…Actors think if they email casting directors a lot, they are annoying. If they badger them on social media with DMs, they’re annoying. They don’t want to be annoying. They don’t want to upset anyone. It is not the case. If someone is consistently emailing, and I’ve got a very good story about this, if someone is consistently emailing a casting director, we take note of it.
One of the most important things, and I say this to every actor I work with, is that if you’re going to email so much, the subject line is what’s going to grab us. Say something interesting. Do not say “20-year-old English actress, blonde.” We get thousands of those. So why would we necessarily look at yours over another 20-year-old English girl with blonde hair?
Anything interesting in the title will get us to be gripped. And it’s absolutely vital to keep hassling us, hassle us. And I think this is misunderstood. Casting directors love actors. Our whole life is actors. We want to give them opportunities, and we love them and support them. And we want, you know, when there was a strike, for example, we wanted the best for them. We really, really wanted the best. We’re on their side. So we should be their allies. They don’t need to be frightened. They must constantly be on top of us…
I had the pleasure to talk to Gaby Hart. Gabrielle (Gaby) Whyte Hart, a distinguished figure in the world of casting and film production, has made significant strides in an industry where the confluence of talent and perseverance is paramount. Born and raised with a passion for cinema, Gaby’s journey into the film industry began at the tender age of 17. Her academic pursuits led her to the New York Film Academy at Kings University in London, where she honed her skills and earned a master’s in producing for the screen.
Gaby’s early career saw her producing and directing short films that garnered international recognition, achieving four nominations and securing one win across various film festivals. Her breakthrough came with the production and casting of the feature film “Dead End” in 2011, which not only received a nomination at the Washington DC Film Festival but also clinched the Best UK Feature Film at the International TV and Screen Awards in London.
This accolade precipitated Gaby’s move to Los Angeles, where she continued to expand her horizons. In 2019, she produced and cast “Becoming,” a film that featured Toby Kebbell, Jason Patric, and Penelope Mitchell, and was listed among the top 20 horror films to watch in 2020 by Thrillist. Currently available on Amazon, “Becoming” is a testament to Gaby’s evolving expertise and her ability to captivate audiences with compelling storytelling.
Gaby’s prolific career is highlighted by her role as a casting director, where she has worked with notable talents including Toby Kebbell and Nicholas Cage. Her latest project, “Dirty Angels,” directed by Martin Campbell, was shot in Greece and features a stellar cast including Ruby Rose, Eva Green, and Maria Bakalova. Gaby’s exceptional skill in casting has been instrumental in bringing together diverse and dynamic ensembles, further solidifying her reputation in the industry.
Beyond her professional achievements, Gaby’s personal journey is marked by the influential figures who have shaped her career. Her late grandfather, a strong Hungarian Jew, played a pivotal role in her early years, supporting her passion for film and education. Additionally, Israeli producer Moshe Diamant and actress Rona lee Shim’on have made profound impacts on her professional ethos, emphasizing the importance of resilience, kindness, and community in the competitive landscape of Hollywood.
Gaby’s current and future projects reflect her ambition and dedication to the craft of filmmaking. With “Dirty Angels” set for release and other exciting projects in the pipeline, including collaborations with directors Philip Noyce and Simon West, Gaby Whyte Hart continues to be a vital force in casting and production. Her work not only showcases her talent but also her commitment to storytelling that resonates with audiences worldwide.
As Gaby looks to the future, her endeavors extend to television with an eight-part drama and the development of two projects of her own. Her journey, marked by determination, creativity, and the support of influential mentors and family, underscores a career built on passion, innovation, and a deep-seated belief in the transformative power of film.
