Episode 40: Jennifer Rudnicke
John Twork 0:10
Welcome to Redbird Buzz. I'm John Twork from University Marketing and Communications. Our guest today is Emmy award winning casting director Jennifer Rudnicke, a 1991 graduate of Illinois State University. After earning a Bachelor of Science from ISU in Theater, Design, Production, and Technology, Rudnicke has spent 30 years in casting, including the past 22 years as co-owner and casting director of Paskal Rudnicke Casting in Chicago, she and her business partner Mickie Paskal, cast for TV, film, commercials, voiceover and print. Some of their notable jobs have included casting for Chicago-based hit series, Shameless and South Side. Most recently, they've provided location casting for FX’s The Bear, which earned several Emmys including Best Comedy Series and Outstanding Casting for a Comedy Series. And you can read more about Rudnicke in this spring's issue of State magazine.
And it's my pleasure to welcome Jennifer Rudnicke to Redbird Buzz. What's the word, Redbird? Tell us a little bit about yourself and your journey from Illinois State to Emmy award winning casting director.
Jennifer Rudnicke 1:43
Thank you so much. So, you know, I had a wonderful opportunity. Being a grad in 91, I guess officially I actually wrapped things up in the winter of 90. And then did my spring semester interning at the Goodman Theatre as a stage manager. And then came back for, you know, to walk with my diploma and all that. And I started off working as a stage manager, loving it, happily planning it as my full-time career. But as we all know, theater is inconsistent. And I needed to find, you know, some side work to help pay the bills. And I was working with an actor at a show at Victory Gardens. And he actually worked at a talent agency called Lily's Talent. And then he said, you know, they were crazy busy. And I said, well, I need a part-time job. And he was like, Well, come on. Okay. And, so I went in, and this is, you know, way back in the day where they needed people to actually fax things and file things in file cabinets and answer phones. And so, I was just an administrative assistant. And loving it. And seeing that there was this whole on-camera world that existed in Chicago that I didn't know about, you know, I knew Chicago had amazing theater, right? But I didn't know there was an on-camera world out there. I knew in LA, New York, of course. But Chicago did have a bunch to offer. At the time that I was working there, the on-camera agent ended up getting put on bed rest, she was pregnant and medically needed to work from home, and we didn't have the luxuries we do today to work from home. So, I became her eyes and ears. And after she had the baby, she decided she needed to stay home with the baby and Lily’s owner said, well, you've been doing the job do you want to just keep doing the job? And I was promoted to being the camera agent. And I was like, you know, shoulder this, this is working out as long as I can absolutely still leave in time to get to the theater. And she was like, of course, no problem. Well, I mean, that's easy to be, you know, easier said than done, right? Because, you know, nothing in our industry, I don't think works on any kind of, you know, nine to five hours. And so, as the stage manager, right, I'm the one that's supposed to be at the theater before all the actors, right? And I'm better at that as an agent. And even now with casting like you're there when the client needs you there. So often, there were times I was always running late to get to the theater, or leaving things on my desk that I shouldn't have been leaving and I just felt terrible about it. And I was like this is not working out. And I became really good friends with the casting director. Her name is Sheree Mann. And she had her own casting agency and in Chicago here and I told her that you know, I was really struggling working full time with the agency and then also still doing theater and I wasn't interested in giving up theater and she was like, well come work part-time for me in casting. And I thought, oh, this makes more sense, right, because she only needs me part-time. But again, it was sort of the same thing. Like, I was, you know, rushing, you know, from one to the other and never feeling like I was giving my 100% either, and I had to make a decision. So, I guess it was probably around 98-ish. Maybe, somewhere around there. Let's just go with 98. Yeah, I decided, you know, there were some real pluses to this casting thing. I was really being given a lot of the same opportunities I got as a stage manager, I got to work with actors, and I got to be creative in directing them. The same way I would work with the understudies. And that sort of thing. When I was stage managing, I got to be part of the beginning of a process and getting the actors booked, and then moving on to the next thing. And it kept me still in the industry and working with all the people I knew and loved. But it had some really nice luxuries, which were it was more it was much more Monday through Friday; I had my evenings and weekends. And there was a little more consistency to it. Because a lot of times with theater, I found myself enjoying the opening night. And then by the very next performance, I was sure I'd be enjoying it. But at the same time, I'd always be looking for the next gig, right? Knew that show was gonna, you know, you knew the day where you're closing. So, you had already started looking for the next gig. So, the thing that was really lovely about casting was, yes, you're still looking for the next job to come through to cast, but it just felt more consistent at the time to me, and I really liked the fact that I was able to have a little bit of a life. And, and it worked out, I guess. So, I left Sherry's and went to work for a couple of other places. And then I opened up my own little, tiny boutique company, before joining with Mickie. And then Mickie had a business partner, Rachel Tenner, who wanted to move to LA and continue casting up there. And so, I took over where Rachel left off and Mickie and I've been together ever since. And I kept I will say this, this was probably really silly. But I kept the Equity card. I kept my membership. I kept paying the dues, because up until some ungodly year, because I kept thinking to myself, what if I want to go back, I want to be able to go back. And then finally was a point where I was like, okay, you need to give this up because you probably don't even remember how to stage manage, let alone what you probably don't even know what a lightboard looks like, you know, or a soundboard looks like anymore. I mean that I had waited that long for the technology, and everything had probably changed so drastically. It was like we this is silly, you need to give up your equity membership. So, I did. But it was something maybe always in the back of my mind. Yeah, here we are.
