almost this kind of broken telephone that happens
where, you know, the writer and or director or producer will
create the breakdown of who theyhave in mind.
And then we interpret that. And then agents interpret that
(07:42):
and then actors interpret that. And so there is like 4° of
separation from beginning to end.
And that's when the creative element comes in for everybody.
Opportunities to kind of reimagine, reinterpret, or kind
of re express what a character looks like.
And the really fun times are when you know it's someone
completely unexpected that you just are responding to, that,
(08:03):
you know, you put forward, and all of a sudden they're
rewriting the show or they're creating a new character for
this actor that you, you know, discovered or found or educated
them on. Actually never heard someone so
specifically say how many times each individual is interpreting
it because so often as actors, we forget the other the other
pieces that were involved in that.
And it is. It's so many different people
(08:25):
working on how they project and perceive that character.
So it is a fool's errand for us as actors to try to guess what
the writer initially wanted because other people have also
dabbled in there as well. Exactly.
What did you take from your timein the room as an actor in
crafting your office and the environment you wanted to create
(08:47):
for actors? Such a good question.
I for me, for an actor to do thebest work, they need to have as
much information as possible to interpret the material.
But at the end of the day, it is, you know, I walked into what
I described as like a warm room or a colder room and feeling the
(09:11):
support from casting on the other side, even if it's over a
Zoom or even if it is a self tape, Knowing that there's
someone there who is there in your corner, who is supporting
you, who wants you to do well. Reminding myself that people do
their best work when they feel like they're in a safe space.
I think that that's really important.
(09:32):
I want to set actors up for success as much as possible.
So giving them as much time as they can to prepare something if
there are questions to ask them and just to know that we truly
want the best for them. And, and I do a lot of these
kind of workshops and chats withlike actors and they're like,
you know, what are you looking for and how do you get the role
and all these things. And I think sometimes actors are
(09:54):
a bit short sighted and like, oh, it's, it's this job I need
to get booked this one. And what I try to encourage
people is like this is developing a long term
relationship with casting. So you might not be right for
this role, but if you do a greatjob, we are remembering you
later down the line. And what I really do encourage
them to do is to think about notwhat it is that we want to see,
(10:16):
but what it is that they want toshow us.
Because over time, that is how we develop who you, who we think
you are as a person, as an artist, as a creator.
And if you're kind of changing who you are too much every
single time, it it makes a bit harder for us to kind of
pinpoint what you're capable of.Yeah.
Now, I'm always such a huge proponent of even when you are
regularly auditioning with an office, especially in the
(10:39):
virtual in the self tape era, tostill get in those classes and
get in those casting accesses through SAG after foundation and
and things like that. Because that's how we get to
build that rapport and just be human beings, be creatives that
love the craft. How do I want to say this just
just to be people that geek out over art versus.
(10:59):
Trying to discuss. About making, you know, booking
this job or what have you, can you walk us through a little bit
of how, having such a deep understanding of the actor's
brain and how we process, how doyou like to give notes and
redirects in the room? How do you like to help craft
that performance and move it closer to what you know the film
makers are looking for? Great question.
(11:22):
I think that, you know, I, I, I do a lot of like audition
workshop classes where I'll kindof come in and we'll chat and,
and what I always say is it's really actually great for
casting directors to do those things, especially in this era
of like, you know, Zoomer self tape 1 fewer and fewer times we
are interacting directly with actors.
(11:43):
And that is like something that I've really noticed.
So when I was an associate, you know, we would be seeing, you
know, 1 actor every 5 minutes for 8 hours a day, you know,
three days a week in the room. And it becomes a bit of a muscle
that you're like constantly stretching and working and kind
of and clarifying your vocabulary and vernacular and
how it is you kind of communicate with actors.
(12:05):
You know, I think that sometimespeople might default to like
louder, softer, faster, slower. And those are kind of like just
really basic things. And what I do trying to say is
like, I cannot, you know, they're acting teachers for a
reason. That's what they do is to make
actors better. But what what we try and do is
make the audition a bit better. So providing, you know, context
(12:26):
about the moment before or wherethis is happening in the script,
the actors don't always have access to that information.
But also to give them enough of a note and clarity that they're
still able to interpret where they want that piece to go.
If it becomes to hit this momentnow, then they're just going to
play that beat and then all the work before can go away.
