October 27, 2025 • 37 mins
Today on What's My Frame I'm joined by Casting Director, Joanna Davis. Joanna has been in the industry for over 20 years. She started her career as a casting intern when she was just in high school. Throughout her first few years, Joanna worked at production companies, a talent agency, and on documentaries. Taking everything she learned in those positions, Joanna dove into her true passion for Casting by working on television shows and films. Joanna has cast projects spanning all over the world, so she is always on the lookout for talent!
Casting Short Films | Conversation in New York | 2025 Short Film Showcase
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:03):
Hi everyone. Today on What's My Frame I'm
joined by casting director Joanna Davis.
Joanna has been in the industry for over 20 years.
She started her career as a casting intern when she was just
in high school. Throughout her first few years,
Joanna worked at production companies, a talent agency, and
on documentaries. Taking everything she learned in
those positions, Joanna dove into her true passion for
(00:24):
casting by working on televisionshows and films.
Joanna has cast projects spinning all over the world, so
she is always on the lookout fortalent.
Now let's get to the conversation.
I am so excited to dive into this conversation.
As I was mentioning before, I love the body of work that you
(00:44):
have, but also your heart for actors and the gifts and
opportunities that you've created by speaking at the SAG
after Foundation teaching and continuing that outreach.
Because like when I was looking up some of your, your past work,
there were classes from the SAG after foundation, like links are
still up. And you know, that's why we
started the podcast was to create educational resources
(01:06):
that are always accessible. So if you don't mind starting us
out, what is your creative back story?
What drew you to the world of casting, and who were some of
those influential mentors and opportunities that shaped your
your career? Absolutely.
I started out honestly wanting to be in the industry my entire
life. It's just something that has
(01:28):
always been a part of me and I had put the word out there for
as long as I can remember. And when I was 16 years old, a
friend of a friend who knew someone who knew another person
had a casting director from LA coming to New York for a summer
to cast a film. And little 16 year old Joanna
(01:52):
said, let's give it a shot. And I was truly, you know, just
a casting intern. And at first, she stuck me with
index cards, which was back in the day, that's how we had to
fill out everyone's information.And I would take a Polaroid of
the actors and then write down their info.
(02:14):
And it was just clearly a whole different world than we're in
now. But that's how I began.
And I said, oh, this is interesting and fun and I get to
meet these people and see where they fit in and what an
interesting thing this is. And that was really just my
(02:34):
beginning. So I did that internship, and
then I had to explore everythingelse.
So I worked in documentaries. I've done a few documentaries
and I did a documentary about Bob Dylan directed by Martin
Scorsese again as a teenager. And it's just kind of like, OK,
(02:58):
so I guess I peaked. I can, I can be done now.
But it was just so interesting to see.
Oh, wait a second. I thought when I was a kid, I
thought that you just could be an actor, director, producer.
There are so many other things. So my first intro into the
industry was not one of those. It was a little bit different
(03:20):
and I loved it. And then I did many other things
in between production companies,talent agency, and I literally
just said, wait a second. Casting was really fun.
And so I went back as an intern again, and I started back as an
(03:42):
intern on the TV show Entourage in LA.
And I said, this is this is really fun.
This is amazing. And I've literally been doing it
for 20 years. Who are some of those like
influential mentors that were pivotal to validating this as a
(04:03):
career for you or really pivotalin shaping your creative voice
and I and validating that? Absolutely, definitely Marjorie
Simkin is how I started. I mean, she is the number one in
my book. She gave me that internship when
I was 16 slash a child and love her.
(04:24):
I mean, she really did take a chance on me and she her career
is unbelievable. She is someone who has really
done everything and I've worked with her a few times over the
years on and off when when it has aligned with both of our
schedules. And just seeing someone who is
(04:48):
such an icon in the industry sayto me that I could be good at
this, that as a 16 year old saying, oh, wait a second, she
can do more than just index cards and giving me more and
more responsibilities and realizing, oh, this is, this is
(05:08):
an actual path. And she said something to me
that I will never forget and I will always thank her for.
She said something along the lines of you could really make
it in this business as a genuinely nice casting director.
And I've always held on to that many, many years later that I
(05:32):
really, as we've talked about, I, I've always just had a heart
in this. And so I do want to continue
this and listen to her words andbe true to who I am.
And this is a tough industry, a very tough industry, but you can
(05:53):
actually still be nice and stillbe successful and still have a
heart. And so that's something that has
always stuck with me that I really appreciated from her.
Now you answered at the Sagrafter Foundation and the
panel. We'll link it in the show notes
about being selected and the projects you take on.
And it really resonated with actors.
I'm curious how you learned thatself-awareness of knowing when
(06:17):
you were a value and service to the project versus when it was
better for you and the project to say, respectfully, no, thank
you. That is kind of an easy answer
to be honest. And thank you for saying that
about my the panel. And I appreciate that people did
appreciate that. And I'm now I'm of course
nervous that everyone thinks I'mjust going to say no to
(06:39):
everything, but that is not trueat all.
I think for me it is really, canI give this 100%?
And if I know that I will be traveling or I have a friend's
wedding, that is something that cannot be moved.
And I think that whatever my life situations might be, could
(07:01):
be detrimental to this specific project that will be in the crux
of shooting where week in prep, a week before shooting and I'm,
you know, off in Australia or something.
Is that really going to be beneficial to this specific
project? And so for me, it's do I relate
(07:21):
to this? Do I feel like my heart is in
this? Or could this be better for a
different casting director? And I've seen so many other
casting people do this as well. And I think that there is
something so beautiful in our community that actors might not
even realize is that we want each other to succeed as well.
(07:44):
And I've had friends who have passed on material because they
said that's just not my wheelhouse at all.
And would you like to take it? And it's just, it's so kind,
it's so genuine and realistic. They know they can't give it
100%. They know that this is something
(08:05):
that I could succeed in and the film would be better if I was
doing it rather than them for various reasons.
And to be able to let that go ispretty big.
And I think that all of us really want to help each other.
So for me, saying no is almost easy because even if I love a
(08:29):
project so much, if I can't giveit my all, then I don't deserve
to do that project because it's not right to them.
