Ian Bender has not been a casting director for that long, but he’s made the time count. The Canadian professional only started in the field eight years ago, but in that time, he’s been part of dozens of productions, with much of his work in the indie world. His scope is widening, as he is, along with Ashley Hallihan and Nancy Nayor, one of the casting directors for the very buzzy recent horror flick Undertone. The film, about a podcast host whose latest project turns dark, stars Adam DiMarco and Nina Kiri and hit theaters earlier this month. He spoke to us from his office in Toronto.
Key Insights
- Ian Bender’s acting background shapes his casting approach, keeping the actor experience central to every audition and decision.
- He actively looks beyond traditional “type” and values unexpected, creative choices that challenge assumptions.
- Casting blends creativity and logistics, requiring both artistic instinct and strong organizational discipline.
How did you get into casting in the first place?
I started as an actor, just taking workshops and classes as a kid, doing community theater stuff, and then I went to college for that, and did my best at trying to pursue it. Musical theater was my goal. Around the time I turned 30, I started to think, okay, what can I do with all this passion that I have for this industry and acting in general? I was lacking stability, and every time I would book a job, it would be, pack your bags. You’re going away for a few months at a time. A few friends of mine suggested casting. So I started working for Ashley Hallihan with Hallihan Casting here in Toronto, as her assistant. It was a really great opportunity for her to take me under her wing and show me the logistics behind casting, because it really is a very different job than acting.
Yeah, no kidding.
(Laughs) You get the creative muscle, of course, but it really is quite clerical. Heavy paperwork.
But that tends to appeal to a lot of people, too, being able to do both.
Yeah, exactly, and that’s how I feel, because I’m very type A, so it really fits me nicely. I love organization and have just as much fun with the business side of things as the creative side, where I get to brainstorm and think of people who would be great in a part, or auditioning actors and finding a new face that I haven’t seen before, seeing what interesting choices they bring to the table. It’s really nice to be able to flex both and to work on both sides.
Do you find that because you’ve had an acting background, that’s given you an advantage in working with actors in the room, or even by giving them feedback with self tapes?
Yeah, I’d like to think so. I still think of everything as an actor. Everything that I do, the way I release my breakdowns, the way I conduct my auditions, all of that, I really am trying to keep the actor in mind, because I think of things that were pet peeves of mine as an actor growing up, or things that I wish casting directors would know. I really love getting to meet actors in person as well, and hear what their thoughts are and what their challenges are.
Is there a checklist of things you go through in that regard?
Yeah, for sure. For example, there are a lot of factors that go into helping you get seen and recognized by casting directors. I had a lovely team of people helping me, but I wasn’t with the biggest agent in town, and I didn’t have those opportunities. So I keep my mind open when I’m going through my submissions from the very beginning, and considering everyone that gets submitted to me, and taking the time and due diligence to look at their resumes and consider them seriously for the part. Also, I love a wild card. So if there’s an actor that may not seem like they’re visually right for the part, I want to explore that to see if they give me something a little bit different. Those are the people that really make it far or get booked in some of these roles. It really forces the creative team as well to think outside of the box, and opens up new ideas for them. Sometimes I wish that had happened to me when I was an actor. I was a queer dude trying to find opportunities in the early to mid-2000s, and a lot of [them] just weren’t there. There’s only so many gay best friends that you can put in a series or film. (Laughs) I’m always thinking about that, trying to keep it as open as I can, because you never know.
That’s the thing that you can pass along to actors, that you make sure they understand that their uniqueness is a benefit, even when it sometimes doesn’t necessarily feel that way to them?
Absolutely. It’s your superpower, really.
Let’s talk about Undertone, which received the kind of pre-release buzz that a select few horror films get. That must be very exciting.
I’ve been very lucky. Because I’m so interested in the industry, I continue to improve and learn. I was basically a student every day. So, to have an opportunity like Undertone, I worked with Black Fawn Films, Cody Callahan and Dan Slater before, and they’re really great guys. The writer-director, Ian Tuason, was new to me, but that script, when I first got it, was so wild, so interesting. It’s exciting when I get the tingles and start brainstorming right away. It’s a whirlwind. I don’t know what it’s going to look like for me. I still have that imposter syndrome in the back of my head going, keep working, take meetings with everybody, because I’m hoping that this gives me some more opportunity to show what I do best. I have so much fun with these horror and genre films. They’re my most favorite films to watch, so the fact that I get to help find these characters and work with these amazing writers and directors every day is just a dream.
You talked earlier about working with actors and how much you enjoy it. What piece of advice or wisdom would you give to an actor coming in to see you?
Just know that I’m on your side and that if you’ve done the work on the role and on the material, then just show it. You don’t have to bring anything else into the room. Put the nerves aside as best as you can, and just be yourself and show the work that you’ve done, and then it’ll all come together. If you’re right for the role, you’re right for the role, and it’ll show itself in the room. I want every single person to walk in that door to get the part. That means I’ve done a good job. I used to have the worst nerves going into audition rooms. Anytime I’d get a job, I’d be surprised, because I was a nervous wreck going in. But I knew that if I did the work and put the time into the material, it would release in the room, and I would make the choices that I’ve prepared. That’s the biggest thing, too. Make interesting choices.
So often, a wrong choice is better than no choice at all.
Yes, because it shows me that you can make a choice. If a choice has been made, I’ll see that, and it shows me that they’ve actively been thinking about the part and that they’ve internalized it enough to get there. It means that there’s the likelihood that the director on the day is going to probably be able to get a different choice out of them. It’s exciting when that all happens and comes together.
Key Takeaways
- Preparation and authenticity matter more than perfection—actors should focus on doing the work and trusting it in the room.
- Making a bold or unconventional choice is often more impactful than playing it safe.
- An actor’s uniqueness is their greatest asset, even when it doesn’t seem to fit the role at first glance.