I think that what I, what I try to encourage is like, not
(12:50):
perfection. You know, I think that
especially in this era of like self tapes, people are trying to
craft the perfect audition, which they feel like they can
because it's kind of under theirpurview now that they can do 20
takes at something. And what happens in those
moments is by take 8, you know, the choices are a bit rounder
and there's a little less sparkle in the eyes and it just
(13:11):
kind of lost that, that lightning in a bottle aspect.
So there's an element of, you know, making choices and
sticking with them and allowing opportunities to explore, but
still being present and allowingyourself to be vulnerable, make
mistakes. But that's actually some of the
juicier stuff. What is the best way 'cause we
will include it in the show notes?
(13:32):
Is there any website or links orsocials that we can follow to
stay up to date where and when you are teaching?
Sure. Yeah.
IE everything's on our website. So Jesse, give us casting.com
and we're on Instagram and LinkedIn under those same names.
So definitely check those out. I do like a monthly workshop
over Zoom for like the bipod community here in Toronto, but
(13:55):
it's kind of expanded across Canada.
And so those are opportunities that we get together and it's
kind of, it can be panels or audition workshop prep or just
kind of career consultations. Recently we've been doing what
we call our office hours, which is like one on 110 minute
meetings of just people, you know, here's my demo or resume.
Do you have questions? And it's really an opportunity
(14:17):
kind of for me to connect with performers and for them to, you
know, ask questions that they, you know, been on their mind or
else just to have a nice like one-on-one and kind of
demystifying the casting process.
So we do those once a month. It's obviously all free of
charge. And we're kind of expanding into
the LGBTQ plus community as wellfor those opportunities and just
(14:37):
trying to open ourselves up to be available for like people who
have questions about the industry because it can be
confusing and overwhelming and scary and lonely and all those
things. So we're trying to do our best
to kind of bridge that gap a little bit.
Amazing. I think that is so, so valuable
because the more time passes in,the more distance that starts
creating between actor and casting.
(15:00):
I think there's more room for the actor nerves and the
whispers and the misconceptions about the casting process.
And when you can just have a fewminutes to discuss and demystify
that process, there's so much value.
And it frees up that space and your artistic brain so that you
can focus on the actual part of your job that you have control
of, which is what you put into the audition versus totally
(15:24):
you're getting up in your head. And also like, like podcasts
like these, what a great opportunity for people and also
to hear from a number of other casting directors, you know,
we're it's such a unique and interesting career.
Like for like there are a lot ofpeople, you know, you don't go
to school to become a casting director.
People don't know about this career.
And from hearing, you know, other guests in your podcasts
(15:45):
are all passionate about the industry and they're here
because they love actors. They love, you know, to be
creative. And it just, it's a really
interesting unique niche, you know, job that we haven't and
everyone does it a little bit differently, but we're all kind
of in it for the same reason. So it was fun hearing some of
the other guests as well. Well.
Thank you for checking out the show, it means a lot.
(16:06):
Yeah, of course, gotta do my research are.
There any little Nuggets or pieces of advice for how actors
can strengthen their self tapes and or their self directing
strengths and and those muscles?Yes, I mean, that's a really
great question. Without kind of getting too in
(16:26):
the weeds on it. Like at this stage in the game,
the tech element needs to be at a certain level, you know, so
you don't need to spend thousands of dollars on having a
good home setup, but you need tohave a decent camera.
It needs to be at eye level. You can't have a distracting
background. You should have a reader.
It needs to be well lit, like just all those, like those
basics. I won't get into all that, but
(16:46):
it needs to be at a certain level that's like presentable.
I know most casting directors would agree, like we can see a
great tape even if the tech elements are not there, but not
all of our creative partners can.
And we want to make sure we're presenting you in the best
possible light. So that just kind of burn on
what it should be for self tapes.
(17:07):
It's it's a great opportunity tolearn from your previous work.
And I don't know how many actorsare actually going back and
watching their own self tapes with a critical eye.
And, and it's like after the fact, it could be like a week
later, you know, after you've already submitted it, you know,
you did or didn't get the job, whatever it might be.
But going back and watching withthe critical eye, what's
working, what's not working and,and fine tuning that and
(17:30):
challenging yourself to, you know, if there are new
opportunities to try something else to do better there.
That's those are two things. The third, as I said, is, you
know, and kind of repeating an earlier statement is that and
people talk about, you know, making a big decision, making
big bold choices and how to stand out.
And that for me is a bit like, what does that even mean?