Yitzi: Gaby, it’s a delight and an honor to meet you. Before we dive in, our readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Gaby: I grew up in London, central London, and from the age of ten, I always wanted to be in the film industry. I never knew what area I wanted to be in, but I always knew. I had a very happy childhood, despite having divorced parents who divorced when I was six years old. However, I was fortunate to have a very close relationship with my mum. My father and I have gotten closer as I have gotten older, although he wasn’t approving of my chosen career. I come from educated parents who graduated from Oxford and Cambridge University, so having a daughter who wanted to go into film wasn’t what they had in mind. I went to a very good private girl school in central London. I have many siblings from various marriages in my family, and I was very fortunate. Particularly close to my two sisters. I had a lovely childhood, and I was very lucky.
Yitzi: Before we dive in, our readers would love to learn about your personal origin story. Can you share how you brought this particular career path, specifically how it started and then how you eventually ended up in casting?
Gaby: Love it. This is my favorite thing to talk about. I wanted to be in film since I was ten years old. The reason it was ten specifically was that it was the first time I ever went to the cinema and saw a film. The first film I ever saw was Titanic. Of course, Leonardo DiCaprio is lovely to look at, but that wasn’t the reason. I went to the film, and everyone was talking about what a great film it was. But for me, I wasn’t so much talking about what a great film it was. I was fascinated about how they did it — where are the cameras, how did they do that scene? I was just so fascinated that when I went home that night, I went onto my mom’s computer and looked to see what I could find. I started watching behind-the-scenes footage, and that got me so excited. I thought over time, perhaps my passion and love for film would go, and I’d be into other things as a teenager, you know, makeup and all this stuff. And I was, but I couldn’t get film out of my mind. From that age, every bit of pocket money I had, I started to buy film magazines. I started to save up money and get film memorabilia. I’d go to film antique shows where they had old DVDs or whatever it was, and my passion just grew and grew and grew. I just fell in love with it to the point that it took me when I was seventeen at a very good private English girls’ school. Obviously, my passion hadn’t changed at all. I’d gone to film festivals when I was sixteen as birthday presents. My family would get me passes. When I hit seventeen, I said to my mom, “Mom, I’m leaving school.” She was like, “You’re not.” I was like, “I am. I’m going to film school. Secondary school is completely pointless for me. I’m not academic. There is no path here for me. I feel like I have a talent, and I should be in film school.” We made an agreement that if I was to pass my first-year exams, and by pass, I mean a C or above, then she would allow me to leave school and go to film school. From someone who is dyslexic and dyspraxic, having to sit exams and pass them was the hardest thing, but I did pass them, and my mom did keep to her word. I left and went straight to film school. At the time, it was a much bigger film school than it is now, but it was New York Film Academy, part of King’s College University in London. I went there and did directing. I learned all about cameras, editing, directing, producing, lighting, everything. It was like a one-year masterclass, and I fell in love with the producing side of it. I quite fancied myself as a producer, being the boss. I thought, “Oh, this is definitely what I want to do.”
I didn’t really know about casting at that point. From that, I just worked and applied for every job I could find. I actually cleaned toilets at a distribution company as part of my job. I was an intern, and I was happy to do it because one of the times I cleaned the toilet, I ended up having a conversation with the CEO, and that really worked well. So I did everything and anything that I could. I eventually got a job as an assistant to a producer-director on a feature film. It’s a long story, but I ended up taking over that entire project as the producer, raising the rest of the money. I was only twenty years old, so it was a bit of a shock. I actually had no idea what I was doing, but for some reason, the production team kind of voted me in. I’m very good with people and very good with actors, and they trusted me, so I kind of learned on the job. Then over time, having produced myself a couple of other features and a feature that I did in LA, I ended up just casting it myself. I ended up not using a casting director but going directly to the agents myself. I started to think, “Do you know what? This is a really fun job. I don’t have to worry about the money. I don’t have to worry about raising funds. I literally get to go into a creative mindset and pick the best actors I can for the roles.” I fell completely in love with casting to the point where I would say now I cast 90%, and I only produce 10%. I am only producing three films right now, but I’m casting eighteen. That’s basically how I fell into it. I kind of wouldn’t say a new love, but I’ve been in the film industry for a very long time. It was only six or seven years ago where I realized that casting, not only is my skill set so suited to casting, but also my biggest passion. That’s really how I kind of fell into it, as opposed to getting a job in it.
