THE FORGOTTEN MAGICIANS OF MOVIE MAKING
We writers, because we are communicators, have made it part of the stuff legend that writers are treated abominably in Hollywood.
I’m not sure the establishment of that truth has improved our situation but, at least, it makes us feel better. Besides, pretty much everybody is treated abominably in Hollywood at some time or other.
You can take all the sincerity in Hollywood, place it in the navel of a fruit fly and still have room enough for three caraway seeds and a producer's heart.
In my opinion, some of the most neglected people in the movie business are casting directors. If casting is wrong—no matter how good the screenplay and directing—the movie just won’t work.
A good example of that was the disastrous selection of COLIN FARRELL in Oliver Stone’s movie ALEXANDER.
In contrast, consider the min-series ROME where everyone just looked and felt right—even when the casting was unconventional.
Casting is not just a matter of picking stereotypes. It requires an extra dimension—a very special kind of judgment which seems vastly less common in U.S. TV than in American movies.
Fundamentally, it is impossible for a writer to see his vision realized if the casting is wrong. I am a huge admirer of casting directors who have the sensitivity and experience to get it right time after time after time. One example is Lyn Stalmaster whose track record is just plain awesome.
Good casting directors are just that.