(17:50):
It just seems a little bit kind of, I don't like making big bold
choices sometimes that that creates the expectation for
someone to make something out ofnothing, which is not always the
case. And I've said this before, like
if you're if you're the barista at a coffee place and you've 4
lines, it is not the barista show.
Like your knowing what your roleis in a larger project is really
(18:12):
important. And sometimes just doing the
best possible four line reads you can is just as good as not
making it about this character. So like knowing what your role
is in the story and how you're supporting the lead or the other
narrative. And kind of the last thing that
I didn't say earlier is truly, you know, we type of big bold
ideas, but what I like to do is be bold in the sense of bringing
(18:36):
yourself to every project. Like even if it's just like 10%
of who you are. So you're not always putting on
this mask or a character, but you truly like bringing a bit of
yourself to it. You're not going to write for
every role, but if you are, the roles are addition for there's
that 10 percent, 15% of yourselfin that role.
It's going to feel natural and authentic and organic and be
(18:57):
comfortable and vulnerable to beable to play versus feeling like
you have to be somebody else forone, two, 5-10 days on set.
And that can feel disorienting, confusing and anxiety ridden.
You know, all those things. So that's what I focus on, tech
and self critique and challenge yourself to be present with
yourself. Yeah.
(19:18):
No, I last week in class, an instructor who I, I so respect,
he said, I don't want to catch you acting.
And I was like, wow, we don't even think about that.
With all of the different movingpieces.
There's so much excitement and nerves and so much thought and
process. We forget where we crossover
(19:39):
into the, you know, the Venn diagram of where the cat
character and we blend over and just not to be acting, just to
be present. Having an understanding of both
the US and Canadian markets, howdo you see them compare and
contrast? How are you seeing?
I mean, I know that there's a big CBS show coming to Toronto
(20:01):
in the the summer and how are you seeing the spaces compare,
contrast and also the Toronto market expand even further?
Yeah, that's a great question. You know, obviously as a
Canadian, I'm a good proponent for the work that we're doing.
And, you know, having done casting in the States and in
Canada, obviously there's incredible actors both North and
(20:22):
South the border. I think some of the best actors
in the world are here in Toronto, you know, well trained
and eager to work and very grateful for the productions
that come in. Toronto's very much like a right
right now a service talent. We're doing a lot of great work
for US productions to come in here.
I think that where we can improve is the self creation of
our own work. And I know there's like work
(20:43):
being done there, but it's it's an entirely different market.
You know, we look at populationsand funding and it is, it's, I
think that sometimes as Canadians, we're a bit hard on
ourself and what we're accomplishing.
But I think that what we're having available and the
opportunities we're creating is actually quite, quite
impressive. I think that all, you know, a
(21:03):
lot of times younger actors feellike the need that they have to
get out or go somewhere else to,to build their career.
And I certainly understand and respect that.
You know, I know a lot of actorswho have stayed in Toronto and
have had incredible careers and are able to support themselves
and have a family and, you know,grow old and retire.
I think that part of the acting lifestyle, which is what I kind
(21:25):
of struggle with a little bit, is you have to also sometimes go
where the work is. You know, you could be got a
great job that brings you to Atlanta.
You have to be there for two months and all of a sudden
you're saying goodbye to your friends and family and partner
and dogs. And it can be tricky that way.
People will always need content.They're always going to need
actors. I think that we're just kind of
in a bit of a pay era of readjustment.
(21:46):
And I think that, you know, I'm always optimistic.
So the lights at the end of the tunnel, but it's been, it has
been a tough go for a lot of people.
Same. I I try to always look on the
bright side and I'm cautiously optimistic.
For the summer and fall and episodic season, I'm cautiously
optimistic. You are known for Champion for
artists and inclusion. How does that influence the
(22:08):
projects you take on and the film makers that you work with?
Great question. You know, when I, when I first
started, I was just so eager to collaborate with with anybody.
You know, I just want to like meet new people and work on
great projects. And from that came an
opportunity to collaborate with,you know, the LGBTQ plus
(22:30):
community as well as other marginalized communities on
their projects that did not havea lot of money, but had had
incredible stories and scripts and the creators behind it.