John Twork 8:27
Here you are an Emmy Award winner now. Before we go into The Bear and go any further, can you explain what exactly does a casting director do?
Jennifer Rudnicke 8:37
Yeah, I mean, essentially, we're like a personal shopper for client, television network, film studio. And by client, you know, that's when we're in like the commercial sense. So, it's like the Donald's people, the you know, the footlocker people, you know, any of that kind of thing. So, they, you know, they all have an idea, right? The idea can be the film script, or the television series, or the, you know, this quick, 32nd commercial, and they've got the need, that they need actors in those moments. And then they will hire either an advertising agency or production company or a director to do those things. And then those folks will hire a casting office. And then we sort of become a personal shopper for them. So, they basically tell us like, yeah, we know, we really probably want a woman in that role. And, you know, we figure she's, you know, probably in her 30s. And she's, you know, kind of got this sort of attitude, you know, or this sort of demeanor, and that sort of thing, and then we go shopping. So, we put a breakdown out to the talent agents and say, you know, we're looking for like these sort of generalities, and then they'll submit to us via casting software, and we pick whom we would like to see audition, and then have those folks either come into the office and audition or now they also can self-tape. And then we send that link to our clients, our clients will narrow it down to their phase, and then we'll have the callback, and then they finally get booked. You know, but the big thing for us is that we're trying to hear what they say they want, but also help them understand maybe what they could consider differently. Or maybe what they might need, that they didn't think of, is something that, you know, we really pride ourselves on, you know, there was a role in Southside, for example, that they had written as a male character, you know, probably in his 40s. And, you know, we just knew that there was this amazing actress in Chicago named Lisa Beasley much younger, female-identifying and, and we just tried it, we just had her take for it. And they booked her, they loved her, they brought her back for another season, like, you know, it's, it's something that, you know, you want to help them do and see, I mean, we're still unfortunately, in a world where a lot of particular roles are written for particular genders, and, and you have to push them a little harder and say, why is that? What's what is the reasoning behind that? You know, I mean, obviously, you're doing a show that revolves around a family, we're working on one right now, obviously, those family members need to have a connection in some capacity. But, and then with my commercials, there's been tons of market research that has already been done to determine what the demographic is that they want to appeal to. So, there are sometimes some greater limitations that we have to stick with, but the world has definitely gotten less rigid and more open to showing things that they never would have shown before. But you should keep pushing that envelope to help them.
John Twork 12:20
I think in the magazine story, there's a mention of you sort of like our human Rolodex in your brain, when you read a role, are you all of a sudden thinking of actors who you're aware of who might fit that part?
Jennifer Rudnicke 12:36
Absolutely. I mean, you know, we have often sort of cast in our head as to who we think is probably already going to be great for it and or who should book it, like, we'll even sometimes joke around be like, if they do not book this, then I do not deserve to be this. Dude, I do not deserve to be a casting director anymore. You know, sometimes we'll, you know, feel that strongly about it. And I will say, you know, that was something that was really lovely, when we worked on Shameless, you know, we were able to be with them for so long, and so many different seasons, that it had kind of gotten to that point where we'd get the breakdown of the roles, and we could very much more narrowed down to showing them just a handful of people, because we knew what they liked, and we knew the tone of the show, and who would just automatically fit in. But then there's like this new show that we're working on, it's called Emperor of Ocean Park, it's going to be on MGM plus, and, you know, we there was a whole new set of people, right, a whole new set, showrunners and directors and producers that, you know, we're learning them as much as they're teaching us. And you know, so you're more apt to show them more people to kind of get a feel of like, what do they like? Who do they like? How are they seeing this? How willing are they to think out of the box? But definitely, yeah, we, Mickie and I've just been doing it a little too long, that we probably have precast it. And then we love when the agents have submitted, some of them are like, oh my God, why didn't I think of that person? So, there is that kind of love of luxury as well.