Yitzi: Such an amazing story. So you probably have many interesting stories from people you’ve met and all the projects you worked on. Maybe it’s hard to boil it down, but let me ask — can you share one or two of the most memorable, interesting stories, anecdotes, or memories from your career?
Gaby: I’ve got a great true story. Two years ago, I was given the biggest opportunity as a casting director, even though I was fairly new compared to some big casting directors. I got a call from someone I’d worked with before, who said, “Gaby, this is a great story. I was on holiday with my family in the summer, not really paying attention, when a friend/colleague of mine who I’ve worked with called me. They said, ‘Gaby, there’s a really big film, and the casting director unfortunately had personal issues and pulled out, so I put you forward for the job.’ I was like, ‘Oh my gosh, that’s incredible! Can you tell me who the director is?’ And they said, ‘No, I’m not going to tell you anything because I don’t want you to get nervous.’ I didn’t even get to ask who the producer was.”
“Ten minutes later, I’m in the pool, and my phone’s ringing. My husband says, ‘Gaby, get out of the pool, this is obviously the producer.’ I pick up the phone, and a very strong Israeli accent comes on. I’m literally shaking, terrified because he sounds scary. He introduces himself, doesn’t ask much about me, just says, ‘Have you made offers to actors before?’ I said, ‘Yes.’ He asks, ‘Do you like the film industry?’ I said, ‘Yes, of course.’ He said, ‘Right, you sound nice. Are you Jewish?’ I said, ‘Yes.’ He goes, ‘Bonus points,’ and I’m like, ‘Okay, great.’ Then he told me, ‘I want you to speak to the director,’ and I said, ‘Okay, but can I ask who?’ He goes, ‘He’s going to call you in five minutes,’ and hung up.”
“I told my husband, ‘I don’t know what’s going on, who I’m talking to, or the situation.’ Exactly five minutes later, I get a call from the nicest, most gentle-sounding, lovely man. Still didn’t know his name, and he’s asking me lovely questions, saying he’ll send me the script and if I like it, would I like to work with him? I said, ‘Yes, this sounds fantastic, thank you so much.’ He finishes the call with, ‘Alright, darling, that sounds perfect. I’m so excited to work with you. By the way, it’s Martin,’ and hangs up. I’m like, ‘Martin? So many directors named Martin.’ I called my original friend who put me in touch and said, ‘Can you tell me who it is?’ He goes, ‘Oh, you spoke to Martin Campbell.’ I said, ‘Not Martin Campbell, Casino Royale? Not that Martin Campbell?’ He was like, ‘Yes, that’s right.’”
“I had to take a minute to understand what happened because Martin is a director I would dream to work with. Mask of Zorro is one of my oldest favorite films. I couldn’t believe it. After that, I read the script and fell in love with it. I was signed on that day. Ever since then, two years ago, I still cast for Martin. I’m doing his next film together. He’s actually in London right now, and I’m meeting him in a few days. That was a very big highlight for me because I had no idea who I was talking to until I realized it was Martin Campbell. Then I started to panic because this Israeli producer, who is basically like a surrogate father to me at this point since I’ve worked closely with him on like 11 films, was involved. But it worked out in the end with these great relationships. It was definitely a funny story and a big highlight.”
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake that you made when you were first starting and the lesson that you learned from it?
Gaby: Yes, I absolutely did make a very funny, but also not that funny, mistake. I’m not going to say who, and I’m not going to say on what film.