So those are the people we started collaborating with and
those the people who have kind of continuously come back to us
for the work that we do. And while they might not have
the biggest budgets, these are also projects that have gone on
(22:51):
to screen at Tribeca and Cann and TIFF and like great film
festivals all around the world. It was an opportunity to educate
myself on like my own, like unconscious bias and how I, how
I approach casting and having some really great meaningful
conversations. You know, one of our first, the
first things we did, I was talking about our, our workshops
(23:12):
that we did earlier. But one of the first things I
did was kind of had an open hallwith anyone who wanted to come
from the bipod community in terms of what is casting like
not doing well and how do you not feel supported and what are
your notes? And it was a really, you know,
obviously it was an incredibly educational time, also very a
(23:33):
very vulnerable experience of being open to like critique.
But I learned so much and the connections made from that were
integral in terms of how we moveforward.
So for me, you know, I, it's, this is on my website, you know,
it's under a kind of philosophy page.
But like, I don't, I don't get to pick obviously who we cast,
but I do get a choice in who we bring in the room.
(23:55):
And so I take that responsibility very, very
seriously. Also, having done this for a
number of years, the confidence to have difficult creative talks
with our producers or writers ordirectors in terms of, you know,
who we're looking for and what the breakdowns look like and if
there are opportunities to expand race, gender, age,
(24:18):
ethicity, do any of those things, It's really important.
But those are difficult conversations to have sometimes.
But it's something we take very seriously.
I want to just take a moment andrecognize that contribution and
and what a gift you gave those artists to feel completely
heard. Like I'm not going to like tear
up, but it's just there is not enough opportunities for us to
(24:43):
just get to speak and just be vulnerable and our our most
authentic self to then be able to do our best work.
And it it takes people like yourself holding that space for
people to feel seen and heard and accepted to then go on and
and do the craft. So thank you for doing that.
My pleasure, you know, I, it is,I say it, you know, it was also
(25:06):
like self-serving in the sense that I was able to learn so much
and connect with those actors ona different level.
And the respect I have for them also grew that much more because
I think that we have this us andthem casting versus actors and
that they're, you know, people don't want to see is, you know,
rocking the boat or stepping outof line or being inappropriate
(25:27):
or causing trouble or whatever it might be.
And really what it is, is an opportunity to have an open
dialogue. This is for everybody of what's
not working and how we we can dobetter.
Just because it's, we've been doing it for how many years
doesn't mean it's the best approach.
And I think it's sometimes people are scared about changing
things or raising their voice. And it's scary for everybody.
It really is. But I think it's really, really
(25:49):
important to have those conversations or else or else
something changes. Going off of that, how have you
seen the industry and, and your producers and the film makers
that you're working with be morereceptive to having those
conversations and also taking your your guidance and hearing
what you have to contribute to the conversation to move the
needle? Just like incredibly receptive.
(26:12):
I think what's been really greatis by kind of establishing that
this is our mandate and this is how we work.
It's kind of been a bit of a flag for like a good flag of
like, or a beacon, I should say,of like the, we're attracting
those people who want to work with us, who are open minded and
receptive and are open to challenge and critique and
collaboration. And so I haven't had to have
(26:36):
that many difficult talks. And as much anymore.
I, I'm not saying it's, it's based on us, but it's also
that's, we've established this is how we work.
And so if you want to work with us, this is how it's going to
be. But also the industry as a whole
has been changing and pivoting. You know, we are seeing a better
representation on all levels, you know, starting with the
writers and then the producers. And, you know, in some
(26:59):
instances, it's important to have, you know, experts in their
field, whatever it might be like.
It's important to have a diversity of all shapes and
sizes on the production team. And that's kind of what we're
seeing is people willing to spend money to hire the
appropriate personnel. And also the stories themselves
are changing. You know, once those stories
(27:19):
change and the the POV where they're coming from, then all of
a sudden the different types of actors are looking at changes
too. And then it just this, the whole
cycle repeats and grows. I just think the industry's like
that much better off for it. Absolutely.
And the more that those shows are recognized during award
season and they are positively shared by the audience on social
(27:41):
media, it's I mean, at the end of the day, it is a business.
And the more popular that those authentic stories become, the
more that they are encouraged toproduce and create more of them.
And it just on itself. When you're meeting with a film
maker about their project, what do you like to discuss and learn
about their vision to help inform your work and going into
(28:03):
your your casting process? Also really great question.
You know, there it's that's a great question.
I don't think I've ever had thatone before either.
So let me think about appropriate response.
I also want to see like how if this is something, if this is a
collaboration, like it's almost kind of like a first date in a
way, like we both want this to work, but is the vibe right?
