Lucy Bevan and Emily Brockmann Discuss Apple TV+’s ‘Disclaimer,’ Working With Alfonso Cuarón
Lucy Bevan and Emily Brockmann are one of three casting directors alongside Victor Jenkins, who helped shape the world of Alfonso Cuaron’s Apple TV+ limited series Disclaimer.
The UK-based Bevan and Brockmann spoke with Casting Networks about working with Cuarón, the challenges of casting a character with a surprise reveal and finding non-actors to bring authenticity to a director’s project.
Insights: Lessons from Lucy Bevan and Emily Brockmann
- Study the director’s casting style and be prepared to show authentic skills.
- Show versatility in auditions and respond well to direction.
- Network with casting directors, as they remember actors for future roles.
This is a large cast, spanning multiple locations and periods. What drew you both to the project and were there particular challenges you anticipated?
Bevan: Since Children of Men, Emilia and have been huge fans of Alfonso Cuarón and everything he’s done so we were delighted to be brought on board. We understood that there would be some adult themes in it and we haven’t cast many projects with such adult themes before.
The character of Jonathan Brigstocke does some pretty heinous things in one character’s version of the story. The role went to Lewis Partridge (Enola Homes), but how do you even begin casting a character like that?
Bevan: We read a lot of fabulous young actors. We auditioned them in the room and made sure they were as comfortable as possible. Alfonso is so brilliant with them, gives such good notes and puts actors at ease. Everyone who auditioned felt comfortable, even though the material was challenging. Jonathan had to appear so charming, yet be problematic later.
It’s almost as if the actor had to play two different roles.
Brockmann: That was the fascinating part of the casting process because we wanted actors to demonstrate both sides of that character, while not revealing too much about the plot. During the audition process, we were coming up with ways to get that duality of the character from them, while keeping the story as confidential as possible.
That’s so tricky though. How do you judge their auditions and get an understanding of their ability to go to that darker place?
Brockmann: It’s really about how the director feels about them in the room and how the actors respond to notes and directions. Alfonso gives very specific, brilliant notes, and can change the direction of a scene. You can watch and see whether the actor can able to do that.
You don’t necessarily have to hit the beats that the specific character hits. We just need to know that you can work with direction. It’s coming in with an open mind, and being willing to make changes or introduce new ideas into how you see the character.
Alfonso often casts non-actors in his projects. Was it the case on here as well?
Bevan: Alfonso likes to cast a combination of real people and actors so the environment can feel as authentic as possible. He’s so specific and detailed about what he’s looking for. We auditioned a lot of real people – doctors, nurses…real professionals. We auditioned for a bookshop owner and fishmonger.
Photo courtesy of Apple TV+.Was there anyone “real person” character that was particularly challenging?
Bevan: The fishmonger in the fish shop. He is skinning the fish, cutting its head off, giving it to Cate and communicating with her. It’s a key moment for her character in building the tension of what’s going to happen to her that evening. When I watched that scene, I realized that’s why he wanted someone who knew how to fillet a fish. Emily is so brilliant at getting in touch with people through all sorts of channels.
Brockmann: I went to look for fishmongers in London. I started with the area of the city I knew this world was set in, and moved outwards in a radius to try and find them. It’s a testament to Alfonso’s work that his name even carries amongst the fishmonger community of London! They knew who he was, and they were impressed.
Are those types of casting searches harder than when you’re auditioning professional actors?
Brockmann: It was fun. It was different meeting with and auditioning people who had no acting experience whatsoever, but that’s what was so clever about it. As Lucy says, “They lend their authenticity to the role with whatever skill set they can bring to it, be it skinning a fish or, in the case of the doctors, delivering information to patients.” It’s all about the world building for Alfonso and we were thrilled to help.
Bevan: I always believe there’s no such thing as a small part because everyone in that moment is telling the story whether it’s at the drug den or in the hospital. Alfonso built this world in London, and also in Italy, that you believe. He was very detailed in each role.
South Korean actress Hoyeon, who played the North Korean defector in Squid Games, plays Ji-soo, Catherine’s assistant, in her first English-speaking role. How did that happen?
Bevan: We had a lovely audition with Hoyeon and it was so fun to bring her into that kind of, you know, diverse office-type London environment. She was keen to work in English, and she worked hard (with a dialect coach). For her to be in that environment, learning from Cate and Alfonso – what an incredible thing! Smart actors realize that.
Speaking of actors, what should they realize about the two of you?
Bevan: Emily and I love meeting actors. We love going to the theatre, seeing them doing their work, and chatting with them afterward. By spending time with them, we’re constantly learning about actors as people, and how we can best we can cast them.
When they come in to read for us and end up not being right for that role, as they’re auditioning, we might be thinking, ‘Oh, they could be right for this other thing we have.’ Or later when we get another project, we might realize they’re right for that one instead. For us, it’s all about getting to know actors as much as possible and then being able to cast them.
Photo courtesy of Apple TV+.Is there something you look for overall?
Brockmann: So much of what we are looking for are actors who come in and there’s a lightness of touch. They’re able to make adjustments, and able to change their interpretation. Practically speaking, that’s harder to do when you are working off of self-tapes. The actor has to do all of that work themselves, which I think is harder for them.
We know some lovely young actors whom we have never met in person who are two or three years out of drama school. It’s a very different landscape now, but wherever possible, we like to offer them either the opportunity to come in the room, or at the very least on Zoom, because that personal connection is really important to us.
Are there actors in Disclaimer that were cast in this sort of way, where you saw them in, let’s say, theater, and then later roles came up that you felt those actors would be good for?
Brockmann: The charity workers who come and take away Leslie Manville’s clothes in Kevin’s house. A lot of those people are fantastic actors that Lucy and I have seen in the theatre quite a lot.
I have the utmost respect for actors who can come in and do a day because I think those are often the hardest parts. You have maybe one or two lines, or sometimes it’s not even scripted. You have to come in and deliver.
It was fun populating some of those worlds with actors that we have loved for a long time and that we’ve admired from other previous projects, particularly theatre.
Renowned journalist Christiane Amanpour plays herself in a scene where she presents Cate’s character with an award. How did that come about?
Bevan: That was Alfonso’s idea. I was like, ‘Okay, let’s track her down.’ She was like, ‘Yes, I would love to do it,’ and then she offered to bring her award! I didn’t have any relationship with Christiane Amanpour before, but it was very exciting getting in touch with her. From the fishmongers of West London to the most eminent journalist, like Emily said, everyone wants to work with Alfonso!
Ready to find your next role with Casting Networks? Sign up for a free trial today!
You may also like:
- How Brett Benner and Debby Romano Built the World of Apple TV+’s ‘Shrinking’
- ‘Disclaimer’ Casting Director Victor Jenkins on Shaping Cuarón’s New AppleTV+ Show
- ‘Casting Confidential’s Rose Rosen on What Led to Starting Her Podcast, How the Casting Industry’s Changed Since the Pandemic