I invested a bit of money that I inherited when my mom passed away into a project I was really passionate about. Obviously, they gave me a producer title, and I was quite active on the film. On set, the lead actor was there, and he had also invested some money into this film because he really wanted to play the role. Being very chatty and talkative, I was just talking to him, and I may have blabbered a little too much. I offended him because I said something along the lines of, “You know, we both put in money, but I am the producer, so you better do a good job or we both lose money,” or something like that. It was a joke, and he did not find it funny at all. He then had a chat with executive producers to complain about our conversation. To cut a very long story short, luckily they laughed it off and explained to this actor, “She’s very young. She put money into the film and she cast you.” I felt absolutely terrible. I thought we were having a joke, and then I realized, not every actor wants to be my friend because I’m a very friendly person, but not everyone’s the same way. I also learned to keep my mouth shut when it needs to be closed and to open my mouth when it needs to be open. I was young, so that was quite a lesson. I thought it was funny, but obviously, he did not, But what’s very funny is that 15 years later, his agent is a very close friend of mine and begs me to put him into films, and I don’t actually do that. So it kind of worked out in a funny way. That was a good lesson for me to keep my mouth closed sometimes and not always overshare. He was English, so I thought we’d have some English banter. I thought he’d get it, but no, he did not at all.
Yitzi: Is there a person who made a profound impact on your professional life, and if there is, could you please share a story about that person?
Gaby: Gosh, there are quite a few. I’ll start with my late grandfather, a very strong Hungarian Jew. He was as tough as nails but had a massive soft spot for me, and I had one for him too. Even though he made my mom’s life difficult when she applied to Oxford and Cambridge because he was so into education, he really believed in my passion. He paid for me to go to film school when my own father wouldn’t because he didn’t believe in my career choice.
My grandfather was there at every short film I did, every festival, every graduation — anything. He always supported me and was a big part of my life. I dedicated one of my feature films to him in the credits, so he knows. He played a significant role because he always told me, “Don’t give up; you’re going to make it.” Sadly, he’s not here to see this, or he’d be very old if he were, but I know how happy he was.
I’ll move on to the professional side and then circle back to another personal story. I have to mention this Israeli producer because he truly changed my life. His name is Moshe Diamant. In his late 70s, Moshe is someone everyone is initially terrified of. He took a chance on me, which was unexpected. Despite having top casting directors at his disposal, he chose me. Not only did he hire me as a casting director, but after we finished one of the films, he called to offer me a partnership. Of course, I hadn’t seen that coming. Moshe is a producer whose best friend is Jean-Claude Van Damme, and he can casually invite Liam Neeson for a drink. He’s the kind of person I’ve always aspired to be. While our roles differ, he significantly helped put me on the map.
Moshe never hesitates to correct me if he thinks I’ve made a mistake, yet he’s also the first to defend me against anyone. Last year, when I encountered a Hollywood lawyer who was rude and misogynistic, Moshe didn’t hesitate to confront him, ensuring I never had to deal directly with him again. His influence on my life has been immense, opening my eyes to realities I was unaware of and teaching me that not everyone will be your friend, urging me to toughen up. This advice was challenging for me, as I’m naturally a soft person. Moshe is an amazing man whose career has had a huge impact on me.
Another person who has made a significant impact on me is an Israeli actress named Rona Lee Shim’on, known for her role in “Fauda.” What stood out about her was her unique approach to integrating her personal traditions into her professional environment. She organized Shabbat dinners every Friday in her hotel, inviting the entire cast, including some very well-known actors who had never experienced Shabbat before. This included the traditional challah and wine, fostering a family-like atmosphere on the film set. She was exceptionally welcoming to everyone, from the young girls in the cast who looked up to her, to seasoned professionals like Martin Campbell, treating everyone with the same level of kindness. Her behavior left a lasting impression on me, proving that kindness and respect are achievable in any setting. I’ve maintained a close relationship with her since then, and her actions continue to influence how I interact with others in the industry, showing me the importance of being a genuinely nice and respectful person.
