Volume 1, Issue 5 |
| Fern Champion |
| Veteran Casting Director, Fern Champion |
Ever watched any of these hugely successful films – ‘The Police Academy,’ ‘The Mask,’ ‘Naked
Gun,’ or ‘Mortal Kombat’? How about the super successful TV Show – ‘90210?’ If you have, then
you’ve seen Fern Champion’s amazing casting ability. Most recently, Fern has cast such films as
‘Tekken,’ based off the hit martial arts video game.
I Am Entertainment Magazine visited Fern in her Beverly Hills office to discuss the profession of
casting talent, from an A++ veteran in film.
IAE: Can you please tell us where you’re from and how did you get into casting?
FERN: I’m a New York girl to the heart! I think I've been very fortunate in that I started my career with
‘Saturday Night Fever,’ which starred John Travolta. Robert Stigwood (one of the producers of ‘Saturday Night
Fever’) was the one who told me to come out to LA because he wanted me to do this movie with him. I told
him, “No way! I hate LA!” I wanted to stay in New York because, not only did I grow up Brooklyn, but I also had
a career in New York and lived in Manhattan on the upper west side.
IAE: So when you finally came to LA (laughs), what did you work on?
FERN: Well, as I mentioned, Robert Stigwood came to me and said he wanted me to do a movie out in LA. I
thought, “If I have to come out to LA, it had better be a big movie.” Because of Roberts background as a
music and artist promoter for the Bee Gees, he wanted to do a musical called, 'Sgt. Pepper’s Lonely Hearts
Club Band,' so that was my first major project in LA. We had a fantastic cast that included all these musical
artists like The Bee Gees, Aerosmith, Alice Cooper, and the great comedian George Burns. For the crazy
character, Dr. Maxwell Edison, Robert (Stigwood) asked me if I knew of any comedians because he wanted a
comedian for the role. So I told him about this really strange comedian that I saw the night before on ‘The
Johnny Carson Show,’ and my husband really liked him (the comedian). I told Robert I would get this guy on
tape. That comedian was Steve Martin.
IAE: You’ve had an amazing career where you’ve either discovered, or helped make many
actors and comedians household names. What is it about your job that you love the most?
FERN: I love finding new people, it’s a high for me. I see so many folks who don’t like what they do, and I
can’t say that I understand that, because I love what I do.
There are so many people who think that casting is boring because you’re constantly reading, but for me it’s
the most exciting gig in town. First of all, the script is where it all starts. Let’s say you’re lucky enough to get a
good script, now you have the chance to discover new faces.
So what's my job? It ain't a job; I'm being entertained. I love it! I love my actors; they look like humans, not
plastic dolls. I also like to do a lot of children’s movies. I’ve worked with Dylan and Cole Sprouse (from Disney
Channel’s ‘The Suite Life’), and I’ve done the majority of their films, but not their TV show. I enjoy working with
children because they are eager to learn and they’re like sponges. Kids soak up everything and are a lot of
fun.
IAE: You’re the one who discovered Cameron Diaz. How did that happen?
FERN: When I was casting ‘The Mask,’ originally we had Robin Williams lined up to be the lead in the film,
but he was so hot at the time that he really wasn’t available to fit it into his schedule. There weren’t very many
comedians who could pull that role off. There was only one guy who could do it, and we knew him then (in the
90s) as “the white guy on ‘In Living Color’.” (laughs) We now know him as Jim Carrey, but at the time he was a
total unknown, so the production company wanted to get a known female to star opposite him.
During this time, Guess Jeans had the most gorgeous model on their billboards and that was the girl the
production company wanted. Her name was, Anna Nicole Smith. Funny thing is, I was called back to do the
sequel of ‘Naked Gun’ but I couldn’t take it because my focus was on casting ‘The Mask.’ Anna Nicole ended
up getting offered that sequel, ‘Naked Gun 33 1/3,’ and she took it. So we had to go back to the drawing
boards on ‘The Mask’ and find a different “pretty girl” for the role. Enter Cameron Diaz (laughs). She was a
real classy broad who made me laugh. She had never done any acting before, so when I gave her the script,
she said “I don’t know what the f*** I’m doing here.” She just had “it.” I told her to take the script home and then
I called her Modeling Agent who worked upstairs in the same building I was in and I said, ‘I have to thank you
but Cameron should be an actress. She’s not a bimbo and she has her stuff together, I really like her.”
As casting continued, we kept selling hundreds of ladies for the part, some of the biggest models all over the
world. People like Elle McPherson, Tyra Banks, Cindy Crawford, Stephanie Seymour, even Madonna and
Selma Hayek. While we were auditioning all these various models, Cameron was in actor lessons practicing the
script and in dance lessons. She eventually got the part, because she was just the right one for it. She stayed
true to herself throughout the process.
Here’s an interesting side story. About two years later my son, Spencer was having his Bar Mitzvah and he
asked, “Do you think Cameron would come?” I told him to send her an invitation; he did and she came as his
guest. Years later, in 2009, as Cameron was getting her star on the Hollywood Walk of Fame, she requested
that Spencer be her guest for the event. It was very cool!
