SITE TOOLS
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Patrick S. Cunningham, CSA
By Lisa R. Foeman An
author’s ability to evoke divergent images of a character’s physical appearance
and mannerisms in the mind of a reader is but one beauty of a book. The splendor of a
script, however, lies in wait - for the able casting director to bring its characters
alive through the proper selection of actors. With great aplomb, Patrick S. Cunningham,
CSA confidently carries out this mission as evidenced by his assistance with casting on
What’s Love Got To Do With It, Desperado, and Boomerang.
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Courtesy P. Cunningham
Patrick Cunningham strikes a pose with
Lisa Raye |
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Drawing upon his five years of professional experiences as a casting director for BET,
Fox, Hollywood studios, and independent filmmakers, Cunningham explains, “the basic
relationship in the business is the relationship that a casting director has to talent via
agents and personal contacts.” But contacts alone are insufficient. States
Cunningham, “if you have a good script, I can attract great talent.” The
question is: what talent may be eliminated from the pool?
While it is customary for producers and directors to establish guidelines for the casting
director, certain white producers in the industry have “expressed sentiments that
indicate a preference for skin tone,” according to Cunningham. Even with such
restrictions, Cunningham insists that casting directors have tremendous leeway. He relates
that although producers and directors wield tremendous power in the ultimate selection
process, it’s the casting director who drives the decision-making process through the
establishment of the selection pool.
Are Black actors in Hollywood mainstream films a dying breed? If it appears so, Cunningham
offers several suggestions to address the issue. First, Black directors and producers
should insist on a Black casting director. In Cunningham’s opinion, a Black casting
director can bring not only distinguished actors to the table, but also fresh faces.
It’s the latter that increases the pool of Black actors for future films and removes
the misperception on the part of White casting directors that there are only a few Black
actors worthy of major film roles.
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The BET
Arabesque line of films certainly was a showcase opportunity for new and established
Black actors. As one of three casting directors for the ten films, Cunningham opines,
“we basically hired more African-American actors in the last 12 months I think than
anyone.” Certainly, BET should be applauded for undertaking the arduous task of
producing and writing ten films in one year.
As for Cunningham, avid movie watchers look forward to his continued role in giving life
to a script’s characters. M
June 2000 |
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