CDG News

SAD LOSS

It is with great sadness that we have to report two of our great Casting Directors passed away on Sunday evening (19th February 2017). They were CDG members Maggie Lunn and Doreen Jones. Both died peacefully surrounded by loved ones. They will be greatly missed by us all. We are all grateful for the incredible contribution to casting they both made over the years.

Malcolm Drury

It is our sad duty to report that Malcolm Drury died on Saturday 3 September at home, he had not been well since the beginning of this year. Malcolm was one of the first Casting Directors to join the CDG in 1997 and had an incredible career, mainly in TV, where he worked on some of the most popular TV programmes of the time including Heartbeat, The Bill, Darling Buds of May, The New Statesman and Beiderbecke. He was also of course Head of Casting at Yorkshire TV.

He will always be remembered with great fondness here at the CDG.

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Finding a twin for Lenny Henry: a casting director’s take on Shakespeare

Casting Shakespeare is a complex business. Casting directors work with the play’s director, trying to get inside their head as they get to grips with the play. Some directors have a very clear idea of what they’re after, or have a particular actor in mind – you’re not going to do Hamlet without knowing who your Hamlet is, the same with King Lear. But other directors might be more open to ideas and want us in the casting department to help prompt them. You’re trying to respond to what their concept is, and make it come alive.

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Next! The death of the audition

Last year, the actor Paul Freeman borrowed a chapel in the grounds of a friend’s house, lit the building with candles and played a CD of Gregorian plainchant while wearing his wife’s hoodie as a monk’s cowl. He got the part in Da Vinci’s Demons.

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Fiona Weir and Nina Gold talk about the process of casting Room and The Martian

As much as the modern franchise era has introduced a certain algorithmic predictability to Hollywood, the art of making movies is still, at its heart, more an alchemy than a concrete science — and few people in the business have learned that lesson better than casting directors. How do you cast a couple whose chemistry must carry a film? How do you find actors who can embody a particular period? And how do you make sure the kid you’re looking at can actually act?

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