John Twork 14:21
There are so many important behind-the-scenes roles in TV and film, ones that your average viewer doesn't even really consider until they see the credits maybe at the end of the show. And you've made a career out of casting. What is it that you really enjoy about this role?
Jennifer Rudnicke 14:38
You know, I think, you know, it's allowing, I mean, I just have I don't know, I've always been in awe of actors, I guess I for like, a brief moment, you know, I did officially start at Illinois State as an acting major, but very quickly changed during freshman year because I realized it was not for me what I saw the people that were there and, and who really needed to be actors. But I think it's seeing how you can tell a story. And the way an actor is able to do that. And I just love being able to give that opportunity. So, I guess, and that still just, I mean, even after all this time, it's still happening. Right, you know, but now it's flourished, you know, so I'm still thrilled to find the right person that fits into the right puzzle piece, you know, I still love that. But at the same time now, for where I've gotten is, I also have gotten to know a lot of these folks, and I know, I'm doing a lot of the negotiating for their deals, and that sort of thing. And I love the fact that I am able to get them the money they deserve. You know, somebody, you know, was able to pay off all their mother's medical bills, you know, because of the role that we got them and, you know, or they were finally able to buy that condo that they, you know, didn't think they'd ever be, you know, a homeowner, you know, when they were able to book something, and, you know, we have the, we don't have the final say, who books it right, that is going to be up to so many different factors, the director, the producers, the network, executives, Mr. McDonald's himself. So, but, you know, I can at least get them there to the final call to the final forefront to be chosen in, you know, and hopefully, they'll look at us and they'll say, Well, you know, if, you know, if we're trying to decide between, actor A and actor B, you know, what do you know about them? And if you had to pick, who would you pick, you know, and that sort of thing, and we can give that advice, and it just feels personal in a wonderful way that you can help. Sounds so ridiculous, make dreams come true. But it really is, you know, I see actors that you know, even are booking things that I don't even work on, and I but I watched the shows, and I'm like, oh, look at that. That's amazing, I got that opportunity. Somebody else's no noticing what we already knew, you know, is how talented they are.
John Twork 17:40
A show that's had a lot of success that you've played a big role in is The Bear. And let's dive into that. In case our listeners aren't familiar with it. This show follows a young award-winning chef who returns to Chicago to run his family's sandwich shop, and there's so much more to it, there's laughing there's crying. It is such a good show. The first season premiered in 2020, it received 10 Primetime Emmy Awards, the third season is scheduled to be released this June. So this was a big get for your agency. I imagine. Can you talk about how you connected with this show? And then what role your agency has played in developing The Bear?