IAE: What are some of the things that you dislike when actors come in?
FERN: There are a couple of things that I don’t like, let me run down the list (laughs).
First thing is when an actor is not prepared. For instance, they come in and there are only 3 pages of sides, all
of which are available online, and when I ask if they read the script I hear, “I worked late last night.” That’s a
major pet peeve of mine. Actor’s have to understand that they are a sole proprietor, so they are the owner of
their business (acting career), and if they don’t prepare for success then their business will fail. I approach
reading with actors for one and two liners a bit more differently than I do if you’re up for a lead. If you’re
reading for a lead then you’d better know the script.
Secondly, I dislike when actors start off reading and the scene is not going very well for them, but they wait
until midway through the read before they stop and ask to start over. Usually, you know from the moment you
start reading whether or not your rhythm is off. So on the first or second line in, stop and ask to start over.
The third one is when an actor comes in and tells me that they would be better for another role, because they
read through the script and saw something that they thought fit them better.
Number 4 is when the headshot doesn’t look like the person. If you’ve changed your look, get new photos.
Fifth on my list is the use of props. Props are not accepted in my office. One actor literally threw his keys and
hit me, which left a gash on the side of my head! The scene got really violent. Needless to say, that was not his
best read.
The one that I’m sure every other casting director would agree with me on is punctuality. The truth of the
matter is that some of my agents set up too many appointments in one day for the actors. First of all, the
actors can’t possibly prepare for all of those auditions properly, and second, they don’t have enough time to
make it clear across town in LA traffic. But going back to what I said about actors being a sole proprietorship.
The actor has to use his/her own right to speak, and let the agent know that he/she can’t do 4 or 5 auditions in
one day. But if I am the last audition of the day, don’t come in with an excuse about how you are so exhausted,
because I don’t care. You need to be on your A game and ready, because I’m ready!
IAE: If you could change anything about this business, what would it be and why?
FERN: I think there are way too many people in every aspect of the business who simply aren’t qualified
to do their particular profession. Casting, in my opinion, has too many untrained people who are not strong
enough and knowledgeable about their job. Producers need to be serviced by casting professionals who will
have their backs and who know what they’re doing, not casting directors “who earn while they learn.” Don’t
learn on somebody else’s money. I recommend training for those who are interested in becoming Casting
Directors. Start as an assistant, then onto being an Associate, and finally a Casting Director. This could take a
couple of years, but at least they will understand how to do the job efficiently and effectively.
Gun,’ or ‘Mortal Kombat’? How about the super successful TV Show – ‘90210?’ If you have, then
you’ve seen Fern Champion’s amazing casting ability. Most recently, Fern has cast such films as
‘Tekken,’ based off the hit martial arts video game.
I Am Entertainment Magazine visited Fern in her Beverly Hills office to discuss the profession of
casting talent, from an A++ veteran in film.
IAE: Can you please tell us where you’re from and how did you get into casting?
FERN: I’m a New York girl to the heart! I think I've been very fortunate in that I started my career with
‘Saturday Night Fever,’ which starred John Travolta. Robert Stigwood (one of the producers of ‘Saturday Night
Fever’) was the one who told me to come out to LA because he wanted me to do this movie with him. I told
him, “No way! I hate LA!” I wanted to stay in New York because, not only did I grow up Brooklyn, but I also had
a career in New York and lived in Manhattan on the upper west side.
IAE: So when you finally came to LA (laughs), what did you work on?
FERN: Well, as I mentioned, Robert Stigwood came to me and said he wanted me to do a movie out in LA. I
thought, “If I have to come out to LA, it had better be a big movie.” Because of Roberts background as a
music and artist promoter for the Bee Gees, he wanted to do a musical called, 'Sgt. Pepper’s Lonely Hearts
Club Band,' so that was my first major project in LA. We had a fantastic cast that included all these musical
artists like The Bee Gees, Aerosmith, Alice Cooper, and the great comedian George Burns. For the crazy
character, Dr. Maxwell Edison, Robert (Stigwood) asked me if I knew of any comedians because he wanted a
comedian for the role. So I told him about this really strange comedian that I saw the night before on ‘The
Johnny Carson Show,’ and my husband really liked him (the comedian). I told Robert I would get this guy on
tape. That comedian was Steve Martin.
IAE: You’ve had an amazing career where you’ve either discovered, or helped make many
actors and comedians household names. What is it about your job that you love the most?
FERN: I love finding new people, it’s a high for me. I see so many folks who don’t like what they do, and I
can’t say that I understand that, because I love what I do.
There are so many people who think that casting is boring because you’re constantly reading, but for me it’s
the most exciting gig in town. First of all, the script is where it all starts. Let’s say you’re lucky enough to get a
good script, now you have the chance to discover new faces.