I would love to hear if you haveany advice to share for actors
from casting's point of view, when and how it is right to pass
on an audition. Yes, I love the beginning of
your question. Do you have any advice for
(08:50):
actors? Oh, I have advice, but sure,
I'll give you for this specific question.
So if you are not connecting with the material, don't do it.
If you are in such a deadline for something else in your life
and this deadline just doesn't work, we want to make sure that
(09:12):
you are putting your best self forward.
We want to make sure that you are not bending over backwards
to just throw it on tape just sowe can see something.
It's really not worth it. So figure out what is best for
you. And also, it could be that you
tape it and as you're in the middle of the scene, you're just
(09:34):
not quite getting it right. And then you stop and you sit
back for a second and you say, oh, it's actually because I'm
not really connecting. I don't think that I have a
handle on this character. I'm not sure I understand the
script or I'm not sure that the script is for me.
And knowing that is doing a service to you and the casting
(09:55):
director and the film makers andeveryone because it's not right
for you. And that's OK.
And so to decline, I, I would never say, oh, that's that
person is so rude because they always say no.
If you always say no, sure. But if there are real reasons,
yeah, I absolutely respect that because I'm the same way.
(10:19):
I'm saying no for a reason. And you can absolutely say no
for a reason as well. And you have to know yourself
and be OK with that. In seasons of Quiet, what do you
see actors do that is smart or makes you take notice of their
professionalism 'cause we're allabout the business of being
creative around here? It is quiet truly never stop
(10:42):
working. And as an actor, working doesn't
only mean you have been hired ona set.
There is so much more to it. So watch TV, watch film, watch
TikTok, go to the theater. I can't stress that enough,
especially in New York. But really everywhere there is
(11:03):
theater everywhere that is so good that people don't tap into
see everything. I really think that if you have
down time, pick one new TV series, 1 new movie and just
start because you want to know as much as you can about the
industry. So sitting around and waiting
(11:25):
for it to fall into your lap doesn't really happen to be able
to have that Rolodex of I've seen 10 million films, whatever
it might be. Maybe that's a little much, but
I'm not sure. I've seen a lot of films.
So knowing that you've seen a lot really doing the work to
(11:46):
study, figure out who are the writers, who are the directors,
who are the producers, and figure out who writes in your
language, who writes projects that are correct for you.
And I think that's so important to not just say, oh, well, I
(12:06):
just want to be on a big show. There's more than that.
What kinds of shows are you right for?
What this, what that? There's so many things that you
can do while you're sitting around in quiet time because
honestly, it should never be quiet.
You should just be constantly doing whatever you can watch a
movie say to yourself. Oh my gosh, I love the monologue
(12:28):
that this character just did. Transcribe the monologue and
work on it. There are so many things that
you can do in in the middle in the middle of all the other
projects that you will be. Doing for short films a lot of
times there is maybe there is a body of work on IMDb, but it's
not been released. It's in the festival circuit or
and I'm curious what outlets or ways do you suggest or encourage
(12:53):
actors to do their research or how do they present their best
foot forward? That's such a great question and
I have an answer. I don't know if everyone's going
to like this answer from my casting side, but I'll say it
anyway. It's OK to ask questions.
I think that actors are so nervous to bother us that if you
(13:15):
get the sides and you really don't understand it or you have
no idea what the tone is and allyou have is 1 scene and a log
line that is 1 sentence. You know, they a group of people
go to a store. Is this a comedy?
Is this a drama? Is someone murdered or is it do
(13:35):
they find love? I mean it could be anything.
So not knowing is really, reallyhard for an actor and you just
have to make your guesses and and just hope.
But it is OK to reach back out the way that you got the
audition, however it might be and ask a question And you know,
(13:58):
if it's not written there, this is a drama or whatever else
could be clues. It's OK to say, I could take
this a few different ways. I was thinking about adding a
little humor. Or is is that OK?
Or is that really absolutely incorrect for what the project
is? Because I only have this one
scene. That's OK to ask because we
(14:20):
aren't in the room as much anymore and sometimes you would
be able to walk into a room and say hey, thank you for having me
before I audition, I have three questions or whatever it might
be. It's OK to ask those questions.
And also if you have a Rep, ask your Rep.
Maybe they have info that just hasn't been relayed to you, and
(14:41):
maybe they just have easy accessto quickly ask us, or whatever
it might be. It's OK to ask.
So if you have an audition from a project that you've never
seen, but it's a series that already exists, watch it.
Watch an episode, watch a few minutes.
Just get a sense of the writing,the tone, whatever it might be.
(15:05):
If you have an audition from something that doesn't exist
yet, make your bold choices and or ask questions and that's OK.
Yeah, I don't know when it happened, but there has been
this shift of like, we as actorsare supposed to know everything.
(15:25):
And there are sometimes I have questions.
And I have been blown away by the kindness of casting and the
associates and the assistants because they miss the
connection, too. They miss talking about the
character in this world, like they're geeked about it as well.
I mean, this business is so hard.
Like you got to be geeked about it to like sticker.
(15:47):
Absolutely. If you're not extremely
passionate or obsessed about theindustry, then what are you
doing here? Because it's not fun.
It can be very, very hard, but if you love it, it really is
fun. Yeah.
Well, going off of that as a creative, what do you enjoy
doing or consuming to recharge your creative batteries When I
(16:07):
mean all, all creative types areputting a lot out and oftentimes
not getting that much validationback.
I love that question and I love that I don't even understand the
question because I eat, sleep and breathe this industry.
What else do I do? Nothing.
No, that's not true. I try to do so many things and
(16:28):
it's so funny. Someone asked me, what did you
do this weekend? What'd you do on Saturday?
And I said, well, I went to FilmFestival and I saw a few movies.
What did you do on Sunday? Well, I saw a movie and went to
dinner with a friend. And I'm like, wait a second, I
have to, I have to change these answers a little bit.
But no, I really, I really love doing this.
I love volunteering, working with children, working with
(16:57):
anyone who's like smiley and happy, doing anything that just
brings me joy. I play pickleball.
I'm not good at it, but I play it and just anything that's fun.
I am a New Yorker, so I walk. I walk around New York City and
I really just pick an area and love to explore.
(17:20):
That's what I do to just kind oflet it all out.
