The Best Casting Jobs in Hollywood History
Briefly

The Best Casting Jobs in Hollywood History
"For the first time in a quarter century, the Oscars have a new category: Best Casting. The inaugural nominees are "Hamnet," "Marty Supreme," "One Battle After Another," "The Secret Agent," and "Sinners," all of which succeed on the strength of their jigsaw puzzles of great performances. This comes after years of lobbying from the Academy's casting branch, which was only established in 2013."
"Casting, unlike, say, sound design, is tricky to isolate as a craft, which is probably why it's taken this long to get its own award. A casting director's job is often invisible; they work to serve the director's vision, even as they advocate for actors they've had an eye on. As an Oscar-history obsessive, I've been pondering what might have won if the category had existed all along."
""All About Eve" (1950) In the old-Hollywood studio system, casting was more clerical than creative; people drew up long lists of names, often culled from a studio's contract players. Still, I have to shout out one of the best assemblages of actors ever put onscreen, five of whom were nominated for Oscars: Bette Davis, Anne Baxter, Celeste Holm, Thelma Ritter, and George Sanders. (Only Sanders won.) This cast is so stacked-particularly with women-that a pre-iconic Marilyn Monroe even shows up in a bit part."
The Academy Awards introduced Best Casting as a new category after a quarter century without new categories, with inaugural nominees including Hamnet, Marty Supreme, One Battle After Another, The Secret Agent, and Sinners. The Academy's casting branch was established in 2013 following years of lobbying. Casting is difficult to isolate as a distinct craft, which helped delay formal recognition. Casting directors often work invisibly, balancing service to a director's vision with advocacy for actors. Historical exemplars of exceptional casting cited include All About Eve (1950), Marion Dougherty's work on Midnight Cowboy (1969), and the ensemble approach of Nashville (1975).
Read at The New Yorker
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