presents

An Interview With Carla James

as told to Steve McAlister

Carla James is one of the most respected casting directors in Texas, working on projects like Pauly Shore's Curse of Inferno, Amy Irving's Carried Away, as well as Pure Country, Daddy's Dyin' Who's Got the Will? and Murder in the Heartland. Carla also served as Texas liaison for Disney/Touchtone's national searches for Honey I Blew Up the Baby, Home Improvement, 3 Men and a Little Lady and White Fang. Carla is also prominent in commercial casting, handling projects for Nike, Miller Lite, Sewell Village Cadillac and Kingsford Charcoal in 1995 alone.

Carla operates CARLA JAMES CASTING from the Dallas suburb of Lancaster, and was joined about a year ago by partner Mike O'Daniel, an accomplished musician, voice-over talent and local radio personality. In addition to working with Carla on film and commercial projects during 1996-96, Mike was music consultant to Robert Duvall for the film, Tender Mercies.

I had asked Carla to spend an hour or so with me, talking about issues of concern to actors and actresses, and she graciously agreed. We met at a public library near her office in Lancaster, Texas, a small town in far south Dallas County. Carla is at the same time both professional and charming, and comes across as a person with whom you would want to cultivate both a business relationship and a friendship.

LMT: Carla, how did you get started in the casting business?

CJ: About eight years ago I began working with Ed Johnston, a prominent casting director in the Dallas area, and I was his apprentice for about a year before he joined Disney Studios as a casting executive. He began sending me casting assignments such as the 3 Men and a Little Lady and White Fang projects.

LMT: And before that?

CJ: I founded the Deep Ellum Theatre Garage in Dallas and was its managing director for about five years. In fact, that's how I met Ed Johnston: he visited the theatre regularly to observe local talent. Since it was a small theatre, I did a lot of things: I ran the door, the bar, the janitor service... Before that, I taught high school theatre in Arlington, Texas.

LMT: Do you still teach classes?

CJ: I don't presently teach classes, but when I think I have something worth teaching, I will probably do that.

LMT: A lot of casting directors are former actors and actresses. How about you?

CJ: At the Deep Ellum Theatre Garage I was pressed into service on occasion, but I'd better tell you the kind of roles I played. I once played a lady who wore a veil and sat in a wheelchair, reading from a book. Then I played a lady who was covered, head to foot, with a black veil... I was the image of Death, and sat on the edge of the stage holding a bomb. It was a sort of avant garde play. No, I wouldn't say I had a viable acting career.

LMT: What are some of the methods you use to scout for talent?

CJ: I occasionally attend showcases, and I will attend stage productions when I'm looking for actors for a specific project.

LMT: Do casting directors tend to "specialize," either in commercials or film and television?

CJ: Most people do tend to specialize, but the Dallas/Fort Worth market isn't all that big. I do commercials as well as film and television, although my doing six films last year didn't leave much time for me to do commercials.

LMT: What are some projects that you've especially enjoyed?

CJ: Several years ago I did both principal and extras casting for the film, Pure Country. That was especially fun for me, since I'm a big George Strait fan. Working on the Nike commercial with Deion Sanders last fall was a lot of fun, and I especially enjoyed working on The Curse of Inferno.

LMT: The Curse of Inferno is your most recent feature project. Why was it so special?

CJ: I cast both principals and extras for Inferno. John Warren had been an actor for years, but it was his first film to direct, and he was really great to work with -- very easy going, and so good to the actors in the auditions. He made a special effort to see that the actors had fun, because he thought that would make a better film. I think he was right.

LMT: You've mentioned several times that you cast both principals and extras for the same film. Isn't that rather unusual?

CJ: Yes, it is, but for every film I've handled principals casting, I've handled the extras as well. I enjoy working that way, since I can be more closely involved with a film if I do all the casting. But even if I don't handle the principals, I enjoy extras casting.

LMT: Have you had any especially challenging projects?