Jennifer Rudnicke 18:20
Yeah, you know, it's been, it's been an amazing, wonderful little journey. Quite honestly, you know, when we got the scripts for the first season, and we read them, it was a little hard to picture what the show was going to look like, the way the scripts were written, you couldn’t picture what I now can picture when reading the scripts, right? Because now I exactly how the show's shot and I know exactly what the tone is. And so now I can read the new versions of the script for season three and, and immediately picture and know exactly what it is. But in season one, there was a little like, school rolls here. It's interesting. It's nice, like fun. Mr. Beef. You know, we've all been to Mr. Beef, if you've grown up in Chicago, you know, and it had some great opportunities for actors. It was like, yeah, the school, you know, but I can sort of thought of it a little bit of like, I don't know how it fits it, you know, to who's the audience for this. Sure. But I was like, all right, here we go. You know, what, you what, you know, one of the main ways that, you know, we'll get opportunities is we already have worked with the casting folks at the studio. Or, we already have a relationship with the LA casting director. And they're like, oh, well, we absolutely want to work with so and so. You know, we've worked with them before and everything's so we partner with Jeanie Bacharach Casting. She's the LA casting director for The Bear. And we'd worked with her prior to the bear, and it's just a great relationship. She's amazing to work with. And so, I wish I could remember exactly, you know, I'll happen, but I know, I definitely remember a phone call with her, telling us that, you know, she had given her name and to expect a phone call. And, yeah, and then, you know, next thing I knew we were working on it, you know, we knew Jeremy from Shameless. So that was, you know, great. And a couple of the producers on it, were producers that we had worked with on Station 11. And so that was kind of nice. And that, you know, just all sorts of, it's kind of like a very wonderful thing that happens. You know, there's just a lot of, you know, you've worked with somebody before you hope they remember great things about you and call you when the next time they're in town work in and that's pretty much what happened. So, yeah, then, you know, Jeanie, and the exec producers are in charge of getting sort of like those main, you know, five, to seven people that, you know, are the series regulars. And then we're then hired to cast anybody that is going to speak to them. And it was, it was great fun, because, you know, actors have a lot of restaurant experience. So that helped out a lot too. And that many of them would come in, and they'd be like, this, like, whoever wrote this, you know, they, they didn't necessarily know, they like whoever wrote this had have worked in a restaurant, because this is exactly what happens. And then, yeah, the show came out, and everybody was watching me people that never knew anything about the restaurant industry, people that, you know, my I have a cousin who's been in the restaurant industry, her whole adult career. Her and all her restaurant folks are watching it and, and love hating it, you know, because it was a little too honest little too true. And yeah, and it just sort of blew up into this wonderful thing. And it took forever to hear that there was gonna be a season two. And that was really hard, because we were like, here's this amazing show, is it gonna happen? Like, are we gonna get a season two, but you know, networks are finicky. And you just never know. What gives them a reason to renew something or not. And then, of course, we finally did get the call. And so that was pretty amazing. And now we're on to season three, they started shooting today, in fact. And it's, it all happens very fast. So, they and they've done that every season. They shot, you know, late winter, early spring, they've started every time they've wrapped by Memorial Day, say maybe late April, depending, you know, somewhere between there. And then they are while they're shooting, they are having that all other half in background editing, get it up and out and viewable for everybody. So, nobody's got to sit and wait. You know, the many, many months that we've all been waiting for our other shows to appear. Since right. So yeah, in June, we'll get to start watching it. And that'll be great. I'm very excited for this season, reading it, you know, it's going to be everything that season two left us with, you know, the hopes that of I think there's sometimes with a show that sometimes like they take a different direction by season three. And that's not happening. This shows just saying true and honest.
John Twork 24:24
Well, we're looking forward to it. And just for our listeners, we're recording this on February 26th. And I know this podcast will air later on in the spring but that is a quick turnaround from February 26 to debuting in June, so I feel like you almost need that. You have to film The Bear in February and March just to get that the gray authentically Chicago weather you know in the background to really give that vibe.
Jennifer Rudnicke 24:56
Exactly. And definitely right getting all the different looks of the seasons and sort of thing. And it's all done very, very well. If for the folks that have watched the show, you see that there is some chaos, right and station to the, to the energy of the show. And that is sort of done as well in the shooting schedule. Not in the sense of that, like they absolutely have themselves organized, but they don't shoot like other shows. So, most shows, they'll shoot one episode at a time, or those two episodes at a time. And this show, like one day, they could be shooting episode two, and the date next day, they could be shooting episode seven. On the same day, they might shoot a couple of scenes from one episode and a couple of scenes from another episode, it is all over the place. So, when we're casting, we're kind of casting the whole season at once. Whereas like a lot of times with our other shows, you know, right now I'm casting episode seven and eight of my other show because that's what we'll shoot next. But this one, you know, we're always casting the whole season. You never know exactly which day they might shoot it. So, you gotta get it done. And then, you know, might not shoot until April 10.
John Twork 26:34
Sure, you know, with both The Bear and also, you've worked on Shameless. Those are two shows that stood out to me Chicago is as much a character in that in those shows, as the actors themselves are. And so, I imagine it's intentional, that they're going to you to cast Chicago actors for many of these roles. Can you talk about the importance of filling the show with some local talent?
