‘Megalopolis’ Casting Duo Courtney Bright and Nicole Daniels Talk Working With the Coppola Family
If you have seen any of Sofia Coppola’s movies over the past 15 years, or any of Ryan Murphy’s TV shows over the last 10, then you have seen the work of Courtney Bright and Nicole Daniels.
The casting duo has been together for a decade and a half and, in that time, have become two of the best in the business. They have worked with plenty of other filmmakers, of course, but having an Oscar-winning director and a multiple Emmy-winning creator keep coming back to work with them over and over again should tell you how good they are at their job.
It might be a clue, as well, that Bright and Daniels have won a couple of Emmys themselves, both for Murphy’s American Crime Story. Their most recent collaboration with Murphy, FX’s American Sports Story, is midway through its first season, and the film Megalopolis, directed by Francis Ford Coppola, is in theaters. They spoke to us from Bright’s home in Los Angeles.
Insights: What to Expect from Courtney Bright and Nicole Daniels
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- Before attending an audition, actors should thoroughly research the project and familiarize themselves with the material. Knowing the players involved, such as the director, producer, and casting director, can also be beneficial.
- Showing up prepared is crucial. This doesn’t necessarily mean having lines memorized, but rather having a clear understanding of the character and the scene. Professionalism in preparation shows respect for the casting process and increases the chance of a successful audition.
- In the long term, developing a reputation for being easy to work with can foster lasting relationships with casting directors and other creatives. This can lead to more opportunities and a more pleasant working environment.
- Recognize that casting directors look for actors who can be managed easily and also bring creative talent to the table. Being aware of this dual expectation can help actors present themselves as both adaptable and artistically compelling.
- Understanding that casting directors, like Bright and Daniels, prioritize collaboration and mutual respect can help actors approach auditions with the right mindset. Being respectful and prepared can enhance an actor’s chances of making a positive impression and securing roles.
How did you get into casting?
Nicole Daniels: After college, I moved out to LA and I got a job in the mailroom at Innovative Artists, and then I was on a desk for about a year. I would talk to the casting assistants all the time, and I was like, “Oh, I think that’s what I want to do. That seems interesting. I think I might have a knack for it.” I applied to a couple of jobs and ended up getting hired as a casting assistant by Ronna Kress, and that’s where I met Courtney.
So, Courtney, you got to Ronna first?
Courtney Bright: Yes. So, similar story. I moved here after college, and I knew I wanted to work in entertainment. I too, thought I would be good at casting, and I sent out a bunch of resumes. I got an interview with Amy Lieberman, who was the head of casting at the Taper and the Ahmanson, and I ended up interning for her and then working for her.
I loved being there and in the middle of it, but it was very slow in the theater, so I wanted to try something else, and I got a job working for Ronna. I met Nicole, and we worked for Ronna together for three or four years. Then we were like, “Should we try this on our own and see if we could do it?” That was 15 years ago.
What was it about casting that drew you?
CB: I always loved actors. I watched a ton of TV and movies as a kid. This is silly, but my mom was super into the rag magazines. We were always reading about the actors and stuff. Every time we went to the grocery store, we were picking up Us Weekly and People magazine, and I was fascinated by it all. I think you have to have some kind of confidence to make a jump like that. I moved from Washington, DC to LA. I was young and bold and thought that I had good taste, and here we are.
Nicole, likewise, what was it about casting that you decided you wanted to be doing that rather than going up through the agency ladder?
ND: Initially, it was a little less creative and a little more managerial. I saw in casting that you needed to have a really good memory, you needed to be very organized, and I knew that I was very competent in both of those things.
As I started learning more about it as an assistant working for Ronna, I also became much more appreciative of the creative process and thinking about which actors would be right for which parts, getting to know different actors, doing my research, and also just feeling confident in my taste level.
Casting combines organizational and creative more than just about any other department.