And then I would say, my husband, because if I don’t mention him, he’ll be upset. He’s been with me since I was 18 and has endured a lot, always supporting me. Despite my repeated claims of “I will do it,” he has patiently responded with “okay.” He truly believes in me, sees me in the best light possible, and is my biggest cheerleader.
But, I would probably say my mom was my greatest support. She passed away 10 years ago, but she was a beacon of light, always allowing me to pursue my dreams. She would be astonished at what I’m doing now and incredibly proud. Everything I do, every job I take, is to make her proud. I believe she would be overjoyed, even just knowing about this interview. She would be so happy.
So, I would say those are probably the most pivotal people in my life, including Martin Campbell, Phillip Noyce and other directors as well, who I get to call my friends. Honestly, I could go on for hours about their influence and support.
Yitzi: So Gaby, you have so much incredible work. Can you share with our readers the exciting projects you’re working on now and what you’ll be working on in the near future? Whatever you’re allowed to say.
Gaby: I’ve recently finished working on a film called Dirty Angels, a big action film directed by Martin Campbell. It’s expected to release by the end of this year. Filming took place in Greece and Morocco, and it was an amazing experience. I had the opportunity to cast over 60 actors for this film, which was extraordinary. I’m also casting for Martin Campbell’s next film, details of which I can’t disclose yet.
Additionally, I’m working on a film with Philip Noyce, who directed Rabbit-Proof Fence, The Bone Collector, and Dead Calm, starring Nicole Kidman in her first film. Philip has become a very close friend, and it’s exciting to cast for two of his upcoming films — one is a psychological thriller and the other an action comedy.
Another project I’m particularly excited about is a film called Boss, a creature feature by the director of the Saw franchise. It’s fascinating, especially since I’ve also contributed to the script.
I’m working with Simon West on a thriller remake of an older film, whose title is currently undisclosed.
Then there’s Lemmy, a biopic about the lead singer of Motorhead, focusing on a specific period rather than his entire life, which I find very intriguing.
Right now, I’m casting for Spartan, a period film shooting in Malta this May.
Looking ahead, I’m excited about my first TV show, an eight-part drama I’ll be working on next year. I’m also developing and producing two projects on my own.
With around 16 or 17 projects in total, it’s a lot to keep track of, so I’ll have to leave it there as I can’t recall all of them off the top of my head.
Yitzi: Well, you must be a very organized person to keep everything together.
Gaby: I’m not sure if I’d call myself organized; it’s more like an organized mess. I prefer handwriting over typing, and as a result, my desk is usually covered with about 13 notebooks. My friends find it amusing, but this method works well for me. I write down everything and date it, which helps me remember conversations. The notebook I’m using now is from January, and it’s almost full. So, while I consider myself organized in my own way, it’s my assistant who truly keeps things in order. She types everything up, unlike me.
Yitzi: Okay, so let’s move to the main focus of our interview. I think people are more familiar with acting and directing, but casting is more behind the scenes. For the benefit of our readers who might not know, can you explain what exactly a casting director’s job entails?
Gaby: A casting director’s job is quite dynamic. First off, you work closely with the director, which is probably the most exciting part, getting to collaborate with various directors. My job involves getting to know the characters in a script as if they were my best friends, as if I’ve known them my entire life. For instance, when I receive a script for a film casting, I read that script multiple times, around five or six times. I then create my own backstory for those characters, imagining them as if they were real friends of mine. There are descriptions in the script, such as being tall, young, or old, which guide me, but I also add my own interpretations. I discuss these ideas with the director, sharing my vision of who I think these characters are. So far, my interpretations have always aligned with the directors’, and they’ve agreed with my casting suggestions.
From there, I present casting ideas, sometimes based on a gut feeling. It’s not as straightforward as matching an actor’s appearance to the character; it also involves knowing the actors well, understanding if the role interests them based on their past work, and considering the producer’s requirements, such as needing a box office star for certain roles while having more freedom with others.