Jennifer Rudnicke 27:06
Yeah, I think they definitely want that. And Southside was really big on that as well. You know, in needing authenticity. You know, there's, I mean, there certainly is a Chicago accent, as we all know, but it's not so much about the Chicago accent is about an energy, an attitude, a feeling, and I think that comes from even just a work ethic that our actors have here in Chicago. And that bleeds through on screen. So, I feel like, that's also, I mean, there have been shows, we all watched that were set in Chicago that were never actually shot here. And I think you feel the difference, that they just don't have the same pulse that, that the ones that come here and remain authentic. But for us, it's so much fun to be able to, you know, reading a role, and you know, it's for the cab driver, who, you know, is picking them up on, you know, Ashland & 87th. And, I mean, you just sort of immediately known, the four actors, like, who you who, you know, would be the ones who picked you up back before Uber. Like, you know, it's like so, it, that's what's helpful, too, is, I think, when I have visited other cities, and I was just in Los Angeles and there was a certain type of person that was, like, every Uber driver I had it was they were all different people obviously but they there was a certain type of person they were they just all had something similar to them. And I think that's just true here is that you know, the bus drivers you know, all the folks that are going to encounter these series regular roles are ours somehow trying to think of the right word to use, are facilitating a moment. And we, you know, we can get that person who if they're not actually doing that job, already as a as another job on top of being an actor. They just sort of ooze that particular character. But that's something we do a lot as well, especially with The Bear is audition people that have the actual jobs. Um, as well.
John Twork 30:02
So, I can see that being very beneficial. And just one point to mention to our listeners, The Bear is entirely shot in Chicago right there. Even the soundstage stuff is shot in Chicago. It's not like they're shooting exterior shots in Chicago for a week and then doing the rest of the show in LA. It's 100% in Chicago, right?
Jennifer Rudnicke 30:23
It is 100%. Here. Yeah. Unlike, unlike Shameless, for example, yes. would shoot the majority in Los Angeles, and then come here two or three times a year and shoot all the exterior stuff. The same way back in the day that ER used to. But yeah, now they're completely here. Every single day.
John Twork 30:48
There are, it seems like there's more shows, at least in recent memory, that are based in Chicago, and you think about like Dick Wolf's Chicago Fire, Chicago PD, Chicago Med, we've talked about Shameless, South Side and The Bear. Is Chicago having a moment? And if so, why?
Jennifer Rudnicke 31:08
You know, it is kind of interesting, because I feel like when I first just got started into the on-camera world, there were some decent movies coming through town, there was a handful of television shows, and then things kind of drifted off. And there would always be a movie or two, sometimes that would come through. But not a lot of television. And I think there was something about Dick Wolf setting up his production company, or a portion of his production company here, and succeeding. So, I think there were a handful of people that were like, wait a minute, if he can do it, and look at how successfully he's doing it, well, we can do it too. Without having to fly everybody and ship, everybody in, I think was part of it. The other part of it is we have an amazing tax credit, that has continued to be renewed, and hopefully will continue and continue to be renewed. So that's another thing that brings a ton of production here is the Illinois tax credit, and the production as a whole gets the tax credit, but you get even more if you hire locally. So, any actor that is also an Illinois resident saves in the big scheme of things, because there's, I forget exactly how much it is on the dollar. But it's pretty significant. When you're talking millions of dollars.
John Twork 33:00
Yeah. And that ultimately benefits you I would imagine, as more work comes to town, right?
Jennifer Rudnicke 33:05
Absolutely, absolutely. I mean, right after, you know, a lot of the pandemic COVID restrictions lifted, there was still a bunch there. But the studios had figured out how to go ahead and shoot even though you know, it's still required masking on set and testing everybody daily and things like that. You know, we were working on like four shows at once. And because of course, everybody had to go right then held back while nobody was doing anything. And, you know, it was crazy. It was wonderful to have that much going on all at the same time. I personally prefer it to be a little staggered. A little breathing room, but that was kind of amazing. It was like proof that yeah, Chicago is you know, I'd say right now it's Los Angeles, New York, Atlanta, Chicago. As far as filming locations, and then you have the other there's some North Carolina, New Orleans, San Antonio, you know, New Mexico, things like that. But, yeah, we're right there now.
John Twork 34:22
Jumping back to the bear. In January, you are part of the casting team that earned an Emmy for Outstanding Casting for a Comedy Series for The Bear. You were on stage with the team to accept that award. What did that moment mean to you?