Now, the the reason that that question started getting
incorporated was because I myself was like, oh, I talk
about work a lot 'cause I love it yes, but like, oh, what else
could I do? And then, you know, you start
getting, you know, there's like a Jason things.
There's just like. And it's so funny.
(17:40):
And they bring zip. Code of.
Exactly like people outside of the industry say what what do
you like to do for fun? And anyone outside of the
industry says, Oh well, I like to watch TV and see movies, but
for us that's also work, yes. So try to find something outside
of the industry because it is helpful and it is healthy to
(18:00):
have those other things while still consuming movies as a
consumer, not as someone who works on it.
I think that's the big thing forme is to just let myself enjoy
and not say like, oh, that writing was really, oh, that
wasn't that wasn't a great one or whatever it might be.
(18:22):
So let yourself just sit back, relax, and enjoy the show.
Literally. Shifting gears to your episodic
work, what were some of the stumbling blocks for actors when
auditioning for procedural dramas?
And what would your advice be for actors to work through that
in the self tape space when you don't have that real time
redirective like hey, so this isthe context.
(18:45):
Do your research, because we've had many times where actors come
in into the room in real life and they butcher the character
names. And let's say it's a show that's
been on for six years. All you had to do was a little
Google or a little something to just see what the words are,
(19:08):
what the names are, whatever it might be.
And when people don't do this, it really isn't great.
And so when we were in the room with people, we could say, oh,
we're we're going to stop you just so we could get a better
take. This is how you pronounce the
name. And when you don't have that in
(19:29):
the room and I'm watching someone self tape who sent it in
and the deadline has already passed and I'm getting ready to
send to producers and they get the character names wrong.
And it's like, I don't want the writer to see that you don't
(19:49):
know their names. And there's not enough time for
me to quickly contact you and say can you re tape it because I
need to get it to producers within the hour.
Again, use your quiet time for work.
There is no quiet time. Do your research when you get an
(20:09):
audition, there's so much more than just learning the lines.
So make sure you you make your To Do List of everything you
need to do for every single audition and do it because you
know, as we've talked about, part of being an actor is just
playing and having fun with it. So let's just see what you've
got and play with it, and if we can rework it, we will.
(20:32):
And if we can't, it happens. But do as much research as you
can so we don't have to not sendin your tape because you
butchered it a lot, or send in your tape to the producer who
could be offended that you didn't know their work already.
(20:53):
Now you worked, and I love this quote in the world of vampires,
werewolves and witches for many years.
So good. And that world will always be
around. How did you like to work with
actors in those auditions? To find the honesty of the scene
with these very heightened realities, powers, world
(21:16):
conditions, Because I think sometimes we can overshoot.
Oh yes. Oh, your face.
You are right. There are some auditions that
came to mind. Yes, I'll just jump right in.
I mean, I love my vampire, werewolf, witch's world.
(21:41):
I, I worked with Greg Orson and Leslie Gellis Raymond for many,
many years and they are truly still some of my closest people
today and true mentors and friends.
And we love this world. It is so much fun because actors
(22:02):
love the world too. And it's something juicy where
it's not real. It's not realistic from what we
know at least. So you can have a little more
fun with it. Go a little over the top, but
know that you don't want to go too over the top.
And it's really finding that balance and knowing that these
(22:27):
worlds do exist. You can watch any type of
supernatural show to get a senseof what the industry thinks
supernatural is or what other actors think supernatural is or
what the consumers really like best about that supernatural
world. Even a vampire versus a werewolf
(22:50):
versus a hybrid versus a witch. I mean, there are so many
different aspects of these characters and roles that you
can really take it anywhere in away.
And so, I mean, we always just have had so much fun with these
roles and knowing that it's a little over the top, but don't
(23:15):
go too big. And I can't say that enough for
those kinds of worlds. Just try to be.
It sounds absurd. Try to be realistic in these
unrealistic worlds. Are there any areas in either
the procedural or the whimsical magical world where you saw
(23:35):
actors expending a lot of effortor energy that wasn't
necessarily moving the needle for their audition?
Oh, yes, something as soon as you say that comes to mind is
like a heavy panting. I'm like literally thinking like
I'm a werewolf. I have to like have werewolf
breaths and really feel in so intense that I'm breathing so
(23:59):
heavily. And it's like, OK, well, if you
take one step back, is that the character or like, what?
What are you actually doing withthis?
Oh. My.
Yes, and also one of my favorites is vampire running is
in the scripts so much. And what do you what does that
mean? How do you know what that means?
(24:19):
Because in post production they make that up over there.
So how does an actor create something that's literally
something that you just speed upsomeone running and that's
vampire running. So really don't go too intense
with panting or running. And something that I actually
(24:41):
love that people do before an audition, if it's a very
heightened scene, they might do jumping jacks or push ups or
something to just get themselvesand their bodies in that
vicinity. And it's natural.
It's not putting on a fake. OK, now I have to be panting.
(25:02):
It's OK, let me get my body in the zone and let's go from
there. And so really just feel it and
be as into it as you can to put your feet into those shoes.
Think more heart rate, less hyperventilation.
Exactly, exactly. And we'll be able to feel it if
you portray it the right way, rather than just huffing and
(25:25):
puffing. When you're adding a recurring
character, what were the creative conversations like and
the discussions about the qualities you're looking for in
this actor and character? The, you know, points of
friction that you're looking forthem to bring in as obstacles or
opportunities for your existing characters.
(25:46):
Yeah, I mean, we, we really try to bring in new blood.
And I say that, you know, not just the vampire world.
I apologize. It's love it unintended, yeah.
But literally because it's also,you know, the the Chicago world
as well, one Chicago and coming into something that already is
(26:09):
established, how can this one new actor and character add
something to it? So the writer's role is to write
this new character and figure out how they can make them new
and different and everything. And then it's the actor's role
as you're auditioning to see what can I bring to this to make
(26:33):
it new and different and not thesame as the five series regulars
already on the show? What can I bring that's new,
that also showcases who I am andwhat I can do?
But what character I can develop?
And there are so many times thatwe don't know how many episodes
someone will recur. We don't know anything.