ND: I mean, our partnership is very unique in that I think we both have both of those qualities. Yes, it is an incredibly managerial job, you have to stay organized and be aware of so much information. Like, if I offer up an actor to my director or producer that’s not available, that’s bad on me, right? You have to know who’s available, who’s not super pleasant to work with, those things.
If you have a long-term relationship with a director or producer, which we’re lucky enough to have, I know exactly the people that they are and are not interested in working with. You just have to stay 10 steps ahead.
I’ve talked to a lot of partners, and inevitably there is some sort of split. How do you two manage the dual responsibilities?
ND: I would say it’s an even split. It just so happens, especially if we’re working on multiple projects at the same time, that it’s never even a discussion. It just naturally happens that I’ll take the lead managerially on one and she’ll take the lead on another.
CB: It happens very organically. However it falls, we don’t make a conscious decision. Even if we’ve separated, we still come together to make lists. For today, we have to go through a list for a character on our TV show, and I would never send my top choices without first discussing them with Nicole and vice versa.
You mentioned having long-term relationships with creators. Is there a secret to creating that kind of relationship?
ND: More than anything, I like to think that we’re easy to work with. We are not casting directors who come in with any sort of ego. We’re very collaborative.
CB: We’re not looking to be producers. We just put in the work.
ND: From our end, I think it’s because we’re easy and pleasant to work with. On their end, Sofia, specifically, and the entire Coppola family, enjoys working with the people who make her comfortable. We know her taste, she knows ours. She wants to go into a production feeling as comfortable and protected as possible, and she knows that we protect her.
CB: We have a shorthand. We’re aligned.
You said that the Coppola family and you did Megalopolis, too. What was it like working with Francis Ford Coppola?
CB: He’s lovely. I mean, that’s where Sofia gets it from. They work very similarly and are super collaborative. Just gracious, kind, and generous.
ND: They are also two people who make a decision quickly. They are not the type of directors who are interested in seeing 200 people for a part. If they see something that they like, they are confident that, “Oh, I can get this person where I need them to be.” On Megalopolis, we did two days of an open call in Atlanta for a band leader. We met a band leader at the open call, and Francis said, “He will be perfect.” We said, “But we’ve never seen him act!” And he said, “I don’t care.” (Both laugh)
CB: I think it’s also a confidence in themselves. They know that they can get a performance, and they trust themselves.
Fifteen years in, you’ve won Emmy Awards, and you are, by any stretch of the definition, wildly successful at what you do, How does this partnership work?
CB: Clearly, I couldn’t have cast a better partner if I tried. When she came in for her audition and worked for Ronna Kress, I, right away, saw a lot of myself. I’m older than Nicole. I saw a lot of myself in her and it was just an instant connection.
ND: People ask this question all the time. “How is it that you guys are 15 years in and you’ve never had an issue?”
I think one part of it is that we started as work colleagues. We didn’t walk into our work relationship or friendship with any baggage. I think sometimes that’s where people get in trouble, two friends who then try to start a company. We started as work colleagues and then formed a friendship from there. And I think for both of us, and we’ve said this to each other over the years, we’re family. Courtney’s happiness or my happiness is more important than any job.
CB: We also prioritize each other’s needs. There have been ups and downs over the years, but the most important thing is taking care of each other. Our families come first and then our job. We’re not only career women, we’re family women too, and there’s just so much respect for one another in that.
Do you find that there are common mistakes that actors make in auditions?
CB: I would say not coming prepared. That’s the biggest mistake. I think it’s important to be prepared.
ND: And that doesn’t mean being off-book. It just means, I don’t know, I would never go in for a job interview without having done my preparation.
CB: Yeah, I would do my homework, and I would know what I’m coming in for, and I would know the project.
With that in mind, what kind what piece of advice or wisdom would you give to an actor coming in to audition for you?
ND: Just take a moment to look at the sides, familiarize yourself with the material, and know the players that are involved.
CB: Yeah. Just take a moment.
Looking for more industry knowledge? Check out our Ultimate Guide to Audition Advice from Casting Directors!
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