So what's my job? It ain't a job; I'm being entertained. I love it! I love my actors; they look like humans, not
plastic dolls. I also like to do a lot of children’s movies. I’ve worked with Dylan and Cole Sprouse (from Disney
Channel’s ‘The Suite Life’), and I’ve done the majority of their films, but not their TV show. I enjoy working with
children because they are eager to learn and they’re like sponges. Kids soak up everything and are a lot of
fun.
IAE: You’re the one who discovered Cameron Diaz. How did that happen?
FERN: When I was casting ‘The Mask,’ originally we had Robin Williams lined up to be the lead in the film,
but he was so hot at the time that he really wasn’t available to fit it into his schedule. There weren’t very many
comedians who could pull that role off. There was only one guy who could do it, and we knew him then (in the
90s) as “the white guy on ‘In Living Color’.” (laughs) We now know him as Jim Carrey, but at the time he was a
total unknown, so the production company wanted to get a known female to star opposite him.
During this time, Guess Jeans had the most gorgeous model on their billboards and that was the girl the
production company wanted. Her name was, Anna Nicole Smith. Funny thing is, I was called back to do the
sequel of ‘Naked Gun’ but I couldn’t take it because my focus was on casting ‘The Mask.’ Anna Nicole ended
up getting offered that sequel, ‘Naked Gun 33 1/3,’ and she took it. So we had to go back to the drawing
boards on ‘The Mask’ and find a different “pretty girl” for the role. Enter Cameron Diaz (laughs). She was a
real classy broad who made me laugh. She had never done any acting before, so when I gave her the script,
she said “I don’t know what the f*** I’m doing here.” She just had “it.” I told her to take the script home and then
I called her Modeling Agent who worked upstairs in the same building I was in and I said, ‘I have to thank you
but Cameron should be an actress. She’s not a bimbo and she has her stuff together, I really like her.”
As casting continued, we kept selling hundreds of ladies for the part, some of the biggest models all over the
world. People like Elle McPherson, Tyra Banks, Cindy Crawford, Stephanie Seymour, even Madonna and
Selma Hayek. While we were auditioning all these various models, Cameron was in actor lessons practicing the
script and in dance lessons. She eventually got the part, because she was just the right one for it. She stayed
true to herself throughout the process.
Here’s an interesting side story. About two years later my son, Spencer was having his Bar Mitzvah and he
asked, “Do you think Cameron would come?” I told him to send her an invitation; he did and she came as his
guest. Years later, in 2009, as Cameron was getting her star on the Hollywood Walk of Fame, she requested
that Spencer be her guest for the event. It was very cool!
IAE: What are some of the things that you dislike when actors come in?
FERN: There are a couple of things that I don’t like, let me run down the list (laughs).
First thing is when an actor is not prepared. For instance, they come in and there are only 3 pages of sides, all
of which are available online, and when I ask if they read the script I hear, “I worked late last night.” That’s a
major pet peeve of mine. Actor’s have to understand that they are a sole proprietor, so they are the owner of
their business (acting career), and if they don’t prepare for success then their business will fail. I approach
reading with actors for one and two liners a bit more differently than I do if you’re up for a lead. If you’re
reading for a lead then you’d better know the script.
Secondly, I dislike when actors start off reading and the scene is not going very well for them, but they wait
until midway through the read before they stop and ask to start over. Usually, you know from the moment you
start reading whether or not your rhythm is off. So on the first or second line in, stop and ask to start over.
The third one is when an actor comes in and tells me that they would be better for another role, because they
read through the script and saw something that they thought fit them better.
Number 4 is when the headshot doesn’t look like the person. If you’ve changed your look, get new photos.
Fifth on my list is the use of props. Props are not accepted in my office. One actor literally threw his keys and
hit me, which left a gash on the side of my head! The scene got really violent. Needless to say, that was not his
best read.
The one that I’m sure every other casting director would agree with me on is punctuality. The truth of the
matter is that some of my agents set up too many appointments in one day for the actors. First of all, the
actors can’t possibly prepare for all of those auditions properly, and second, they don’t have enough time to
make it clear across town in LA traffic. But going back to what I said about actors being a sole proprietorship.
The actor has to use his/her own right to speak, and let the agent know that he/she can’t do 4 or 5 auditions in
one day. But if I am the last audition of the day, don’t come in with an excuse about how you are so exhausted,
because I don’t care. You need to be on your A game and ready, because I’m ready!
IAE: If you could change anything about this business, what would it be and why?
FERN: I think there are way too many people in every aspect of the business who simply aren’t qualified
to do their particular profession. Casting, in my opinion, has too many untrained people who are not strong
enough and knowledgeable about their job. Producers need to be serviced by casting professionals who will
have their backs and who know what they’re doing, not casting directors “who earn while they learn.” Don’t
learn on somebody else’s money. I recommend training for those who are interested in becoming Casting
Directors. Start as an assistant, then onto being an Associate, and finally a Casting Director. This could take a
couple of years, but at least they will understand how to do the job efficiently and effectively.
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