CJ: They're all challenging, each in their own way, both artistically and logistically. For example, Mike and I handled extras casting for Lily Dale, and since it was a period film, we had to deal with authentic period costumes. These costumes were valuable antiques, and some of the sizes were really unusual. I think Linda helped me find a woman who was 5'9" with a 32" bust!

LMT: Casting directors tend to work very long hours when they're on a film project. What's your life like when you're doing a film?

CJ: As you well know, if it's an extras job, it goes from very early in the morning until the last person goes home, usually around midnight.

LMT: So you usually work on the set? That's got to be demanding, physically and mentally.

CJ: Yes, that's the way I work. And you're right, the first week's extremely hard, but by the second week, you're in a rhythm. [laughs] You don't have much time for cleaning or doing the laundry, just work and sleep, for four to six weeks.

LMT: In case someone doesn't know, exactly what are the steps in casting?

CJ: First, I'll get the information out to the agents and to any other groups of actors I feel I may need to contact. Then when the submissions come in, I begin the narrowing-down process. For example, Linda may send me twenty actors on a submission, and I'll narrow those down to perhaps ten, who I'll call in for an audition. If the director isn't there to see the auditions live, I'll put them on tape for him to look at later. In our example, maybe two of Linda's original twenty make callback, and the director will make his selection from all the callbacks. After that, I prepare the necessary paperwork to get the actors booked.

LMT: I wasn't aware that the casting director handled the paperwork as well.

CJ: Yes, I do all the booking paperwork, including the SAG contracts.

LMT: Does your responsibility end when the shooting is completed?

CJ: Not exactly. Since I'm the point of contact for the actors and their agents, I sometimes handle problems w3ith pay that come up after the shoot, working with the talent's agent and forwarding information to the production's accounting department. Since I seldom go on set with a commercial shoot, my responsibility "officially" ends with the talent being selected. However, there are times when I do go on-set with a commercial project. I've also had talent call me to tell me they were lost, and sometimes the production company may call me to say that someone didn't show up. I'll contact their agent and try to find out what the problem is.

LMT: What's the hardest part of your job?

CJ: Other than the hours, I'd say the hardest part of my job is telling an actor that he or she didn't get the job. If I do have to tell someone he didn't get a part, I try to be as straight forward as I can, but I also try to make it as painless as possible. But that's why I prefer working with agents, so they can handle that.

LMT: Speaking of agents, how do you feel about franchised vs. non-franchised agents?

CJ: I like working with all agents -- they make my job much less difficult. Both franchised and non-franchised agents have their place in the business, and actors should choose an agent that works well with them.

LMT: What do you like most about your work?

CJ: I enjoy working with about a thousand different kinds of people. And that's what I like about casting extras, getting to go places like Maypearl, Texas [Carried Away] and talking to Ann at the Busy Bee Cafe. Maypearl may well be the most beautiful spot on earth in the spring.

LMT: Do you ever cast films or commercials outside Texas?

CJ: I have on occasion.

LMT: Most casting directors have their offices in north Dallas or Irving. How did you select Lancaster as your base of operations?

CJ: In my previous job I lived in the heart of the city, and I realized that I missed my small town roots (I grew up in Muleshoe, Texas) so I thought, 'I can live in an apartment in Dallas, or I can live in one of these lovely little towns I had worked in, like Maypearl.' Lancaster is only twenty-three miles from downtown Dallas, by the way... I can see the skyline from my front porch!

LMT: Since you work out of a home office, how do you handle auditions?

CJ: I often work out of casting facilities like The Call, or most commonly from the hotel where the production office is located. That's much more convenient than a north Dallas office, and it puts me closer to the people I need to see. The production company will typically set aside a room or suite for casting and that becomes my office.

LMT: I understand that casting directors sometimes bid on jobs. Is that true?

CJ: That hasn't been the case for me, since almost all of my jobs have been from referrals. The production company calls me, asks if I can take the job and we negotiate price at that point. Most CD's have similar rates, so price really isn't an issue. The production company does, however, want to know that someone else thinks you can do a good job, so my references are very important to me.

