The word “Casting Director” first entered the lexicon around 1814, and described the person tasked with selecting actors for parts in stage productions. In the movie business, it began being used in 1920, and over the years, it has become a universal description. In France, it’s a “directeur de casting.” In Italy, it’s a “direttore del casting.” In the Spanish-speaking world, it’s a “director de casting.” And in Germany, it’s a “casting direktor. ”
Italian film historian Marco Spagnoli added an extra peculiarity: “The role of casting director,” he reported, “emerged in Italy only in the 1960s, when many American movies were filming in Rome and they were using this role to choose actors. At first, it was more of an ‘American oddity.’ But, in the 1980s, the profession began to spread in Italy, as well, and in the 1990s, it became a truly recognized profession, with an association formed to unite all those involved in casting.”
To get some insight, VideoAge reached out to Italian-Canadian Bruno Rosato, a 53-year-old casting director from Montreal who has been working on Hollywood movies since 2001, when he was in London shooting a movie with Mel Gibson (pictured above) and in the process of going to Poland to shoot another film. Rosato is known as a casting director (To Catch a Killer, 2023), and a producer (The Jewels of the Salton Sea, 2019). He has been involved with 97 productions as casting director, and 33 productions as producer.
VideoAge: As a casting director, how do you find out about films or TV series in development or pre-production? Or do the production companies just call you?
Bruno Rosato: At this point in my career, I get more calls than I make. But before reaching this stage, I had to be very persistent in seeking work and coming up with clever ways to generate business.
VA: When you select an actor, do you give an idea of the salary, or is it the producer who talks about money?
BR: Producers usually make the major offers, while casting directors act as advisers regarding an actor’s market value.
VA: Do you cast strictly based on the script, or do you also have creative input on a character’s type?
BR: I definitely have some creative input. Smart directors are open to letting actors in auditions influence the character and even reshape the writing in ways that hadn’t been considered before.
VA: How do you go about a casting call? Do you call agents, advertise, or contact talent directly?
BR: I usually work through breakdown services and agency calls. If those channels don’t lead me to the right talent, I’ll also turn to social media or direct outreach.
VA: Are casting directors subject to race or nationality requirements?
BR: I’ve always aimed to bring different nationalities into the mix. Fortunately, over the last 10 years the industry has moved significantly in this direction, embracing much more diversity.
VA: How do you avoid creating enemies when rejecting a talent?
BR: Actors should come into the room grateful for the opportunity and prepared to give their best. Even if they don’t land that particular role, they may leave a strong impression on me that leads to a bigger role in a future project.
VA: Rejection is part of an actor’s life, but actors are also very emotional. How do you deal with temper tantrums?
BR: I remind them that I face rejection every day myself. I love what I do, and that passion keeps me moving forward. That same love and resilience will always bring new opportunities.
Leave A Comment