(26:56):
I mean, one of my favourites is I cast a beautiful young boy in
ATD series and I think he was supposed to be in two episodes
and maybe 3. And he was just wonderful, and
he became a series regular. And he's still, you know, on and
(27:18):
off the show right now. So it's like you have these
moments where you never know what it could lead to.
And finding that spark of bringing that role to life for
the whole production team to say, oh, wow, we need to keep
this one in. And also not giving yourself as
(27:39):
an actor, the pressure of I needto be that one actor to stand
out, to make sure that my one liner becomes a series regular
nine years later. Yeah.
So knowing the process of it all.
Have there been any instances inthe room or in tape where an
(28:00):
actor really impressed you with how they brought themselves to
the character? When you bring yourself to it
and like all those stars align, it just looks so beautiful.
It's so beautiful and I've had so many director, writer,
producer sessions where they arein the room with the actors and
(28:21):
you can just literally see a spark go off in them when they
see the actor bringing themselves or doing something
that they never thought was going to be a part of this
character. And all of a sudden it's exactly
what we should do. And it's really, it's really
(28:43):
special to see that. I've had people just coming in
and nailing it and saying I can do it anyway, but I'm just going
to give you what I have. And you can see spurts of
themselves in there and it's really beautiful because it is
genuine. They're really creating this
character and they know the character so well.
(29:07):
I'm a big believer in everythingin our career is adding up as a
foundation and some projects or people or opportunities or just
experiences open the next door or you know, they're planting
seeds. And I'm curious if you have any
favorite stories of one opportunity kind of teen you up.
That's so good and it's so hard.I think that.
(29:30):
AI doesn't do our questions around here.
I try. Exactly.
No, no, I will answer as myself in in human person.
I think for me, it's almost justthe trajectory of how my career
went, where I knew that I wantedone thing and then I felt like I
(29:54):
had done it and I felt like it was time to move on.
And so I tried something else. And I really have loved
exploring different genres and working with different people
and also working with the same people.
Like it's so interesting how I truly find it rewarding both
ways that you work with the samepeople and you just know how
(30:18):
they work. And it's so seamless and it's so
wonderful that, oh, I, I know that my director will love this
actor. They've already liked them
before. I know that this is the right
person. And then on the other side of
it, I don't know what these people think about all of these
choices. And it's almost kind of
(30:41):
challenging myself of like, OK, well, I'm going to work with
someone new and they might not like my ideas and let's see how
it goes. And I feel like I've been pretty
fortunate where it knock on wood, where it's going Well.
And really just knowing myself and saying I've I've been doing
(31:03):
all these different genres and Ireally love exploring all of
them, where I went from one world, you know, vampire world
to emergency response world to short film world.
And I'm just really honestly, asit goes back to having that
passion and, and loving what youdo, and I'm really just enjoying
that trajectory that I've found for myself.
(31:26):
Is there any closing advice or insight or encouragement you
would want to share with actors before we wrap up?
Always. I mean, I could, we could start
this whole thing again. And as you said before, do you
have advice for actors? Yes, I do her too.
Let's begin again. No, I think honestly, know who
(31:48):
you are as an actor, know your Forte, know what you enjoy
doing. If you keep getting jobs in
dramas, but you really love comedy and your heart is in
comedy, push for that a little bit more.
It's OK to know yourself and really understand what you would
(32:10):
like best. Because as we've said, we're
playing a lot of this is joyful and should be wonderful.
And again, it also is work. So you have to put in the work.
You know, you have to do your research.
You have to take the quiet time and make it not quiet and watch
everything you can so that when someone says, oh, I, I heard
(32:35):
about this director who's done two things in their life and
you're like, oh, I know them. I've seen their two films.
Whatever it might be, try to know as much as you can, which
obviously is a tall ask a power of mine.
I wish I could just know every single actor that existed.
And I'm trying to know as many actors as possible so that I
have them in my Rolodex in my brain.
(32:57):
And I just know so many people and I see a face and I know
their name and I want to remember everyone.
And so for actors doing the samething of getting yourself out
there so that we do know you, sothat you do know the big
players, you do know the people who are writing, directing,
producing, whatever it might be for projects that you might be
(33:21):
right for And really trying to go for that and giving yourself
that homework of saying, who canI find, you know, find 5 people
that or projects that you think would be your ideal people to
work with or projects and reallygo for it.
(33:43):
I love that. I don't think I've ever heard
someone say it so succinctly, but know who you are as an
actor. And I think that's what everyone
is trying to articulate with branding and type and niche and
all of these. But like know who you are as an
actor that oh, so we'll put, OK,our time is almost up.
Last question, what is one thingyou wish you could go back and
(34:04):
tell your younger self? So many things I I think, I
think the like. The world is a creative.
I don't think you. I mean you and I, it's like I
don't think you can turn it off.When you're creative, I think
that's how you I think that's how you move through life.
(34:27):
I think it's almost a two-part answer in a way of my younger,
younger self. I would say be open to anything
in the industry. Like when I was a child, I
didn't even think of casting. And now it is something I just
(34:47):
love so much. And I truly love actors and I
love rooting for them. I mean, it's just so exciting
for me to pitch to a director and say this actor is great.
And here are 5 reasons why I find that really fun.
So younger, younger Joanna, think outside the box for
(35:10):
yourself as well and say, oh, I could do anything in this
industry. What about casting?
And then another thing is reallyjust what I always try to do is
follow my heart. I really have enjoyed the
projects that I work on and I think that's so important and
(35:33):
knowing that is it, is it about working on the Oscar winning
film where maybe I'm an assistant and I'm not doing as
much? Or is it working on the smaller
independent film where I'm the casting director and it's all on
me? And that's a lot of
responsibility and knowing whereI fall into it and just really
(35:57):
trusting my gut, which is reallywhat so much of casting is.
So continuing to circle back to everything I say always, but
really just following my heart and saying it.
It's all going to continue to figure out.
I mean, I don't know where my career will be in one year, let
(36:18):
alone five years. So you never know what could
happen. You never know what person you
could connect with who just wrote a script who you
absolutely love. You end up working with them and
you go on to have this great union for years to come because
you've just found your industry match.
(36:38):
I mean, it could be any little thing.
So really follow your heart and and enjoy it along the way.
Joanna, thank you so much for joining us today on the Pod.