Essentially, as a casting director, you’re there from the beginning, working with the director to break down the characters and know them intimately, as if they were your family or best friends. My job is to bring these characters to life so convincingly that the audience believes in the characters, not seeing actors but the characters themselves. Casting is crucial, as it comprises a significant part of directing. That’s why “director” is part of our title.
Additionally, we’re involved throughout the filming process. There have been instances where I’ve had to replace an actor, not because of the major roles, but for smaller parts where the actor didn’t deliver as expected. For example, I had to find a replacement on Christmas Eve for filming starting on the 27th of December, which was challenging but part of the job. Casting is about bringing characters to life, ensuring the director is satisfied, and being there throughout the filming. It’s a rewarding yet demanding role, far more complex than just picking names from a database. It’s about making these characters relatable and enjoyable for the audience.
Yitzi: What are the most common mistakes you’ve seen actors make when they come in for an audition?
Gaby: So, I would say the most common mistake, especially during in-person auditions, is when an actor is too rehearsed. They come in already somewhat in character. I love to have a chat with actors beforehand and get to know them as people. I’m not interested in meeting the character because I know who they are better than anyone, having developed them with the director. Being over-rehearsed is a big issue. I always say, relax. I want to get to know you as a person, not the character.
Another mistake is being unprepared. By this, I don’t mean forgetting their lines; that doesn’t bother me. When I say prepared, I mean understanding the role they are reading for. If they’ve chosen an emotional scene and can’t hit those emotional points, it can be frustrating. As an actor, if you’ve chosen to do that, you need to show me what you’ve got.
Lastly, lateness is an absolute no. I won’t see someone if they’re more than five minutes late, as they’d be fired from the film set for repeated lateness anyway. Lateness, being over-rehearsed, and unprepared are what to avoid.
Yitzi: Can you share a few things that people need to keep in mind when sending in a tape?
Gaby: Absolutely. I’ll focus on the tape side, as more and more, it’s a lot more tapes. Here’s what might sound like crazy advice, but it’s crucial: make sure you have an incredible reader. If you do not have a good reader in your self-tape, it ruins everything. A reader, whether they want to be or not, is part of the scene, and it’s off-putting and distracting when you don’t have a reader that has understood the brief as much as the actor.
My biggest advice is to get an incredible reader. It helps create the whole environment. Second, pay attention to the angle of the camera and the frame. Make sure you’re centered and not showing too much background. I’ve received tapes where I can see the actor’s messy room and family photos. It’s distracting and takes away from the performance.
Third, remember eye contact on a tape. I’ve had actors who are really good at accents, but they look down and away from the camera, making it hard to concentrate on what they’re saying. Eye contact is key because I can’t believe your character if you’re not looking at me. You need to tell me who you are and open up so I can see through it.
Lastly, make the first five to 10 seconds memorable. If I’m bored after 10, maybe 15 seconds, I won’t watch the rest. Grip me within that timeframe. If you don’t, I won’t watch the rest. So those are my four tips.
Yitzi: Can you share tips for actors about how to build good relationships with casting directors and stay on their radar for future opportunities?
Gaby: Yeah, absolutely. I actually do a lot of online courses and work one-on-one with actors and do big group sessions. I have one tonight at six o’clock my time. And I always talk about this specific question.
Actors think if they email casting directors a lot, they are annoying. If they badger them on social media with DMs, they’re annoying. They don’t want to be annoying. They don’t want to upset anyone. It is not the case. If someone is consistently emailing, and I’ve got a very good story about this, if someone is consistently emailing a casting director, we take note of it.
One of the most important things, and I say this to every actor I work with, is that if you’re going to email so much, the subject line is what’s going to grab us. Say something interesting. Do not say “20-year-old English actress, blonde.” We get thousands of those. So why would we necessarily look at yours over another 20-year-old English girl with blonde hair?
