THE MIDDLEMAN pilot is a go, and my friend Javi is chronicling the experience of producing it on his blog. Today he begins with an excellent explanation of how the casting process begins for the key roles in the project.

the concept meeting is that moment when the show’s team decides on a common language for the types of actors who will play the roles. the sky is the limit: if saying that the perfect actor for a role is “a young rod steiger” gets everyone on the same page, then so be it — if only because it provides a guideline, for the ensuing search for talent, and it ensures that there is consensus as to the kind of actors on which to focus (it also allows anyone at the studio and network who thinks — hey, “young rod steiger” is wrong, how about a “young raymond burr” — to voice their opinion, which, of course, leads to the inevitable consensus of “ok, how about a young william conrad?”).

the casting agents — trained professionals that they are — inform these conceptual discussions (and bring them down to earth) by offering their own lists of actors whom they believe are right, who are available, and who may be disposed to doing the project.

understanding and respecting the artistry of a good casting agent is crucial to producing a series — their job is to not only find the agreed-upon type, but also to identify actors who are up to the challenges of the project, and to open up the producers’ eyes to talent that may not necessarily fit the concept but who bring other things to a role that are equally interesting.

There’s a reason why they are called "Casting Directors," because they are actually bringing their taste, experience, and unique creative pov to the project, the same way a director does. You aren’t hiring someone just to sift through pictures and resumes (I have worked with casting director like that…and it was hell). It also helps if you can establish a creative partnership with a casting director who understands how you think, how you view story, the acting styles you like, and your approach to character.

I’ve been fortunate to have worked for years with two of the best casting directors in the business — Victoria Burrows & Scot Boland (LORD OF THE RINGS, 21 JUMP STREET, CAST AWAY, the new RESIDENT EVIL movie) — on two TV series, several pilots, and most recently on the U.S. casting for the FAST TRACK pilot. Having a creative short-hand together makes things a lot easier. I can always count on them to bring in just the right people…but they will also bring in some unexpected actors who offer a very different take on the character than I had in mind. Some times those actors are interesting misfires, but more often than not, it’s those unexpected choices we end up going with.  It was Victoria and Scot who found Johnny Depp for 21 JUMP STREET, Kevin Spacey for WISE GUY, and Viggio Mortenson for LORD OF THE RINGS, so that should tell you something about their creative instincts.

For the lead in FAST TRACK, they brought in Erin Cahill. She was exactly the face, the voice, the attitude and the look I imagined when I was writing. Erin was so close to the picture in my head that it was a bit startling for me. I’m not surprised at all that Victoria and Scot found her. That’s why they are so good at what they do.

But I also remember a time on DIAGNOSIS MURDER, when they brought in an actor for a spin-off pilot who’s performance wasn’t what Bill Rabkin and I had in mind at all…but he was so compelling, so interesting, so unique, that we had to cast him. It was Neil McDonough, and he was by far the best thing about the pilot. He later did a multi-episode arc for us on MARTIAL LAW, then immediately went on to BAND OF BROTHERS, MINORITY REPORT and BOOMTOWN.

Who you hire as a casting director is, next to the director himself, the most important choice you will make when you begin your production.  If you don’t have the right actors, you don’t have a show…

Today Saddlebums interviews author James Reasoner, one of the hardest-working writer I know with 200 books to his credit under various nom-de-plumes. In the time it has taken me to write this post, he’s written half a western novel.

The actual writing process is pretty much the same for me regardless of what name is going on the book. I take a lot of pride in the work and I have to entertain myself as I’m writing, first and foremost. Everything else comes after that. There is a certain sense of freedom in writing a book when you know your name won’t be on it. You won’t get any of the blame if it’s terrible. But that’s balanced out by the fact that you don’t get any credit for the good ones, either. And I don’t want to write terrible books, anyway. I want them all to be as good as I can make them.