So fun, so much. Laura, I really enjoyed it.
Hi everyone, thanks for listening and being the absolute
best part of our creative community here at What's My
Frame? If you'd like to learn more
(36:59):
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 upcomingevents, I'm your host, Laura
Linda Bradley. We'll see you next Monday.
Hi everyone. Today on What's My Frame I'm
joined by casting director Joanna Davis.
Joanna has been in the industry for over 20 years.
She started her career as a casting intern when she was just
in high school. Throughout her first few years,
Joanna worked at production companies, a talent agency, and
on documentaries. Taking everything she learned in
those positions, Joanna dove into her true passion for
(00:24):
casting by working on televisionshows and films.
Joanna has cast projects spinning all over the world, so
she is always on the lookout fortalent.
Now let's get to the conversation.
I am so excited to dive into this conversation.
As I was mentioning before, I love the body of work that you
(00:44):
have, but also your heart for actors and the gifts and
opportunities that you've created by speaking at the SAG
after Foundation teaching and continuing that outreach.
Because like when I was looking up some of your, your past work,
there were classes from the SAG after foundation, like links are
still up. And you know, that's why we
started the podcast was to create educational resources
(01:06):
that are always accessible. So if you don't mind starting us
out, what is your creative back story?
What drew you to the world of casting, and who were some of
those influential mentors and opportunities that shaped your
your career? Absolutely.
I started out honestly wanting to be in the industry my entire
life. It's just something that has
(01:28):
always been a part of me and I had put the word out there for
as long as I can remember. And when I was 16 years old, a
friend of a friend who knew someone who knew another person
had a casting director from LA coming to New York for a summer
to cast a film. And little 16 year old Joanna
(01:52):
said, let's give it a shot. And I was truly, you know, just
a casting intern. And at first, she stuck me with
index cards, which was back in the day, that's how we had to
fill out everyone's information.And I would take a Polaroid of
the actors and then write down their info.
(02:14):
And it was just clearly a whole different world than we're in
now. But that's how I began.
And I said, oh, this is interesting and fun and I get to
meet these people and see where they fit in and what an
interesting thing this is. And that was really just my
(02:34):
beginning. So I did that internship, and
then I had to explore everythingelse.
So I worked in documentaries. I've done a few documentaries
and I did a documentary about Bob Dylan directed by Martin
Scorsese again as a teenager. And it's just kind of like, OK,
(02:58):
so I guess I peaked. I can, I can be done now.
But it was just so interesting to see.
Oh, wait a second. I thought when I was a kid, I
thought that you just could be an actor, director, producer.
There are so many other things. So my first intro into the
industry was not one of those. It was a little bit different
(03:20):
and I loved it. And then I did many other things
in between production companies,talent agency, and I literally
just said, wait a second. Casting was really fun.
And so I went back as an intern again, and I started back as an
(03:42):
intern on the TV show Entourage in LA.
And I said, this is this is really fun.
This is amazing. And I've literally been doing it
for 20 years. Who are some of those like
influential mentors that were pivotal to validating this as a
(04:03):
career for you or really pivotalin shaping your creative voice
and I and validating that? Absolutely, definitely Marjorie
Simkin is how I started. I mean, she is the number one in
my book. She gave me that internship when
I was 16 slash a child and love her.
(04:24):
I mean, she really did take a chance on me and she her career
is unbelievable. She is someone who has really
done everything and I've worked with her a few times over the
years on and off when when it has aligned with both of our
schedules. And just seeing someone who is
(04:48):
such an icon in the industry sayto me that I could be good at
this, that as a 16 year old saying, oh, wait a second, she
can do more than just index cards and giving me more and
more responsibilities and realizing, oh, this is, this is
(05:08):
an actual path. And she said something to me
that I will never forget and I will always thank her for.
She said something along the lines of you could really make
it in this business as a genuinely nice casting director.
And I've always held on to that many, many years later that I
(05:32):
really, as we've talked about, I, I've always just had a heart
in this. And so I do want to continue
this and listen to her words andbe true to who I am.
And this is a tough industry, a very tough industry, but you can
(05:53):
actually still be nice and stillbe successful and still have a
heart. And so that's something that has
always stuck with me that I really appreciated from her.
Now you answered at the Sagrafter Foundation and the
panel. We'll link it in the show notes
about being selected and the projects you take on.
And it really resonated with actors.
I'm curious how you learned thatself-awareness of knowing when
(06:17):
you were a value and service to the project versus when it was
better for you and the project to say, respectfully, no, thank
you. That is kind of an easy answer
to be honest. And thank you for saying that
about my the panel. And I appreciate that people did
appreciate that. And I'm now I'm of course
nervous that everyone thinks I'mjust going to say no to
(06:39):
everything, but that is not trueat all.
I think for me it is really, canI give this 100%?
And if I know that I will be traveling or I have a friend's
wedding, that is something that cannot be moved.
And I think that whatever my life situations might be, could
(07:01):
be detrimental to this specific project that will be in the crux
of shooting where week in prep, a week before shooting and I'm,
you know, off in Australia or something.
Is that really going to be beneficial to this specific
project? And so for me, it's do I relate
(07:21):
to this? Do I feel like my heart is in
this? Or could this be better for a
different casting director? And I've seen so many other
casting people do this as well. And I think that there is
something so beautiful in our community that actors might not
even realize is that we want each other to succeed as well.
(07:44):
And I've had friends who have passed on material because they
said that's just not my wheelhouse at all.
And would you like to take it? And it's just, it's so kind,
it's so genuine and realistic. They know they can't give it
100%. They know that this is something
(08:05):
that I could succeed in and the film would be better if I was
doing it rather than them for various reasons.
And to be able to let that go ispretty big.
And I think that all of us really want to help each other.
So for me, saying no is almost easy because even if I love a
(08:29):
project so much, if I can't giveit my all, then I don't deserve
to do that project because it's not right to them.
I would love to hear if you haveany advice to share for actors
from casting's point of view, when and how it is right to pass
on an audition. Yes, I love the beginning of
your question. Do you have any advice for
(08:50):
actors? Oh, I have advice, but sure,
I'll give you for this specific question.
So if you are not connecting with the material, don't do it.
