What does it really mean to be cast as a “real person” - and what can actors learn from that process? In this conversation, Lisa Southam welcomes casting director Casper Black to explore a side of casting that sits somewhere between performance, personality and genuine human connection. Casper describes real people casting as any situation where somebody appears on screen without acting a part. Rather than asking someone to become a character, the aim is to find people whose experiences, relationships, interests or personalities genuinely connect with the brief. For actors and non-actors alike, that creates an interesting challenge: sometimes the most useful thing you can do is stop trying to perform.
Real people casting is about more than finding an interesting face
The idea of “street casting” might bring to mind somebody spotting an unusual face in a crowd, but Casper explains that the process is much broader than that. Occasionally a project does require searching in person, particularly when a client is looking for a particular feeling or energy that is difficult to describe. More often, however, casting involves networks, communities, social media and finding ways to reach people who may never normally see a casting call. For Casper, a fresh search is important. Rather than repeatedly looking in the same places, he wants different people to have the opportunity to discover a brief and consider whether it genuinely fits them.
Authenticity does not mean performing authenticity
One of the clearest themes of the conversation is the difference between showing your personality and trying to demonstrate that you have one. When a casting request asks you to be yourself, Casper's advice is simple: do not make yourself louder, smaller or more polished in an attempt to guess what somebody wants. That can be particularly useful for trained actors. Acting experience can certainly help with confidence around cameras and self-tapes, but when the brief asks for real people, your training should not replace genuine alignment with what is being cast. Before applying, Casper suggests asking yourself whether you would still be interested in the opportunity if you were not an actor. Do you genuinely connect with the subject, activity or relationship being explored? If the answer is yes, your performance skills may then become useful - but they are not the reason you fit the brief.
Read the brief carefully
Casper stresses that the detail casting teams need should be there in the brief, but applicants can sometimes try to “shoehorn” themselves into opportunities. A casting request for a parent and child having fun together, for example, is not simply looking for two people who technically fit those roles. The team may also be looking for visible chemistry, ease and a relationship that feels natural on camera. This is especially important when families or young performers are involved. If a parent clearly does not want to participate, that discomfort may show. Sometimes another trusted adult who genuinely enjoys being involved may be a better fit for that particular opportunity.
Keep your self-tape simple
Real people are not expected to have professional self-tape equipment, but the basics still matter. Casper recommends making sure you can be clearly seen and heard. Facing a window can provide useful light, while a bright window behind you can leave your face difficult to see. Background noise, televisions and music can also distract from what matters - you. A simple, well-lit place where you can sit comfortably and speak naturally is often enough. You do not necessarily need a white background, elaborate equipment or the conventions an actor might normally use in a traditional casting tape.
- Make sure your face and eyes can be seen clearly.
- Check that your voice is easy to hear.
- Notice what is happening in the background.
- Follow the brief rather than adding unnecessary performance conventions.
- Give the casting team a chance to see who you genuinely are.
Rejection does not always mean the opportunity is over
Casper also talks warmly about the people who remain in his mind after a casting. Someone can be completely right in themselves and still not be chosen for one particular project. Clients may change direction, discover what they actually want only after seeing the first round of casting, or take far longer to make decisions than originally expected. For performers used to interpreting silence as rejection, that is a useful reminder. Being seen can still build a relationship. Casper describes remembering people and sometimes contacting them later when another opportunity feels right.
Personality over performance
When Lisa asks about the balance between personality and performance, Casper's answer is particularly clear: for real people casting, he wants the personality turned up and the performance turned down. That does not mean becoming a bigger version of yourself. It means allowing the casting team to see the person who genuinely connects with the opportunity. For young actors, parents and adult performers, there is plenty to take from that idea. Technical skills matter, preparation matters and experience helps - but sometimes the strongest choice is to stop trying to look castable and simply let the camera see you. Whether you are exploring real people casting for the first time or approaching your next self-tape as an actor, this conversation is a thoughtful reminder that connection, clarity and genuine enthusiasm can be powerful tools to bring with you.