(28:25):
Like are we on the same page in terms of frequency?
I want to know, I want to know how they collaborate.
There are some people that are not open like this is what they
want. They want person look like this,
sound like this, do this or theyhave their like dream list of
people that they can't get thosepeople the next best thing.
And I want to know like I'm I like to collaborate.
(28:45):
For me, like the best idea wins.It doesn't matter who it comes
from. So I'm curious about their level
of collaboration. I'm I'm always curious about
like how they like to work with actors.
Is there a comfort level? Like some directors default to
casting to do a lot of like the legwork up front and some want
to be very hands on. So I'm curious about that, you
(29:07):
know, I also work with a lot of like first time directors, which
is and producers and writers, which is really exciting, you
know, kind of guide them throughthose initial stages.
It can also be like they don't know anything about the casting
process. So it can be like here's casting
one O 1 and how it works. So, you know, if that's the
case, I also like to know like or find out like what do you not
(29:28):
know about, about how this job works just so we can all get on
the same page. But every project is different
just in terms of acknowledge and, and, and history and
collaboration level and obviously their own personal
characteristics and how they operate.
But it's that's really what I enjoy about this is like kind of
pivoting to meet someone on their own level.
(29:49):
There's a lot of variety in our work, which is.
There certainly is. I think that's one of the joys
when you and your office are narrowing down your selects to
share with the creatives. What are some of those final
stage decision factors? Great question.
We, we want to make sure that we're capturing what it is our
(30:11):
client wants. So if our client has been
specific that they want, you know, a certain actor, as I
said, in terms of, you know, age, ethnicity, gender, body
type, whatever it might be, we do want to make sure we're
giving our like clients what they asked for.
But also, if I was just giving them like exactly what they
wanted, I wouldn't be doing my job, you know, So not that I
(30:34):
always throw in, you know, some wild cards, but they're people
that I'm like, this is kind of outside of what you asked for.
But I think that they're really quite good and worth looking at.
So I do always want to make surethat I'm doing that depending on
the role size. I also want to make sure that
I'm showing newer actors, you know, especially for smaller
roles, I think it's really important to get newer actors on
(30:54):
or in the eyes of on the radar of of directors and producers
and writers. Obviously, like diversity is
like very important. You know, if, if I'm showing a
list of all white actors for a role that should be any
ethnicity that that's a problem.And that kind of stems from the
very beginning of, you know, whoare requesting self tapes from.
So that's that's important. You also want to make sure
(31:16):
you're presenting a range of like performances, like are they
all reading it the same way? If they are, that's going to be
boring for everybody. And so that kind of goes back to
our original question of like what it is you're looking for
the self tape. You know, if you're just doing
exactly what you think that we want to see them, we're going to
see the exact same thing. And then how we differentiate.
So going back to question, we had to stand out, you know,
(31:37):
being authentic and trusting your God and trying new things.
Really important. That's it.
Yeah. Any advice for how actors can
strengthen their casting profiles and materials and the
way that they present themselvesto casting?
I think just ensuring like you're like the the basic for
like your resume is up to date, your current headshots, if your
(32:01):
hairstyle changes, having different couple couple options
for your photos online, like demos are always great to have.
If you have one, people feel like they need to have, you
know, 30 minutes of material before you make a demo.
And for me, it's like anything is anything is good and it is
like for me, it's a resume, right.
So once you get better stuff andbetter in terms of either a like
(32:22):
more well known or just be like better produced, better looking
like to always be kind of cycling through.
And it is one of those things ofquality over quantity.
We don't need to see like 10 minutes of something.
I'd rather see 2 minutes of really great material and also
show a range. You don't need to show us like
every single thing you've ever done, but you know, a range of
scenes is important. I think that's really good.
(32:43):
You know, I do like to see the actors who are training and even
some of the best actors we're booking all the time are still
going to class and they're stilllike learning from their peers
and making mistakes and trying things out.
You know, I think that, you know, that's one of the things
we kind of struggle with a little bit, you know, here in
Canada, but also in the States where you have conservatorial
(33:04):
stuff programs or, or, you know,university settings for training
is that there's a emphasis on, you know, getting good grades
and doing well in those institutions versus treating
them as an opportunity to reallykind of stretch your limits and
make mistakes and kind of fail. So going back to class,
especially as a, you know, either a younger actor or, or
(33:25):
established actor, I think is really important to reconnect
with yourself, but also kind of reconnect with your peers,
especially in this era of like, you know, zooms and self tapes
where we're not together anymore.