LMT: It seems to me that a casting director's work is much like a personnel manager's: narrowing down the field of applicants so that the manager (director) doesn't have to see hundreds of applicants. Is that a valid analogy?

CJ: You're absolutely correct in that regard.

LMT: How much influence do you have in the selection of the final candidate?

CJ: Of course, that depends upon the director. Some directors have a very clear idea of who they want to play a particular role, and sometimes when the field has been narrowed to, say, two people, the director may ask me, "what do you know of this person's work?" I may know that a particular actor doesn't audition well... maybe just well enough to get a callback, but that he seems to save his very best for the camera. There are some actors who may not audition well, and aren't great on the first take, but are extremely good on the 3rd of 4th take. I'll pass this information along to the director, of course. Unfortunately, there are also people who audition extremely well, but once they get on the set...

I once worked on a film where the director wanted to do favors for some of his friends by giving them small parts. Now, these were just day-player roles, and they were flying people two-thousand miles to say, maybe, three lines! You have to understand that the business is, in some regards, very political.

LMT: How does a person's "look" influence your decision to give them a callback?

CJ: On commercial projects, the "look" is extremely important, often more so than experience. Film work is often just the opposite. But the most important thing is how well they do on the audition.

LMT: How do you feel about videotaped or "teleconferenced" auditions?

CJ: I've received some videotaped auditions, but I prefer to see the person "live." If the actor is out of town, I know it's just not practical, although we'll need to see them in person for the callback. I've not done a teleconferenced audition, although it's an interesting concept. The Call could accommodate that type of thing, maybe someone should suggest it.

LMT: Recently there have been a lot of companies offering headbooks on disk or on the Internet. You can, for example, search an on-line database for all males 20-25 years of age and 5'9" to 5'11", weight 150-155, with sandy-blonde hair. How do you feel about that?

CJ: Sounds a little "programmed" to me... no, that's not how I do my work. Several years ago someone came up with a service that would allow me to do my casting like that, but I just don't see the point. Also, that method could cause me to miss people who might be very good, especially in film. Sometimes an agent will submit a "ringer" who doesn't strictly fit the character breakdown, and he'll get the part. I've seen an actor's audition cause the director to redefine the role... no, a good audition always has the capability to overcome everyone's initial opinion of how the character should "look." Besides, in a good audition, the actor adjusts his body to fit the "look" of the character, even if he doesn't look like him in real life. It's not so much how you look, or the clothes you wear, but your attitude. Does that make sense?

LMT: Yes, it does. That brings me to ask you about a strange phenomenon: I've heard actors say that the auditions where they felt they did the best job didn't result in a part, while those that weren't so good got them a role. What does that mean?

CJ: [laughs] Only that most people can't tell how well they did in an audition! Now what they may mean is that the auditions that they're not too interested in seem to often result in their being cast. That makes perfect sense, since they're probably more relaxed for the auditions where they don't care that much if they get the part. And nothing fouls up a good audition like being too tense, trying too hard.

That's where the more experienced actor has a definite advantage: he knows how to relax, let go and say to himself, "OK, I'm going to do this audition, and I'm going to do my best, but the world isn't going to end if I don't get the part." Less experienced actors worry too much about whether they're doing well, whether they'll get the part, and they get tense and don't do well.

LMT: Does it help if the actor is a "likable" person? That is, the director and crew likes him?

CJ: Of course, being the type of business it is, it always helps if the director likes an actor. But it certainly isn't a requirement. In commercials, the director is answering to his boss at the ad agency, who is answering to the client. Everyone wants to be certain that the actors are going to be professional, and that they'll put the project ahead of their ego. If not, the project could run into time and budget problems.

LMT: What's your advice to someone who's going on an audition?

CJ: First and foremost: BE PREPARED. Read whatever material you've received, and be ready to do the audition several different ways. You might not be asked to do it that way, but then again, you just might. If you're very prepared, something like that won't upset you.

