Deputy Editor Awards and Features

Casting director Avy Kaufman admits that even she was skeptical when Steven Zaillian asked her to join the cast of “Ripley,” the Netflix miniseries based on Patricia Highsmith’s classic novel “The Talented Mr. Ripley.” The story had already been adapted to film, most notably in Anthony Minghella’s Oscar-nominated 1999 film. “At first, I was like, ‘Why is Steve doing this?’” Kaufman says bluntly. “I’ve been fortunate enough to work with him on a lot of other projects, so I know how talented he is, but a reboot is really risky.” But the finished product, which has 13 Emmy nominations, including a nod for casting, erased any doubts. “It’s like a work of art,” Kaufman raved. “I was really blown away. It tells so many different stories and gets into the skin of the characters.” I just think it’s a masterpiece.”Kaufman first worked with Zaillian on his feature debut, 1993’s “Searching for Bobby Fischer,” and has since collaborated with the filmmaker on all of his directorial credits, including “The Night Of” and “A Civil Action.” She’s won three Emmy Awards, two for “Succession” and one for “Damages.” And she’s worked with the best of the best, from Ang Lee to Steven Spielberg, over the course of her impressive career. When asked what she wants most from a director, she has one word: “Collaboration.”

Kaufman actually cast the limited series before the pandemic, and admits it was an arduous process. “He wants to see a lot of people,” she says. “Which I respect, but it does take some time.” Andrew Scott was already attached to play the title role, and it was Kaufman who suggested Dakota Fanning to play Marge Sherwood, the female lead and a major antagonist to Ripley. “I had worked with her on a show called ‘The Alienist,’ and she was amazing,” Kaufman notes. “At first I wasn’t sure if she would want to come back to television, but she did, and she was brilliant.” Fanning was just one of many actors Kaufman keeps in her mental Rolodex, a reminder to actors that they’re not just auditioning for one role, but for potential jobs in the future. One example is English actor Johnny Flynn, who plays the pivotal role of Dickie Greenleaf, the object of Ripley’s obsession. “Johnny is one of my favorites, and when Steve liked him, I was so happy,” she notes. She was also a fan of Eliot Sumner, who plays Dickie’s friend Freddy Miles. While she was familiar with both roles, “Ripley” may be her most notable in the USB, as this was pre-COVID, and Kaufman auditioned mostly on location, with assistance from castmates and fellow nominees Francesco Vedovati and Barbara Giordani. She does, however, long for the days when most castings were face-to-face. “I miss not seeing people in person; you get a different feeling when you’re in the same room,” she notes. “But I have to admit, sometimes you can get a lot more work done; I can see people all over the world on Zoom.” Perhaps because she started her career wanting to be a ballet dancer, Kaufman has a wealth of empathy for performers. She knows how difficult it is to walk into a room or record a self-tape for an audition. "Hats off to actors," she says. "We're all people pleasers, and I know what it's like to want to do your best for someone. So when I'm working with someone, I try to make them feel comfortable. I want them to be confident and know the material. Don't try to be funny; don't try to do what you think I want. Just do your best."

She prefers direct communication and doesn’t like props. “I’m not a director, so it’s just my opinion, but I find it distracting,” she notes. “Mostly, I just want you to be there. I want to be able to see you and hear you clearly, as obvious as that sounds.” Some favorite casting memories include scouring chess clubs for child actors for “Bobby Fischer” and traveling to India and finding Suraj Sharma, who had never acted before, for the lead role in “Life of Pi.” She also suggested Julianne Nicholson and Evan Peters for “Mare of Easttown.” Though Peters was cast, his role in the limited series was different from the characters he’d played before, and Kaufman says she had to fight for him—both actors eventually won Emmy Awards for their performances. She also enjoys casting ensembles and watching actors go on to greater glory. When she cast Spielberg's "Lincoln," Adam Driver and Jeremy Strong were both relatively new to the film business — Kaufman had no idea at the time that star Daniel Day-Lewis had mentored Strong. "I really pride myself on ensembles and how I can bring them all together," she notes. "I watch 'Lincoln' and I'm so happy to see all these great actors that have been part of it and have brought in a lot of people." As for new talent, Kaufman goes to the theater and keeps up with movies and TV — though she laments that she probably doesn't "watch enough." She's also approached people on the subway before. One of her funniest discovery stories hits home on a personal level. She was auditioning for child actors when two boys walked into her office. "The director said, 'That's the kid!'" she recalls. "I was like, 'No, no, that's my son.' He just came to visit me." It turned out her son wasn't interested in auditioning, so they kept looking. “We love those moments where you see someone and they respond,” she notes. “Even if in this case it didn’t work.”