Michelle Gertz has been an active casting director in Los Angeles since the mid-90s. She has worked in all aspects of casting: studio feature films, independents, television pilots and series and the occasional animated feature, as well as interactive projects. Michelle trained with, and eventually partnered with, Joseph Middleton. She worked on the AMERICAN PIE films (1 &2), BRING IT ON, LEGALLY BLONDE and THE BOURNE IDENTITY. In 2002, she replaced Joanna Colbert as VP of Casting for Universal Studios while she was on maternity leave. Then she stayed on as a Casting Executive in the department for a year. She cast DONNIE DARKO (with Jake Gyllenhaal), HONEY (with Jessica Alba, Mekhi Phifer,Lil Romeo), BIG FAT LIAR (with Paul Giamatti, Amanda Bynes and Frankie Muniz) and MR. & MRS. SMITH (with Brad Pitt and Angelina Jolie). She completed her 3rd season on HBO’s Project Greenlight (casting the horror film FEAST) and the TV crime drama HEIST. She currently is casting a romantic comedy for Playtone called MATERIAL GIRL and an action-fantasy based on the video game KING OF FIGHTERS for Double Edge Entertainment & Inferno.
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Backstagemom: You have worked on so many fun projects involving young people. Do you have a favorite you could tell us about?
Michelle Gertz: As far a kids projects, “BIG FAT LIAR” remains one of my favorites. I worked on it when I was pregnant with my first child. Up until then, I had mostly worked on teen comedies and independent films. But I knew I was starting my life as a mom and I really wanted to work on films that my kids could enjoy as well. Now my daughter and my son love it, and when I see them watching it, it always makes me smile.
BSM: What projects are you currently working on?
MG: I am doing a film about the first female jockey, Julie Krone. It’s her life story and it’s amazing. I am working on a film in China, helping cast the leads. That is fun and I am learning about a new market. I just finished an independent about illegal immigration, filming in New Mexico. My interests are all over the map, so its nice to have a variety of scripts that come to me.
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BSM: How does an actor get the opportunity to read for you?
MG: I rely on my relationships with good agents and managers. I keep copious notes on everyone I have met and read so that I can reference it for future projects. Sometimes I will use breakdown services or other online services to get the word out about auditions and projects.
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BSM: Do you find that you often search for talent out of town? If so, could you tell us about any actors who have been cast from another area?
MG: Yes, I try to open up appropriate roles to actors out of town. However, they usually will need to work as a local hire for the film, so when I put the word out, or breakdown, I am specific that travel and expennses may not be included. I watch auditions that are sent to me online or on DVD. I trust my location Casting Directors to point me in the right direction of local talent.Â
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BSM: When an actor gets in the audition room, what qualities make you take notice?Â
MG: I immediately notice if an actor is prepared. That means doing the research before hand to know about the project, to research all the players (ie: director, writer, producer, casting) and to have a good sense of the character and material. It is always apparent if an actor is asking a well thoughtout question or if they are just asking a question to fill time and to stay in the room longer. I always tell actors, if you do all the necessary leg work, come in prepared, make a choice, and show your stuff.  You can leave and feel good about what you’ve shown us. Of course, there is that certain ’something’ that is apparent immediately in some actors. Very few have it, but those that are blessed with that “IT” factor, can usually get away with more in the audition room because they are special enough for a CD to work with. There has to be a likability in any actor. I always say, ‘how can i watch this person the whole movie, how am I suppose to care about this person on screen .’ Most of the actors that have made the best impression on me have not been cast for that particular project. It is always 2 or 3 or 4 projects down the road and that first impression lasted enough for me to continue to bring them in and to find the right part for them.
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BSM: Do you have any pet peeves during auditions?Â
MG: I don’t like gum chewing, strong perfumes or scents. I am not a huge fan of props. I think an actor should be as clean and simple as possible…like a blank canvas. If the talent is there, it doesn’t matter if you are in jeans and a T-shirt, cause we have hair, make up and wardrobe that can make you look the part.
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BSM: Do you have any notes for actors and their parents on handling themselves at callbacks?Â
MG: Again, do your reserach. read the script, ask specific questions and know your character. Be flexibile enough to take direction and don’t come in all friendly and chatty. Even though it is your 2nd or 3rd time in the room, just come in prepared, do your scenes, and say Thank you. Leave the rest up to us. Always send a nice card or note to thank the CD for their time with you. No gifts, don’t spend money, just the thought that they continued to believe in you. Those gestures go a long way.
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BSM: What thoughts can you offer parents to help kids deal with rejection?Â
MG: Unfortunately rejection is part of it. Your child should know that from the start. Make sure that you have open communication with the child about how they are feeling. Let them be the ones to make the choice if this career is for them or not. Its a lot of work and the child needs to be responsible for himself. The parents are the biggest supporters and fans fo the child and that constant belief and affirmation that they are ‘unique and special and talented’ is crucial for a child to succeed. We all want to know that our family is in our corner.
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BSM: Are there any qualities you look for in a parent when deciding to cast a child actor?
MG: Parents need to be team players. They should be good listeners and not just demand things from production. Everyone has a job to do and it can get stressful, but if production people and parents can communicate in a kind and pleasant way, they can accomplish a lot.
MG: Parents need to be team players. They should be good listeners and not just demand things from production. Everyone has a job to do and it can get stressful, but if production people and parents can communicate in a kind and pleasant way, they can accomplish a lot.
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BSM: Lastly, do you see any benefits to children getting involved in acting?Â
MG: As long as the child continues to enjoy themselves and to grow, it can be a positive thing. Kids should be kids. No child should have to give up their childhood for acting. there has to be a balance. If guided properly, a child actor can develop a great sense of self and confidence and that is precious.
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