Fabian, Kailey Rhodes, Diana Coconubo and director Ian Ebright discuss filming debate scenes, preparation, and the organic development of their characters.
The series is about a scam artist who’s been impersonating female executives in an attempt to lure actors and other victims with the promise of huge career opportunities.
The casting directors also talk about self-tape submissions and being adaptable in auditions.
“Research as much as you can, prior to auditioning. Especially in this age of self-taping… it’s really important to try to get that across on your self-tape.” – Casting Director Leah Daniels-Butler on Auditioning for Historical Dramas.
“I stepped away from L.A. and moved back to Australia when I was pregnant with my fourth child, so there were a few parallels with Helen Smallbone’s story,” Betts said.
“What stays with me really is when I feel like I’m in the presence of an artist… that you just realize, “Oh, this person’s really special. There’s something really that I can’t touch, I can’t talk about it, I can’t equate, but I feel it,” Papsidera said.
“You really want actors to do well. We want everyone to come in and do their best and do well and surprise us,” casting director Lucy Bevan said.
“It’s one of those things where you open up the audition and you’re like, ‘Sure, I’ll tape something but who knows…’ And then I just kind of kept going up the chain, I couldn’t believe it. It felt kind of pie in the sky of a national tour,” Nagraj said.
“[Braff] is a comedic ninja and to have our lead guy also be a super talented filmmaker in his own right? It was amazing to have that presence on set, just as a sort of a spiritual brother,” Wright said.
Cumming, Oakley-Green and Young, discuss the impact of filming on location in Scotland, the challenges of learning a new language and the unique audition process they went through for their roles.
Stephens, who brilliantly brings Bluey to life, says the show has been an “incredible experience and journey” for her as an actor.
“The goal was not to trick people into thinking I’m a little boy,” Pedrad says. “It was really to disappear into the character and play it as earnestly as I could.”
Roth talks about the business of voice-overs, voice-over reels and what he’s listening for, what classes you should take and if actors should be worried about AI.
Acting coach Howard Fine has spent decades guiding actors to their full potential. He’s worked with some of the biggest names in Hollywood, including Michelle Williams, Kerry Washington and Bradley Cooper.
Eponine has “such a special place in my heart, and so I get so excited to get to do it each time and bring something new to it,” Phoenix Best said as she was preparing for her return to the National Tour of LES MISÉRABLES.
“I miss terribly being in the room with actors. I love that more than anything, but I have seen so many more people, been exposed to so many people I didn’t know, hired people from places that I can’t be.”
Lane talks about the early beginnings of his one-man show, Triple Threat, playing people from his life (including younger versions of himself) and why he didn’t want to sugar-coat his story.
Richard Hicks chats about the challenges casting the show auditioning with self-tapes, getting re-directed and more.
Donna Benedicto is a Filipina Canadian who decided to make a switch from full-time singing to pursue acting in 2013 because she saw a gap in Asian representation.
Jesmille Darbouze on enjoying her role in A Doll’s House, her thoughts on why she almost stopped acting and her worst audition ever.
