Casting Is More Than Just Finding Talent
Photo credit: Alexander Hankoff
Yes, casting companies find talent. It’s their primary function during pre-production - sourcing actors for TV series, films and, of course, ads.
However, casting director and founder of Paladino Casting, Kristen Paladino, contends that the modern casting company’s responsibilities, often unseen by those outside the production, go far beyond this one duty.
“We’re the liaison between the agents, managers, talent and the production,” she tells LBB. “Casting is usually one of the first department to be onboarded to a project. However, our support extends beyond the timeline for casting talent, as production needs often arise throughout the process.”
According to her, this includes: helping producers estimate costs, determine talent needs, understand rules and regulations, manage schedules, and even more throughout the production – all on top of their primary duty of booking talent.
Above: Kristen on set (Credit: Kontent Kamp)
First and foremost, Kristen considers casting directors "advocates” for talent -- during the casting process and through to the shoots. “We really stand up for them and try to negotiate the best rates and level out production,” she says. “If someone needs a talent immediately, then we ensure their transport is paid for. And if someone cancels on them? We have to put that in the estimate too, so the talent is looked after. ”
It’s this approach that’s built long-lasting, personal relationships with clients over the past 20 years, with 85% of Paladino’s business coming from referrals.
“Paladino has that freakish superpower of having access to everyone,” shares director and writer, Sam Jones, “and somehow, every time, they nail it. Not in a generic ‘they’re great’ way, but in a spooky, ‘how-did-they-know-this-person-was-in-my-brain?’ kind of way. It’s like they have a secret hotline to the perfectly calibrated human for each role, someone who elevates the material and makes you look smarter than you are.
“I know that when Paladino Casting is on it, we’ll secure the right talent for each role. Kristen just gets it.”
But, as Kristen suggests, finding the talent to enhance a project is just the beginning of Paladino’s more holistic role in production. “Our knowledge goes beyond simply understanding the talent pool in the cities where we operate; it also includes a deep understanding of production needs based on our experience with television and long-term projects.”
Above: Kristen on set (Credit: Kontent Kamp)
This insight allows them to anticipate producers' needs in advance, going beyond the treatment text and ‘matching appearances from a presentation’, to being actively involved in the pre-production process.
“Working with Kristen, I always know the bases will be covered,” says Avtar Khalsa, managing director and executive producer at Imposter. “Every project is different - sometimes we need to cast in multiple cities, travel talent to another country, or to secure permits to employ minors, and she and her team help seamlessly facilitate everything. She’s also a great resource whenever I have questions about SAG and labour laws or anything surrounding the hiring of talent.”
“Kristen is a casting director who can read between the lines,” agrees Ben Smith, co-founder and ECD at The Mayda Creative Co. “She has an uncanny intuition for what a role really needs and isn’t afraid to look beyond the expected to make it happen.”
One of Paladino’s key strengths is its ability to support productions that cross borders, such as a LEGO x Disney collaboration shot in South America with production company 1stAveMachine. “The commercial was filmed in Uruguay, which brought up numerous technical questions from the US production team that needed to be addressed to ensure a smooth talent transfer. We were there to facilitate that,” says Kristen.
“When assisting with casting US-based talent for international productions, we manage various technical and production aspects alongside talent, agents, and managers,” she adds. “There are several key considerations, including permitting, scheduling, and travel questions. During pre-production, we need to act swiftly for things like fittings, as well as addressing concerns such as whether the talent is travelling with a guardian, any allergies they might have, their availability, and how this may impact their schooling.”
She continues, "There are many details that US production companies may not be aware of regarding the local area, so they rely on us when casting talent in the US. We work collaboratively with both the US company and the local production service where we are filming. This allows us to help overseas clients navigate local rules and regulations and vice versa. It's a rewarding process."
Commenting on the companies' collaborative dynamic beyond just the LEGO x Disney work, 1stAveMachine's London head of production, Mariajose Garcia, says, "Beyond just finding amazing talent in the US whilst in production, Paladino casting works with us as a production partner when it comes strategising how to approach the casting process, while working with challenged budgets in today’s commercial market. They truly feel like a collaborative partner and would highly recommend them to anyone."
Another recent example is when Paladino cast US voiceover talent for a Haribo project with UK-based creative agency Quiet Storm. The agency’s head of production, Emily Wolley, says that with an ever-shifting modern landscape, it’s “crucial” to work with a casting director who can discuss new terms, explore options and give advice on the current climate.
“For a UK company, navigating US talent can be really complex, so you need people with deep industry knowledge,” she says. “Previously, booking terms could often be copy-and-pasted with ease, but that’s no longer the case. Now, you need a partner who understands the changing landscape, the intricacies involved, and who strives for the best outcome. Open lines of communication are essential. It can get intense, and honesty is always the best policy. You need people who aren’t afraid to pick up the phone and have direct conversations.”
Describing the Haribo project, Kristen says, “Eric Brown at Fixer Films introduced us [to Quiet Storm] as we are his trusted casting partner. Since they did not have a production team here, we were able to take over that responsibility for them… What was essentially a mini production for them.”
This involved country-wide casting, booking a recording studio and sound engineer, finding a session reader with experience working with children and in comedy, facilitating remote recording with talent outside of New York by sending equipment to people’s homes, and assisting with the tech prep and props.
“Essentially, they acted as a service company as well as a casting agency, which is incredibly rare and extremely helpful,” Emily says. “We had two days of recordings, a mixture of in-person and remote sessions. They were also happy to compromise and find solutions budget-wise when necessary… They acted as producers on the ground for us, handling all calls and schedules.”
Above: Kristen on set (Credit: Kontent Kamp)
Paladino has been going beyond ‘just finding talent’ in this way for two decades – something that helps clients both in the US and overseas rely on them to provide the right resources and production understanding.
“People don't know that we can help facilitate that,” says Kristen. “We're not a production company, but we understand the value of [knowing] what they need and how we can help them.
“It doesn't just stop at finding the talent, and then passing the project off – especially when a client isn’t fully familiar with the lay of the land yet."