I was talking to another actor about this last week.
Like the waiting room was alwayskind of a thing where you'd like
you would see friends or like acquaintances or people you
(33:45):
hadn't touched base with a whileand it could lead to dinner or
coffee or whatever it might be. And that opportunity to kind of
connect is a little bit missing.So finding opportunities to come
back together and doing some training I think is really
essential. OK, completely great.
I'm such a big proponent as looking at your fellow actor as
your creative community, not your competition.
And I think there is again, withthat disconnect and just the
(34:08):
longer that we are a part or more virtual and, and
one-dimensional, it, it feeds into that insecurity of, you
know, these are your these are your creative peers.
This is these are people that are going to be giving you jobs,
you're down the road or you're going to be helping them with
something, you know? Yeah.
When you have seen an actor audition a number of times, are
you still watching reels, looking at their resume to see
(34:30):
what's new? Or are you going off of memory
from their last audition with you whether to make that
audition invite for the next next submission?
Yeah, I think that if they're established enough that I'm
familiar with their work, I'm probably not going back to their
demo as much or their resume. So I feel like I, I'm familiar
(34:51):
with their work already to be seeing them, but the more I, the
more I'm bringing someone back, the more I'm going to also
challenge them with new material.
Like I think sometimes even as casting directors, we kind of
get stuck in how we view an actor or what they're capable
of. Either they're, you know, are
they comedy or they're drama or,you know, whatever it might be.
And I think it's really important that we as casting
(35:13):
directors know that, you know, an actor is an actor and they
can do, you know, so many great things.
Just even recently I was workingon just a short film and it was
heavy drama piece and this, you know, kind of second City actor
was submitted for the lead rolesand and truthfully, initially
I'm like, no, he can't do this. Like he's the second city guy.
And then, you know, brought him in and he was incredible because
(35:37):
he was open and vulnerable and kind of the right amount of
funding where it needed to be, but also like so heartfelt.
And it was just a reminder. Like we can't be pigeonholing
people into these roles or what what they what we think that
they can do. Like it's important to really
always know the people are reinventing themselves and an
actor as an actor, as an actor. And once again, you might not be
(35:59):
right for every role, but it's good to keep your mind open.
Yeah. And we touched on your heart for
education and teaching and giving back.
Why is that, on a personal levelimportant to you?
Were there teachers when you were coming up as an actor that
were influential or or why is that something that you want to
give a considerable amount of your time to?
(36:23):
I think for a couple different reasons, like, you know, first
and foremost, as I said, I really just do think like people
do their best work when they feel comfortable and safe and
supported and you do that by making those connections.
That's really important. I think that, you know, if I
could be really honest, I think that was instilled with me for
my family who you know, are justopen and loving and giving and
(36:44):
just that was kind of my community growing up.
I know that with this role, you know, there, there is an
opportunity to provide opportunities to people and I
take that responsibility very seriously.
And so I just knew that I wantedto make sure that I was
(37:04):
providing opportunities for people to do their best working,
to connect and to learn. And and I just didn't have that
opportunity as an actor that much to connect with casting
directors. And I think they would have been
really helpful. And this is a hard job.
You know, it is weekends, it's evenings, it's, you know, it can
be very time consuming. And so I know that they're, you
(37:25):
know, everyone's doing their best.
I think, I think I've just made it a priority.
So I just realized how importantit is for myself and for the
actors in the community, and I enjoy it.
I just like connecting with people in a setting that's not,
you know, an audition necessarily, but we can have a
chat and ask some real questions.
You have a beautiful declarationon your website titled Do
(37:48):
Better. How can we, as artists and film
lovers also do better? Yeah, I think that.
I think that by doing better, itis I think there's always an
opportunity to give back. I really do for anyone at any
stage in their career, you know,mentorship is such an important
(38:10):
thing and I think it's kind of lost sometimes in our industry,
but there's always someone who'sgoing to be coming in after you
that I could learn something from you.
And so that's one of the things I talked to young performers
about. And I know it's not easy to
track down like someone to be your mentor, but I've been so
lucky. And actually if I can go back, I
think that's why it's really important that that I do this
(38:30):
kind of community workshop giving back type thing where
like I'm not in the position where I can give a younger
casting director other work. But I've had that happen to me
through Stephanie and Jason and John and other casting directors
in the city who who I've connected with and who think
that I do good enough work that they'd recommend me.
