Georgia Topley: ‘Everyone Wants You to Give Your Best Performance’

If there’s one casting director you need to keep on your radar, it’s Georgia Topley. A long-time disciple of legendary Scottish casting director Des Hamilton, Topley has begun working on her own projects, focusing on indie films.

Her first major solo project to see the light of day is the highly anticipated sequel Sisu: Road to Revenge, the follow-up to the enormously successful 2022 Finnish action comedy that showcased an ex-soldier taking on an entire regiment of the SS, and kicking their butts in graphic fashion.

The sequel, also written and directed by the first film’s director, Jalmari Helander, stars Jorma Tommila returning in the title role, along with Stephen Lang and Richard Brake. It hits American theaters on November 21. Topley, who has a dozen other projects on the horizon, spoke to us from her office in London.

Insights From Georgia Topley

Actors should focus on truly listening to what the director wants instead of guessing or assuming, as this aligns better with casting decisions.

It helps actors to understand the casting director’s and director’s previous work to better tailor their audition and showcase relevant skills.

Don’t be afraid to ask questions during auditions, but don’t feel pressured to do so; confidence and a strong performance matter most.

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How did you get into casting in the first place?

I was thinking, should I do the honest answer or the professional answer? (Laughs)

Always the honest answer.

I had quite a rocky teenage period, and I did go to university, but I had no idea what I wanted to do at all. I was basically lucky enough to be introduced to Des Hamilton, who I worked with for almost seven years in the end.

It was a complete fluke. I was introduced to him through one of my neighbors as this guy who sometimes needs help in his office, and … “By the way, he works in film.” I thought that sounded interesting, and met him for breakfast. I didn’t have any idea who he was, or the amazing films that he was obviously a big part of, but we had quite a lot of personal things in common, so we just spoke about that. At the end of the breakfast, he said, “Do you want a job?” I didn’t really know what else to say.

That sounds like kismet.

I started off as an intern and then just didn’t leave. I didn’t really realize what an amazing opportunity it was until I was managing his diary, and I said, “Why do people really want to meet this person?” (Laughs) Maybe it was because I wasn’t seeking out the job that I got it.

He probably saw that as a bonus.

Yeah, and I had just got sober, when I was 21, and was restarting my life. He gave me this amazing opportunity.

I find that the vast majority of casting directors fall into it.

Yeah, I didn’t really know what it entailed. I remember saying to Des, “What’s the producer?” And he said, “I actually don’t know.” (Laughs) But, yeah, I think it also informs how I talk to actors and producers and directors now. I don’t have formal training, so I don’t think you should have to do those things in order to work in the industry.

I think I also was really lucky, because when I started, it was before COVID, and we were still doing all the auditions in person. So for a few years, I basically just filmed Des doing auditions with actors for two series of Top Boy, The King and Jojo Rabbit, and I was either filming with Des or reading with the actors. So I got to see first hand how it all works.

It was such an amazing experience, because that just doesn’t really happen anymore, seeing people in person. I think each role you’re working on, or looking for is its own world. The fact that you’re constantly operating in all these different worlds [with] all these different people keeps it interesting.

You anticipated my next question. What was it about casting, once you figured out what casting was, that really spoke to you? It sounds like it was putting the puzzle together.

It’s also about the collaboration between the actor, the writing and the director. It’s a weird alchemy. So many times, I’ll think, “Okay, this person will be perfect for the role, they’ll obviously just cast them.” Then you’ll see a couple of other people audition, and the person you thought would be really good does something weird, and the director doesn’t like them, and someone that you were not sure about does something that makes them totally right for it.

There’s so many variables, and a lot of the time I honestly couldn’t tell you what a decision is based on. But it’s good to get to know people, because then if they make a weird choice, or it’s not their best day, you can say to the director they need to take another look at this person

Have you found that your job has gotten harder after COVID? Has everything being self-taped made it more complicated than it was before?

It actually has made a lot of things easier, but I also think it’s created a lot of problems, mostly for actors. It must be so weird, spending that much time on something and then sending it off into the ether and just wondering what happened with it. In terms of casting, it does mean that you can take a chance on people that might not be the most obvious fit.

I just cast a film and the lead girl is a teenager. We cast it and then lost the actress to another project, and we saw literally hundreds of people. This Canadian manager emailed me and said, “I have this girl. She can do a perfect British accent.” At the time, I thought there’s no way they’re going to cast this person because she’s in Vancouver. But [I said], “Sure, why not? Send a tape and let’s just see.” And they cast her.

I do think COVID has made things more global, and there aren’t as many barriers to access in terms of geography and stuff. On the other hand, with agents, I’ll ask one person to self tape, and they’ll say, “What about my other 10 clients? Can they also self tape?” That’s when it gets into murky water. You do have to maintain some restrictions.

After working with Des for as long as you did, what made you want to go off on your own?

I just wanted to have more agency in terms of the projects that I gave my time to, especially with independent films, which are my love. It just felt like a natural progression.

There’s lots of filmmakers who are of my generation who I’m really excited about, and I just wanted to be able to forge those relationships and go full steam ahead with them in a way that I just wouldn’t have felt as possible if I was still part of a bigger company. Des was very supportive and we’re still on great terms.

So let’s talk about Sisu. What were the benefits and drawbacks of casting a sequel like this?

Because it’s such a distinct style, it was quite helpful. A lot of the times when I’m casting a film, I’m constantly just badly describing things to people, whereas with Sisu, I could just send the trailer of the first film. So this is great in terms of the vibe, but also, Jalmari, the director, was actually really open in terms of how to cast the villain, Igor.

From a casting perspective, being able to think on a larger scale because of Sony being behind it, and obviously the success of the original, people were really excited about it. As to challenges, it was actually weirdly quite straightforward. We were sensitive to the terrible typecasting of Russian roles in cinema. Finding someone that would get that, it required a specific energy. Someone who is not just a one-dimensional villain. That led us to Stephen Lang.

We talked about how the world has changed from both the acting and casting sides. With that in mind, what piece of advice or wisdom would you give to someone coming in to see you?

Listen to what the director says, rather than what you think they want. It also really helps to have an understanding of someone’s previous work, so that you have an idea of what they’re capable of. Don’t be afraid to ask questions, but also don’t feel you need to have questions, because I think sometimes that puts people on the spot. Just don’t be scared. See it as an opportunity, The casting director is happy if you’re good, the director is happy if you’re good. Everyone wants you to give your best performance.

Final Takeaways

Breaking into acting can feel like navigating a maze, but insights from casting director Georgia Topley shed light on how to make a strong impression. Her experience shows that success often comes from being adaptable, understanding the process and building genuine connections. Here are some practical tips for new actors to keep in mind when stepping into auditions or self-tapes.

Listen carefully to what the director is asking for instead of guessing or overthinking their expectations.

Research the casting director’s and director’s previous work to better understand the tone and style they’re looking for.

Approach auditions with confidence and don’t be afraid to ask questions if it feels natural, but don’t force it.

Embrace the opportunities that self-taping and remote auditions bring, and be prepared to showcase your range even from a distance.

Remember that casting is a collaboration. Building a rapport with casting directors can help them advocate for you if you have an off day.