LMT: Let's talk a little about resumes and headshots. What does it mean to you when a rèsumé says that an actor's role was "principal?"

CJ: If it's a film, it means that they were cast as a character and they spoke a line. In a commercial, it means that they were featured (they don't have to speak a line to be considered a 'principal' in a commercial.)

LMT: So the words, "Principal/VOC" would be redundant.

CJ: Only in the case of a feature film, not on a commercial. But I do want to know if the actor had a line, regardless of whether it was a commercial or a film. That would mean that they auditioned, maybe with fifty other people, and they got the job. That says a lot about their talent.

LMT: How about using the character name, rather than "VOC?"

CJ: The only problem with that is that a person might have been, for example, "waitress #2," with no lines, and she sort of "gives herself" a name, like "Flo." If I just see a character name, I don't really know that this didn't happen, but "principal" or "VOC" tells me that the character spoke a line.

LMT: How do you feel about someone having tons of "extra" work on their rèsumé?

CJ: I feel fine about it. I want to know that they've been working, and that they know their way around a set, that they'll understand the things a director may tell him to do. No, extra work is just fine, and it gives the actor valuable experience.

LMT: What about a lot of episodes of the same television series, like "Walker, Texas Ranger?"

CJ: Doesn't bother me a bit. Of course, if my rèsumé were quite full, I'd probably reduce all of those episodes to one line, something like, "Walker, Texas Ranger (8 episodes)."

LMT: How do you feel about student films or stage?

CJ: If you're asking me if I feel those things are inherently "good" or "bad," I don't. They are simply things that an actor has done, and it all adds to his overall experience. I don't make any judgments about whether there's too much of a particular activity.

LMT: What about training? Does it raise a red flag when someone doesn't have much training?

CJ: No, some people don't need much training... they're naturals. But I have been known to suggest to an actor that they might want to take an auditioning class if they don't audition well. That's not an "acting class," it's just the mechanics of auditioning, and feeling relaxed and confident in an audition can make all the difference in whether you'll get the job.

LMT: How about the words, "SAG Eligible?"

CJ: I like knowing that, just so long as the actor is truly SAG eligible. Some people think they're eligible when they're not. SAG will let you know when you're eligible by "Taft Hartley-ing" you.

LMT: Does the general appearance of the rèsumé influence a casting director?

CJ: Not consciously, but a professional-looking rèsumé does present the actor as both serious and professional. You'd be surprised how many people just send me a snapshot... I much prefer to receive a good photograph and a typed rèsumé.

LMT: Do you want the rèsumé to be glued, stapled, paperclipped? Attached at the top, bottom ,side, all four sides, what?

CJ: I just want the rèsumé to be attached... I don't care how. I do sometimes have to fax a headshot, and if the rèsumé is glued, it may not go through my fax machine. But that's the only reason I'd ever have to separate the rèsumé from the headshot.

LMT: How about the photographs: do you like three-quarter shots for commercials?

CJ: I like them just fine... I also like headshots. It's just not an issue with me.

LMT: People say that composites are especially good for commercial work, since you can have both a headshot and a three-quarter view, so you can see how the person is built.

CJ: I'm able to look at a person's height, weight and clothing sizes and get a very good idea of how they're built.

I can see how all this can be a problem for an actor who wants to do everything "just right," and there are probably some casting directors who have specific preferences. I really don't...

LMT: Any pet peeves about resumes or headshots? Anything you especially like to see?

CJ: No, I don't have any pet peeves. I do like resumes to be neat, and I pay extra attention to special skills. And I don't like it when people exaggerate their special skills, since I may depend heavily upon something in that section. I've been stung a few times.

LMT: Let me guess: horseback riding. Right?

CJ: You've got it.

LMT: What makes casting on the West Coast different from casting in Texas?

CJ: If nothing else, the sheer volume of work and the tremendous pressures on everyone, including the casting directors.

LMT: Have you had any funny casting stories?