Anything interesting in the title will get us to be gripped. And it’s absolutely vital to keep hassling us, hassle us. And I think this is misunderstood. Casting directors love actors. Our whole life is actors. We want to give them opportunities, and we love them and support them. And we want, you know, when there was a strike, for example, we wanted the best for them. We really, really wanted the best. We’re on their side. So we should be their allies. They don’t need to be frightened. They must constantly be on top of us.
I’m going to share a great example of why persistence is important. I had an actor who seemed to have scheduled a reminder to send me an email every month at the same time. He did this for eight months. By the eighth month, I knew to expect his email every Wednesday at 12 PM. Initially, I didn’t pay much attention to his emails because I received so many, but one day I decided to see what he had to say. Despite his subject line being boring, his consistent effort caught my attention. It turned out he was a perfect fit for a film I was casting, and when I told him he was cast, he couldn’t believe it. He thought it was a joke at first. I assured him it was really me, Gaby, and that he got the role not because of luck, but because of his persistence.
This story highlights the power of not giving up. I also want to emphasize how much I appreciate receiving direct messages on social media. I read every single one. Actors should know that casting directors, myself included, do watch every showreel we receive. My team or I make it a point to watch every link sent to us out of respect for the effort made. So, don’t hesitate to keep reaching out. We enjoy the attention and the opportunity to help make dreams come true. Being persistent is key.
Yitzi: Beautiful. Okay. So this is our aspirational question. So Gaby, because of the amazing work that you’re doing and the platform that you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most amount of good to the most amount of people, what would that be?
Gaby: This is an important question. And I want to make sure I say something good. Okay. Okay, I have got something that does mean a lot to me. And it is film-related. I would love to start, if I could, a movement or something where kids who can’t afford to go to drama schools, who can’t afford acting classes or to do lamda exams, are given the same opportunities as others. I’d like to offer free acting classes with professionals within the film industry, like casting directors, directors, and producers, to kids from underprivileged areas in the UK or in the States who have a passion and could be so talented. But the world will never get to see them because they can’t afford to do it. I would love to create something like that, so they just don’t have the skill set or the means. And if I could, it would be probably the most important thing to be able to offer that to as many kids as possible. The same way you have for football, you have agents that fly over to Kenya or Ghana and they go and watch these kids who were just playing on the streets and then they get scouted. I would like to do that in the same sort of way for children, for actors, that maybe they don’t even know they have the talent. That’s important to me, to create opportunities, because there’s not that many, and if you can’t afford to, it’s just an expensive industry, and if you can’t afford acting lessons and you can’t afford acting school, you’re never going to get the shot. And I don’t think that’s right and I don’t think it’s fair, so that would be a huge thing for me. I would love to do something like that.
Yitzi: How can our readers continue to follow your work online? How can they support you in any way?
Gaby: So funny enough, I really don’t like social media but it’s fantastic for my job. Anyone and everyone, I do online Q&As all the time on my Instagram page. Any questions are never off-limits. I’m very active there. My casting calls are there. I do a lot there. Any actor or person can always message me and I’ll always reply. I would say that’s probably the best way to keep in touch with me, get to know me. I’m always available for a chat. I’m not one of those scary casting directors and I love to give opportunities, help, and advice if I can.
Yitzi: If actors want to get in touch with you, can they just contact you?
Gaby: 100%. I promise you, I get messages all the time. I spend half my day sometimes replying to DMs on my Instagram. People can vouch for the fact that I have never not replied. I will always respond to any actor or anyone who messages me there with a question or something serious they want to ask me. I always respond. I give a lot of time for that. However I am a lot slower on email, so I can’t promise I will always respond that way.
Yitzi: Amazing. Gaby, this has been such a joy to meet you. It was inspirational and uplifting. I learned a lot.
Gaby: I’m so glad. Lovely to meet you
Yitzi: I’ve interviewed many casting directors, but I learned the most from this one.
Gaby: Thank you so much. It was fun. Loved it.
Inside Tips From Casting: Casting Director Gaby Hart On What You Need To Ace An Audition was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.