If you are in such a deadline for something else in your life
and this deadline just doesn't work, we want to make sure that
(09:12):
you are putting your best self forward.
We want to make sure that you are not bending over backwards
to just throw it on tape just sowe can see something.
It's really not worth it. So figure out what is best for
you. And also, it could be that you
tape it and as you're in the middle of the scene, you're just
(09:34):
not quite getting it right. And then you stop and you sit
back for a second and you say, oh, it's actually because I'm
not really connecting. I don't think that I have a
handle on this character. I'm not sure I understand the
script or I'm not sure that the script is for me.
And knowing that is doing a service to you and the casting
(09:55):
director and the film makers andeveryone because it's not right
for you. And that's OK.
And so to decline, I, I would never say, oh, that's that
person is so rude because they always say no.
If you always say no, sure. But if there are real reasons,
yeah, I absolutely respect that because I'm the same way.
(10:19):
I'm saying no for a reason. And you can absolutely say no
for a reason as well. And you have to know yourself
and be OK with that. In seasons of Quiet, what do you
see actors do that is smart or makes you take notice of their
professionalism 'cause we're allabout the business of being
creative around here? It is quiet truly never stop
(10:42):
working. And as an actor, working doesn't
only mean you have been hired ona set.
There is so much more to it. So watch TV, watch film, watch
TikTok, go to the theater. I can't stress that enough,
especially in New York. But really everywhere there is
(11:03):
theater everywhere that is so good that people don't tap into
see everything. I really think that if you have
down time, pick one new TV series, 1 new movie and just
start because you want to know as much as you can about the
industry. So sitting around and waiting
(11:25):
for it to fall into your lap doesn't really happen to be able
to have that Rolodex of I've seen 10 million films, whatever
it might be. Maybe that's a little much, but
I'm not sure. I've seen a lot of films.
So knowing that you've seen a lot really doing the work to
(11:46):
study, figure out who are the writers, who are the directors,
who are the producers, and figure out who writes in your
language, who writes projects that are correct for you.
And I think that's so important to not just say, oh, well, I
(12:06):
just want to be on a big show. There's more than that.
What kinds of shows are you right for?
What this, what that? There's so many things that you
can do while you're sitting around in quiet time because
honestly, it should never be quiet.
You should just be constantly doing whatever you can watch a
movie say to yourself. Oh my gosh, I love the monologue
(12:28):
that this character just did. Transcribe the monologue and
work on it. There are so many things that
you can do in in the middle in the middle of all the other
projects that you will be. Doing for short films a lot of
times there is maybe there is a body of work on IMDb, but it's
not been released. It's in the festival circuit or
and I'm curious what outlets or ways do you suggest or encourage
(12:53):
actors to do their research or how do they present their best
foot forward? That's such a great question and
I have an answer. I don't know if everyone's going
to like this answer from my casting side, but I'll say it
anyway. It's OK to ask questions.
I think that actors are so nervous to bother us that if you
(13:15):
get the sides and you really don't understand it or you have
no idea what the tone is and allyou have is 1 scene and a log
line that is 1 sentence. You know, they a group of people
go to a store. Is this a comedy?
Is this a drama? Is someone murdered or is it do
(13:35):
they find love? I mean it could be anything.
So not knowing is really, reallyhard for an actor and you just
have to make your guesses and and just hope.
But it is OK to reach back out the way that you got the
audition, however it might be and ask a question And you know,
(13:58):
if it's not written there, this is a drama or whatever else
could be clues. It's OK to say, I could take
this a few different ways. I was thinking about adding a
little humor. Or is is that OK?
Or is that really absolutely incorrect for what the project
is? Because I only have this one
scene. That's OK to ask because we
(14:20):
aren't in the room as much anymore and sometimes you would
be able to walk into a room and say hey, thank you for having me
before I audition, I have three questions or whatever it might
be. It's OK to ask those questions.
And also if you have a Rep, ask your Rep.
Maybe they have info that just hasn't been relayed to you, and
(14:41):
maybe they just have easy accessto quickly ask us, or whatever
it might be. It's OK to ask.
So if you have an audition from a project that you've never
seen, but it's a series that already exists, watch it.
Watch an episode, watch a few minutes.
Just get a sense of the writing,the tone, whatever it might be.
(15:05):
If you have an audition from something that doesn't exist
yet, make your bold choices and or ask questions and that's OK.
Yeah, I don't know when it happened, but there has been
this shift of like, we as actorsare supposed to know everything.
(15:25):
And there are sometimes I have questions.
And I have been blown away by the kindness of casting and the
associates and the assistants because they miss the
connection, too. They miss talking about the
character in this world, like they're geeked about it as well.
I mean, this business is so hard.
Like you got to be geeked about it to like sticker.
(15:47):
Absolutely. If you're not extremely
passionate or obsessed about theindustry, then what are you
doing here? Because it's not fun.
It can be very, very hard, but if you love it, it really is
fun. Yeah.
Well, going off of that as a creative, what do you enjoy
doing or consuming to recharge your creative batteries When I
(16:07):
mean all, all creative types areputting a lot out and oftentimes
not getting that much validationback.
I love that question and I love that I don't even understand the
question because I eat, sleep and breathe this industry.
What else do I do? Nothing.
No, that's not true. I try to do so many things and
(16:28):
it's so funny. Someone asked me, what did you
do this weekend? What'd you do on Saturday?
And I said, well, I went to FilmFestival and I saw a few movies.
What did you do on Sunday? Well, I saw a movie and went to
dinner with a friend. And I'm like, wait a second, I
have to, I have to change these answers a little bit.
But no, I really, I really love doing this.
I love volunteering, working with children, working with
(16:57):
anyone who's like smiley and happy, doing anything that just
brings me joy. I play pickleball.
I'm not good at it, but I play it and just anything that's fun.
I am a New Yorker, so I walk. I walk around New York City and
I really just pick an area and love to explore.
(17:20):
That's what I do to just kind oflet it all out.
Now, the the reason that that question started getting
incorporated was because I myself was like, oh, I talk
about work a lot 'cause I love it yes, but like, oh, what else
could I do? And then, you know, you start
getting, you know, there's like a Jason things.
There's just like. And it's so funny.
(17:40):
And they bring zip. Code of.