(38:50):
And while we go, we talk about this being a super competitive
industry like it is. But as we said earlier, at the
end of the day, we're kind of all in this together.
And not every casting director can get every, every project.
And so if you're playing like the long game of building up
solid connections, good working relationships like, that's going
to yield better results than taking the quick buck or
(39:11):
stealing a job or undercutting someone.
If you want to be in this industry for over a long time, I
think you just got to take care of people a bit better.
Are there any resources or linksthat we can share in the show
notes that you have found incredibly impactful to the
bipod community or the folks that you are working with that
(39:32):
either you have discovered yourself or you have found out
about and been informed in your in your workshops?
Great question. You know, my resources might be
a little bit different because they're probably more Canadian,
Canadian focused, but you know focusing like ACTRA, obviously
our union here in Canada does a lot of great work with their
(39:54):
diversity, equity and inclusion programs.
I've done a lot of workshops there in Canada.
We have a lot, we have some screen offices specifically
designated, we have the Black screen office, the Indigenous
screen office where their goal is to promote, fund, support
marginalized communities than the development of their work.
So that's really important. Um, programs for a young film
(40:16):
makers and female identifying film makers.
I think that there's, I mean, I don't have a listen.
Maybe I should. It's not list on my website, but
I think that those would be a couple of great resources to
start and maybe I need to do a better job of educating myself
on what those resources are, butbut they're.
You're doing a lot. It's not a criticism.
No, no, no. That's all.
(40:37):
It's an opportunity, you're right, an opportunity.
All right. What is a creative venture or
challenge you'd like to take on in the future?
I think so. I think I've been at this like 7
or 8 years and we do a lot of really great work in like the
indie world, indie features that's really cool video games
and lots of commercial work. I think like the next step for
(40:59):
for us in our office is to take on, you know, we'd love to do a
big streamer, like give us Netflix, give us one of those
crave ones, but that would be the next big adventure.
We just finished Co casting the live performance of The Lion
King here in Toronto with my with my old boss and colleague
Stephanie. That was the experience of a
(41:21):
lifetime, you know, seeing triple threats sing, dance, act
like it's just very powerful. And so I'd love to do more live
theatre musicals, but those opportunities are so slim and
rare. But that's, that's a, that's a
medium that I'd really, really enjoyed as a obviously as a
former theatre kid, I really, yeah, my heart was full after
(41:44):
those auditions. Oh yeah, no, as as a musical
theatre grad myself, you, you geek out on anytime you're
around. There is a certain different
energy in live performance than any set I've ever been on.
It's just it's different and it's so.
There is like there's I mean. Nothing like it.
No, I probably cried like every day at least once in those
(42:05):
auditions because it's like whensomeone's singing their heart
out and it's just so genuine in front of the soul.
It's there's nothing more powerful than that.
And there's a vulnerability thatcomes like, it's just an
inherent vulnerability that comes with really opening up
your soul. And so, yeah, it was, it was a
beautiful experience. And to see someone perform at
their highest level using the gifts and talents that they
(42:27):
have, it's just such a gift to be in the same room and witness.
It's just, yeah, it gets you through so much of the BS of
this business. Yeah, exactly.
And that sort of feels like it truly feels like a gift.
It feels like an offering. It feels like I'm doing this for
you. And there there is that
vulnerability and sincerity and generosity that just like, yeah,
it's, I'm not saying it can't befound on film, on TV, Of course
(42:50):
it can. There's just something so
organic, authentic about those experiences that they can really
touch you. Going off of that, are there any
favorite audition experiences orstories that you've been a part
of where perhaps it was seen an actor get a chance at bat many
times and then get the role? Or there any favorite actor
(43:12):
audition journeys or stories? There's, there's like there's
been a number I think that, you know, I've had, you know, I was
working on one project where they were looking for a very
specific age body type. They wanted a thin, geeky 17
year old to play the lead in a feature.
(43:34):
And you know, we auditioned eventually all across Canada, I
think over like 300 submissions.And we like we did, we did our
we did our work. And the guy that they ended up
going with was just kind of the the exact opposite of all those
things and did not fit the specs, but came in and just was
the show like this. He was this character and
(43:55):
brought a whole different light to him.
