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Giving Up The Day Job: Casting Director Fiona Weir

Posted: 22 Jul 2014

Q&A by Ben Falk

Casting Director Fiona Weir has cast some of British film’s unforgettable performances, from Love Actually to Boy A. Here, she discusses how she got into casting, working on latest projects Frank and Pride, and why having a mentor is so important…

BFHow long did it take between deciding to become a casting director and actually doing it for a living?

FWWhen I was at university, I wanted to work in film, but didn’t have a clue how to, so after I left I became a runner as many people do. It’s a brilliant film school. I worked in a commercials company, then TV and moved up to production co-ordinator. That probably took five or six years. While I was doing that, I really found out what a casting director did and realised that this was the side of the industry I was consumed by. I loved actors and acting and had always loved seeing plays and films. I didn’t realise you could do that for a living. I decided to stop working in production and wrote to all the casting directors I knew.

BFHow did you take the next step?

FWI was co-ordinating Shakespeare In Love and thought, ‘you know, I really want to be in casting’. I decided not to take any production jobs and concentrated on being a casting director. Someone who I desperately wanted to work for was Mary Selway and she invited me along for a chat and gave me a job.

It was probably a few months before I got that. I started off as her assistant and ended up as a co-casting director, working with her until she died. Then carried on on my own.

BFDid that background in production help?

FWAn immense amount. You learn about all the different components of a film. So while most of the time you’re approaching casting from a creative point of view, you have an understanding of all the other elements. You also learn to listen to directors and what they want.

A large part of casting is taste, which is instinctive and honed over the years. But I only suggest people, ultimately, who or who isn't in a movie is down to the director. 

BFYou've worked on films with massive stars like Carnage and then smaller movies. How do you fit into the process?

FWWhen I joined J Edgar, Leonardo DiCaprio was already in conversations with Clint. Another situation is Pride for Matthew Warchus. I was sent a script with no-one attached and then you are intrinsic in the process of the film being greenlit. Both come with their own complications.

BFWere there times you thought it wouldn't work out? How did you keep going?

FWThe secret in this business is to be busy and keep going. I didn’t have that moment because I was so busy doing it. Whatever the work was, I relished and enjoyed it as much as possible. Anyone who’s in this business has to love it and that’s what sustains you.

BFLooking back, is there anything you would have done differently to help get where you are?

FWI had a brilliant tutelage with a brilliant woman, so I had very fortuitous training. I don’t think I would have done it differently. 

I think [having a mentor] is wonderful. You’re very lucky if you have someone who’s generous in that way. But I think there are a lot of people in this industry who do hand on the baton.

BFIn Frank, you cast Michael Fassbender...

FWWearing a paper mâché head! It’s one of the most perverse casting decisions I’ve ever been involved with! But he knew from the outset what would be involved and I think part of what attracted him was acting an incredibly complicated character without that bit of him that makes him internationally famous.

BFWhat else was interesting about working on this film?

FWCasting actors who could play musical instruments was a challenge. In the end, the band in the film was a combination of actors and musicians.

BFWhat are the moments when you think to yourself, 'yes, I got that right'?

FWI thought Andrew Garfield was superb in Boy A. And then look at what he’s done since. But he’d been doing terrific stuff on stage, so I couldn’t claim to have found him.

Jodie Whittaker in Venus was a lovely moment. I think that was her first job out of drama school and it was great to be part of her playing that role.

BFDo you get actors sucking up to you a lot?

FWYesterday when I was going through my post, it had in it a sachet of coffee and some chocolates. You always have a very large post pile. But fantastic – we couldn’t do what we do without people who want to act.
  • Frank is out now. Pride will be out later in the year.

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