CJ: Last fall, I had a commercial assignment where I needed to cast some kids two to four years old. I've always worked very well with kids. In fact, my work with Disney's national search for twin children for Honey, I Blew Up the Baby went extremely well. But -- maybe the moon was wrong -- but the first six kids who came in to audition burst into tears. And all they had to do was to get into a little red electric car and drive it! The kids would come in, I'd say, 'Are you ready to drive the little red car?' and they'd start crying! [laughs] It wasn't one of my most memorable casting experiences.

LMT: One of the things that surprises me about child actors and models is the number of mothers who dress their 13-year-old girls so they look like they're twenty-five. You'd be amazed by some of the pictures we've received from these kids' moms.

CJ: I'd be appalled, but I wouldn't be amazed. When I do extras casting in small towns, about 75% of the people I see are moms with their children... and their glamour shots. It's frightening,,, and sad.

LMT: Is there anyone in the business who you especially admire?

CJ: Rody [Kent, principals casting for PBS' Wishbone], because she's been in the business a long time and has managed to keep her kindness. She's also very professional.

LMT: If someone wanted to get into your line of work how would they go about it?

CJ: Try to serve as an apprentice to an established casting director -- the only way you can learn the business is by doing the work. Once you've gained experience as an apprentice, you may be able to work as someone's partner until you're ready to strike out on your own. Having a partner is very important to me -- it allows me to do things I couldn't otherwise do, especially when I'm working on a film for eighteen hours a day for six weeks.

LMT: How do you feel when you see the results of your work, when you see a film or commercial that you've cast?

CJ: It's a trip! Although I don't see the finished product with commercials as often as with a film, it's very rewarding to see someone I've cast and say to myself, "Wow! Sue did a great job!" It's also very nice to run into my former students and see that they're doing well in the business.

LMT: How has the industry changed in Texas during the past eight years?

CJ: Since it's so easy for people to travel by air today, I may see people from Houston, Austin and San Antonio for a project that will be shot in Dallas. There's more of everything... more agencies, more actors, more casting directors, and certainly more work.

I spoke to a prospective client this morning about something they called a "documercial." Sort of like an informercial, but it instructs the viewer, rather than simply passing along information. That sort of thing didn't even exist a two years ago, and now there's CD ROM, interactive media, more independent films (everyone has a script they want to produce... how about you?)

LMT: Uh... well, in fact I do... Carla, what would make your job as a casting director easier?

CJ: If no one ever had car trouble, no one ever got sick, that would make things easier. Sometimes I can't see who I want, when I want them, because there's so much work in town and they may be working on another project. Or they may have a conflict [commercials].

LMT: What is the C.S.A. designation you sometimes see after a casting director's name on film credits? Is it some sort of certification you have to get in order to do union films?

CJ: No, a casting director doesn't have to be C.S.A. in order to do SAG work. In fact, from what I understand, C.S.A. is primarily a social organization and doesn't certify its members. I'm not a member, and it's never been raised as an issue for any work I was doing. Since there aren't any health care or other benefits, it doesn't seem to be something I need to worry about, especially since I don't intend to move to New York or Los Angeles.

LMT: Carla, you're generally known as one of the "good" people in a business that sometimes isn't known for its goodness. You also have a reputation for being extremely considerate of actors. In fact, I've heard actors say that they feel that your ability to put them at ease allows them to do some of their best work. Why do you think this is?

CJ: You have to remember that I taught high school drama for several years, working with the most insecure actors there are. My kids were always so excited about doing a good job... It's given me a respect for the profession and for the actors as well.

LMT: I think you've already answered my question about whether you intend to take your work to one of the coasts. Apparently you're not planning such a move.

CJ: No, I don't intend to. Dallas/Fort Worth is a great place to work -- good area and wonderful people. Most folks here have a sense of humor and a good sense of perspective about this odd business. I like working here very much, and the market in Texas gets stronger each year.

© 1996 Wordsmith Communications Co. and Carla James