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The art of casting: A deep dive into the making of ’Ripley’
A skeptical start
When Avy Kaufman, a renowned casting director, was approached by Steven Zaillian to cast the Netflix limited series “Ripley,” she had her reservations. The series, based on Patricia Highsmith’s classic novel ”The Talented Mr. Ripley,” had already seen a notable adaptation in Anthony Minghella’s 1999 film. Kaufman candidly admits, “At first, I was wondering why Steve was doing this.” However, her doubts were soon quelled as the series garnered 13 Emmy nominations, including one for casting. ”It’s like a piece of art,” Kaufman enthuses. “I was really impressed. It tells so many different stories and gets inside the characters. I just think it’s a masterpiece.”
A history of collaboration
Kaufman’s professional relationship with Zaillian dates back to his directorial debut, “Searching for Bobby Fischer” in 1993. Since then, they have collaborated on numerous projects, including “The Night Of” and “A Civil Action.” Kaufman, a three-time Emmy Award winner, has worked with some of the industry’s best, from Ang Lee to Steven Spielberg. When asked what she values most in a director, her response is succinct: “Collaboration.”
The casting journey
The casting process for “Ripley” began before the pandemic, and Kaufman admits it was a challenging endeavor. “He wants to see a lot of people,” she says, referring to Zaillian. “Which I respect, but it does take some time.” Andrew Scott was already attached to play the titular character, and Kaufman suggested Dakota Fanning for the role of Marge Sherwood. “I had worked with her on a show called ‘The Alienist,’ and she was wonderful,” Kaufman notes. “At first, I wasn’t sure she would want to jump back into television, but she did, and she was brilliant.”
Fanning was just one of several actors Kaufman keeps in her mental Rolodex. English actor Johnny Flynn, who plays Dickie Greenleaf, and Eliot Sumner, who portrays Freddy Miles, were also on her radar. “Johnny is a favorite of mine, and when Steve took to him, I was so happy,” she notes. “Ripley” might be their most high-profile roles in the U.S.
The impact of the pandemic
Because the casting occurred pre-COVID, Kaufman mostly relied on in-person auditions, with location casting assistance from colleagues Francesco Vedovati and Barbara Giordani. She misses the days of face-to-face interactions. “I miss not seeing people in person; you do get a different feeling when you’re in the same room,” she notes. However, she acknowledges the efficiency of virtual auditions. “I can see people all over the world thanks to Zoom.”
Empathy for performers
Kaufman’s background in ballet gives her a unique empathy for performers. She understands the challenges of auditioning and strives to put actors at ease. “My hat’s off to actors,” she says. ”We’re all people pleasers, and I know what it’s like to want to do your best for someone. So, when I work with someone, I try to put them at ease. I want them to be confident and know the material. Don’t try to be funny; don’t try to do what you think I want. Just do the best you can.”
Memorable casting moments
Some of Kaufman’s favorite casting memories include scouring chess clubs for child actors for “Bobby Fischer” and discovering Suraj Sharma in India for the lead in “Life of Pi.” She also suggested Julianne Nicholson and Evan Peters for “Mare of Easttown,” both of whom won Emmy Awards for their performances. Kaufman takes pride in casting ensembles and seeing actors achieve greater success. When she cast Spielberg’s “Lincoln,” both Adam Driver and Jeremy Strong were relatively new to film. “I really take pride in ensembles and how to fit them all together,” she notes. “I look at ‘Lincoln’ and am so happy to see all these great actors who got to be a part of it and it started a lot of people.”
Discovering new talent
Kaufman stays up to date on theater, film, and TV, always on the lookout for new talent. She even approaches people on the subway if they catch her eye. One amusing discovery story involves her own son. While auditioning child actors, the director pointed to a boy and said, “That’s the kid!” Kaufman had to clarify, “No, no, that’s my son.” Although her son wasn’t interested in auditioning, Kaufman cherishes those moments of serendipitous discovery. “We do love those moments where you just see someone and respond,” she notes. “Even if in this case it didn’t work out.”
Final thoughts
Kaufman’s journey in casting “Ripley” is a testament to her dedication, intuition, and collaborative spirit. Her ability to see potential in actors and bring out their best performances has made her one of the most respected casting directors in the industry. As she continues to discover new talent and create memorable ensembles, her work will undoubtedly leave a lasting impact on cinema and television.
For more information on the series, check out the Ripley trailer.
Note: This article is a reimagined version of an original piece, enriched with personal reflections and in-depth analysis for cinema, TV series, and music enthusiasts.