Exactly like people outside of the industry say what what do
you like to do for fun? And anyone outside of the
industry says, Oh well, I like to watch TV and see movies, but
for us that's also work, yes. So try to find something outside
of the industry because it is helpful and it is healthy to
(18:00):
have those other things while still consuming movies as a
consumer, not as someone who works on it.
I think that's the big thing forme is to just let myself enjoy
and not say like, oh, that writing was really, oh, that
wasn't that wasn't a great one or whatever it might be.
(18:22):
So let yourself just sit back, relax, and enjoy the show.
Literally. Shifting gears to your episodic
work, what were some of the stumbling blocks for actors when
auditioning for procedural dramas?
And what would your advice be for actors to work through that
in the self tape space when you don't have that real time
redirective like hey, so this isthe context.
(18:45):
Do your research, because we've had many times where actors come
in into the room in real life and they butcher the character
names. And let's say it's a show that's
been on for six years. All you had to do was a little
Google or a little something to just see what the words are,
(19:08):
what the names are, whatever it might be.
And when people don't do this, it really isn't great.
And so when we were in the room with people, we could say, oh,
we're we're going to stop you just so we could get a better
take. This is how you pronounce the
name. And when you don't have that in
(19:29):
the room and I'm watching someone self tape who sent it in
and the deadline has already passed and I'm getting ready to
send to producers and they get the character names wrong.
And it's like, I don't want the writer to see that you don't
(19:49):
know their names. And there's not enough time for
me to quickly contact you and say can you re tape it because I
need to get it to producers within the hour.
Again, use your quiet time for work.
There is no quiet time. Do your research when you get an
(20:09):
audition, there's so much more than just learning the lines.
So make sure you you make your To Do List of everything you
need to do for every single audition and do it because you
know, as we've talked about, part of being an actor is just
playing and having fun with it. So let's just see what you've
got and play with it, and if we can rework it, we will.
(20:32):
And if we can't, it happens. But do as much research as you
can so we don't have to not sendin your tape because you
butchered it a lot, or send in your tape to the producer who
could be offended that you didn't know their work already.
(20:53):
Now you worked, and I love this quote in the world of vampires,
werewolves and witches for many years.
So good. And that world will always be
around. How did you like to work with
actors in those auditions? To find the honesty of the scene
with these very heightened realities, powers, world
(21:16):
conditions, Because I think sometimes we can overshoot.
Oh yes. Oh, your face.
You are right. There are some auditions that
came to mind. Yes, I'll just jump right in.
I mean, I love my vampire, werewolf, witch's world.
(21:41):
I, I worked with Greg Orson and Leslie Gellis Raymond for many,
many years and they are truly still some of my closest people
today and true mentors and friends.
And we love this world. It is so much fun because actors
(22:02):
love the world too. And it's something juicy where
it's not real. It's not realistic from what we
know at least. So you can have a little more
fun with it. Go a little over the top, but
know that you don't want to go too over the top.
And it's really finding that balance and knowing that these
(22:27):
worlds do exist. You can watch any type of
supernatural show to get a senseof what the industry thinks
supernatural is or what other actors think supernatural is or
what the consumers really like best about that supernatural
world. Even a vampire versus a werewolf
(22:50):
versus a hybrid versus a witch. I mean, there are so many
different aspects of these characters and roles that you
can really take it anywhere in away.
And so, I mean, we always just have had so much fun with these
roles and knowing that it's a little over the top, but don't
(23:15):
go too big. And I can't say that enough for
those kinds of worlds. Just try to be.
It sounds absurd. Try to be realistic in these
unrealistic worlds. Are there any areas in either
the procedural or the whimsical magical world where you saw
(23:35):
actors expending a lot of effortor energy that wasn't
necessarily moving the needle for their audition?
Oh, yes, something as soon as you say that comes to mind is
like a heavy panting. I'm like literally thinking like
I'm a werewolf. I have to like have werewolf
breaths and really feel in so intense that I'm breathing so
(23:59):
heavily. And it's like, OK, well, if you
take one step back, is that the character or like, what?
What are you actually doing withthis?
Oh. My.
Yes, and also one of my favorites is vampire running is
in the scripts so much. And what do you what does that
mean? How do you know what that means?
(24:19):
Because in post production they make that up over there.
So how does an actor create something that's literally
something that you just speed upsomeone running and that's
vampire running. So really don't go too intense
with panting or running. And something that I actually
(24:41):
love that people do before an audition, if it's a very
heightened scene, they might do jumping jacks or push ups or
something to just get themselvesand their bodies in that
vicinity. And it's natural.
It's not putting on a fake. OK, now I have to be panting.
(25:02):
It's OK, let me get my body in the zone and let's go from
there. And so really just feel it and
be as into it as you can to put your feet into those shoes.
Think more heart rate, less hyperventilation.
Exactly, exactly. And we'll be able to feel it if
you portray it the right way, rather than just huffing and
(25:25):
puffing. When you're adding a recurring
character, what were the creative conversations like and
the discussions about the qualities you're looking for in
this actor and character? The, you know, points of
friction that you're looking forthem to bring in as obstacles or
opportunities for your existing characters.
(25:46):
Yeah, I mean, we, we really try to bring in new blood.
And I say that, you know, not just the vampire world.
I apologize. It's love it unintended, yeah.
But literally because it's also,you know, the the Chicago world
as well, one Chicago and coming into something that already is
(26:09):
established, how can this one new actor and character add
something to it? So the writer's role is to write
this new character and figure out how they can make them new
and different and everything. And then it's the actor's role
as you're auditioning to see what can I bring to this to make
(26:33):
it new and different and not thesame as the five series regulars
already on the show? What can I bring that's new,
that also showcases who I am andwhat I can do?
But what character I can develop?
And there are so many times thatwe don't know how many episodes
someone will recur. We don't know anything.
(26:56):
I mean, one of my favourites is I cast a beautiful young boy in
ATD series and I think he was supposed to be in two episodes
and maybe 3. And he was just wonderful, and
he became a series regular. And he's still, you know, on and
(27:18):
off the show right now. So it's like you have these
moments where you never know what it could lead to.