And it was an opportunity for myself, but also the creative
team. And that's why I like like to
work with people who are open collaborators because they're
like, this is not what we wanted.
This is better, you know, and like just so exciting.
And I said or no other opportunities or experiences,
you know, bring someone in and they, it's not what they had in
(44:16):
mind, but they've rewritten a part for them or they created a
part for them or they got a rolein something else because of
that audition. I was working on a show that
just just airing right now on onCBC and Netflix called North of
North, which takes place in the Arctic in Canada.
(44:36):
And they, they sent me across the Arctic for about three weeks
doing open calls with those fromthe Inuit community.
So going to community centers and schools and just hopping on
the local radio to get people out and going to these places
that, you know, no roads and everything might be flown in.
(44:58):
Population 3000. It was just a really, really
exciting opportunity to meet people who had no acting
experience, but just some of them were the role or they are
like there's their face or theircharacter or as their energy was
like, oh, you, you know, you don't have any acting training,
but you can do this. And that was that was really
exciting opportunity. Talked about this a little bit
(45:19):
about community and different things, but how do you
creatively recharge? Because there is forecasting
same as actors, there's a lot ofenergy put out and sometimes not
as much coming in. So how do you recharge?
That's good. I, I play a lot of sports.
I'm in. Yeah.
For me, like for me, recharging is, is physical energy and just
(45:43):
kind of working the body and kind of giving you a break from
the minds. Last night I went with a couple
of friends to the anniversary oflike, The Shining at one of the
theaters here in Toronto, which is like, it's a film.
I, you know, I haven't seen it in like, you know, over a
decade. But like, to go back and sit in
the theater and eat popcorn and see, like, it's just a really
good movie. This is really fun.
(46:03):
Yeah. There's nothing like just going
to an actual theater and being away from your phone, being away
from distractions and seeing, I mean, I'm a purist.
I think that it's just differentseeing something on screen or
even on the TVII was, you know, I was watching Paradise on my
phone and I was like this, I'm not getting the experience that
(46:26):
everyone's talking about. So I put it on the TV and I was
like, OK, now I'm like, I'm in the world in a different way.
And I think that there's something to be said for just
going and supporting theater andbeing there and taking that time
and unplugging. But.
Yes, actually box, but that's the point too.
I think that I am guilty about being glued to my phone.
(46:47):
Like just glued constantly. And so even if I'm at home, like
on the couch watching TV, like the phone is always kind of
there and just is. So, you know, if I'm at a movie,
I'm not on my phone. If I'm in live theater, I'm not
on my phone. And you're like, oh, this is
what it feels like to be disconnected.
And sure, there might be some anxiety knowing when you turn it
on, there might be 3 voicemails and 10 missed emails.
(47:10):
But the those two hours of silence at your point, that's
recharging for me, absolutely. What is something you look
forward to accomplishing in the future of JGC?
I think I want to grow, I want to grow my team, I want to take
on new projects, I want to do work.
Casting across Canada and travelis always so exciting, but at
(47:35):
the end of the day, what I what really just kind of is rewarding
is providing opportunities to actors.
So the more projects we work on,the more opportunities there are
for actors to be cast and and the more hopefully our industry
here in Canada will grow. Yeah.
Elliot, is that time of the episode?
For our last question, what is 1?
Oh, already. I know it's like already been an
(47:56):
hour. It's crazy.
What is one thing you wish you could go back and tell your
younger self? So I there are times when I was
like, you know, this, this career as an actor, enjoy it.
Like, have fun with it. Don't take things too seriously
and don't get ahead of yourself.Yeah.
(48:20):
Jessie, it has been such a joy to chat with you and to hear not
only your insight and the way that you are taking your
experiences and helping others, but just to witness all that you
are putting into our business. It's, it's really just a joy and
I'm, I'm so excited to see what's next.
Yay. Well, I really appreciate you
reaching out. I, I, I love his conversations.
And as we discovered you asked, you asked some really great
(48:42):
questions that like I, I had to pause and think and that just
the sound of a good interviewer and someone I feel like
comfortable being vulnerable with.
So I really appreciate you reaching out and and thanks for
thanking me for this. Hi everyone, thanks for
listening and being the absolutebest part of our creative
community here at What's My Frame?
(49:03):
If you'd like to learn more about our guests, please check
out the show notes and please join us on socials at What's My
Frame? To stay in the know for upcoming
events, I'm your host, Laura Linda Bradley.
We'll see you next Monday.
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