And finding that spark of bringing that role to life for
the whole production team to say, oh, wow, we need to keep
this one in. And also not giving yourself as
(27:39):
an actor, the pressure of I needto be that one actor to stand
out, to make sure that my one liner becomes a series regular
nine years later. Yeah.
So knowing the process of it all.
Have there been any instances inthe room or in tape where an
(28:00):
actor really impressed you with how they brought themselves to
the character? When you bring yourself to it
and like all those stars align, it just looks so beautiful.
It's so beautiful and I've had so many director, writer,
producer sessions where they arein the room with the actors and
(28:21):
you can just literally see a spark go off in them when they
see the actor bringing themselves or doing something
that they never thought was going to be a part of this
character. And all of a sudden it's exactly
what we should do. And it's really, it's really
(28:43):
special to see that. I've had people just coming in
and nailing it and saying I can do it anyway, but I'm just going
to give you what I have. And you can see spurts of
themselves in there and it's really beautiful because it is
genuine. They're really creating this
character and they know the character so well.
(29:07):
I'm a big believer in everythingin our career is adding up as a
foundation and some projects or people or opportunities or just
experiences open the next door or you know, they're planting
seeds. And I'm curious if you have any
favorite stories of one opportunity kind of teen you up.
That's so good and it's so hard.I think that.
(29:30):
AI doesn't do our questions around here.
I try. Exactly.
No, no, I will answer as myself in in human person.
I think for me, it's almost justthe trajectory of how my career
went, where I knew that I wantedone thing and then I felt like I
(29:54):
had done it and I felt like it was time to move on.
And so I tried something else. And I really have loved
exploring different genres and working with different people
and also working with the same people.
Like it's so interesting how I truly find it rewarding both
ways that you work with the samepeople and you just know how
(30:18):
they work. And it's so seamless and it's so
wonderful that, oh, I, I know that my director will love this
actor. They've already liked them
before. I know that this is the right
person. And then on the other side of
it, I don't know what these people think about all of these
choices. And it's almost kind of
(30:41):
challenging myself of like, OK, well, I'm going to work with
someone new and they might not like my ideas and let's see how
it goes. And I feel like I've been pretty
fortunate where it knock on wood, where it's going Well.
And really just knowing myself and saying I've I've been doing
(31:03):
all these different genres and Ireally love exploring all of
them, where I went from one world, you know, vampire world
to emergency response world to short film world.
And I'm just really honestly, asit goes back to having that
passion and, and loving what youdo, and I'm really just enjoying
that trajectory that I've found for myself.
(31:26):
Is there any closing advice or insight or encouragement you
would want to share with actors before we wrap up?
Always. I mean, I could, we could start
this whole thing again. And as you said before, do you
have advice for actors? Yes, I do her too.
Let's begin again. No, I think honestly, know who
(31:48):
you are as an actor, know your Forte, know what you enjoy
doing. If you keep getting jobs in
dramas, but you really love comedy and your heart is in
comedy, push for that a little bit more.
It's OK to know yourself and really understand what you would
(32:10):
like best. Because as we've said, we're
playing a lot of this is joyful and should be wonderful.
And again, it also is work. So you have to put in the work.
You know, you have to do your research.
You have to take the quiet time and make it not quiet and watch
everything you can so that when someone says, oh, I, I heard
(32:35):
about this director who's done two things in their life and
you're like, oh, I know them. I've seen their two films.
Whatever it might be, try to know as much as you can, which
obviously is a tall ask a power of mine.
I wish I could just know every single actor that existed.
And I'm trying to know as many actors as possible so that I
have them in my Rolodex in my brain.
(32:57):
And I just know so many people and I see a face and I know
their name and I want to remember everyone.
And so for actors doing the samething of getting yourself out
there so that we do know you, sothat you do know the big
players, you do know the people who are writing, directing,
producing, whatever it might be for projects that you might be
(33:21):
right for And really trying to go for that and giving yourself
that homework of saying, who canI find, you know, find 5 people
that or projects that you think would be your ideal people to
work with or projects and reallygo for it.
(33:43):
I love that. I don't think I've ever heard
someone say it so succinctly, but know who you are as an
actor. And I think that's what everyone
is trying to articulate with branding and type and niche and
all of these. But like know who you are as an
actor that oh, so we'll put, OK,our time is almost up.
Last question, what is one thingyou wish you could go back and
(34:04):
tell your younger self? So many things I I think, I
think the like. The world is a creative.
I don't think you. I mean you and I, it's like I
don't think you can turn it off.When you're creative, I think
that's how you I think that's how you move through life.
(34:27):
I think it's almost a two-part answer in a way of my younger,
younger self. I would say be open to anything
in the industry. Like when I was a child, I
didn't even think of casting. And now it is something I just
(34:47):
love so much. And I truly love actors and I
love rooting for them. I mean, it's just so exciting
for me to pitch to a director and say this actor is great.
And here are 5 reasons why I find that really fun.
So younger, younger Joanna, think outside the box for
(35:10):
yourself as well and say, oh, I could do anything in this
industry. What about casting?
And then another thing is reallyjust what I always try to do is
follow my heart. I really have enjoyed the
projects that I work on and I think that's so important and
(35:33):
knowing that is it, is it about working on the Oscar winning
film where maybe I'm an assistant and I'm not doing as
much? Or is it working on the smaller
independent film where I'm the casting director and it's all on
me? And that's a lot of
responsibility and knowing whereI fall into it and just really
(35:57):
trusting my gut, which is reallywhat so much of casting is.
So continuing to circle back to everything I say always, but
really just following my heart and saying it.
It's all going to continue to figure out.
I mean, I don't know where my career will be in one year, let
(36:18):
alone five years. So you never know what could
happen. You never know what person you
could connect with who just wrote a script who you
absolutely love. You end up working with them and
you go on to have this great union for years to come because
you've just found your industry match.
(36:38):
I mean, it could be any little thing.
So really follow your heart and and enjoy it along the way.
Joanna, thank you so much for joining us today on the Pod.
So fun, so much. Laura, I really enjoyed it.
Hi everyone, thanks for listening and being the absolute
best part of our creative community here at What's My
Frame? If you'd like to learn more
(36:59):
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 upcomingevents, I'm your host, Laura
Linda Bradley. We'll see you next Monday.
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