Jennifer Rudnicke 34:37
I mean, it was surreal. In such a wonderful way. It's certainly just not something that ever crossed my mind. Right. You know, I didn't I certainly didn't get into casting thinking about what words could be one or I'm thinking you know, I can't speak for actors, but I'm thinking that's probably got to be on an actor's mind a little bit, right, like, someday on I'm gonna win a Tony yours someday, I'm going to win an Emmy or something like that, you know, casting is certainly not in the forefront for those kinds of things. And in fact, we just now finally got the casting directors that is, there's finally going to be an Oscar for the first member, you know, in what, 75 plus years or whatever a while, here's. So, it just never even crossed my mind. And, you know, and then so for the last however many years that there has been a casting Emmy never again, like, did I think I'd be a part of one of those shows. So even though I went and bought the dress and, and got flight, and hotel, and you know, was all ready to make it happen, still did not think it was gonna happen. So, what it did, I kind of don't remember it. I mean, I remember it, but I don't, because it was so overwhelming. And beautiful to have that moment. Because for me, it wasn't just winning for The Bear. You know, for me, it was winning for, you know, the show that I've, you know, all the shows that we've cast, you know, hundreds of actors on and, and worked so hard on that, you know, maybe didn't see the light of day, but three episodes because the network canceled it, or, you know, just it was just such a nice accumulation of all the work and I felt like, hopefully, it would be seen that way by other folks as well as that this was, yes, it's specific to The Bear because that's how the reward systems work. But for me, it was just a nice, wonderful acknowledgment of a lot of years of working towards it.
John Twork 37:10
And speaking of awards, as we're recording this podcast, the Screen Actors Guild Awards, were just this past weekend, The Bear won for Outstanding Performance by an Ensemble and a Comedy Series, which included three actors who I understand you cast Jose Servantes, Richard Esteras, and Corey Hendrix. I imagine you were watching. How did it feel to see those actors who you cast onstage receiving that recognition?
Jennifer Rudnicke 37:37
I'm just, you know, I'm so happy for them. I mean, you know, the thing that's very interesting about as I'm learning, yeah, about the different awards shows, because you've got, you know, obviously the Emmys, and the DGA Awards and the PGA where, you know, I mean, there's all the different ones, but the SAG Awards, invited the whole ensemble to be there, which was wonderful. Whereas, you know, with the Emmys and stuff, it was very much specific to that particular actor or that particular team. And I know, for them, it was, I think probably very similar to how I felt, just jaw-dropping me exciting and wonderful. They're like, like most Chicago actors, they are hard-working, they are actors whom I've cast, you know, on independent films for $150 a day roles, you know, so to see them being able to get this is just, you know, amazing to know that, you know, again, the reason we do those things, we reason we do the low budget, you know, short film that pays nobody nothing you know, and that sort of thing that then then then you get this opportunity to sort of makeup for it is really great. I've been seeing all their stuff on social media, and it looks like they just had a blast at the party and stuff.
John Twork 39:28
Do you watch the shows that you've cast actors for? Do you go back and watch The Bear, for example? And then when you are watching it, are you watching it like the average person does or are you paying attention to certain intricacies that maybe the average person doesn't?
Jennifer Rudnicke 39:45
I'm absolutely watching them and unfortunately no, I'm not watching them like the average. What happened to the scene that I loved? Because I don't know, I've never known what happens on the editing side right? So that, you know, sometimes they'll have changed a line or seen or, or something like that. And I'll realize somebody got cut and I'm like, just sucks. I didn't know, why didn’t they tell somebody? Sometimes we're, we're given a heads up, right? Like sometimes we get notified so that we can notify the actor that their scene did get cut, but sometimes it does not happen. So I'm watching for that I'm watching for like I, you know, the same way that I think any actor is going to or is that when I'm reading the scripts and stuff, there's always like, you know, like a little favorite moment that I find and each one, or a specific joke that I loved or something and then like, if it's gone, or, you know, or if they mess with it, I get like, all upset. And it's like with my own personal preference of things that I like about it. So no, I'm definitely watching with a little extra sauce. Probably to the chagrin of my husband, who has to listen to me while I pause and comment and then let it go, and then pause and comment. And my guess is he probably watches without me sometimes.
John Twork 41:15
Your casting work extends beyond TV and film, you also do commercials which you've mentioned. In fact, I understand you recently collaborated with fellow Redbird alum, Jane Lynch in casting the Illinois tourism commercials, which she directed. Generally, when an actor comes in and auditions for a gig, what are you looking for?
Jennifer Rudnicke 41:34
You know, we're looking for them to be them. That's the interesting difference between theater and an on-camera, you know, is, you know, so much for theater, like you're going to play a character. And then even just for a commercial, you know, for a television show. Nine times out of 10, you are going to be just playing yourself, or a version of yourself that is still very close to who you are, and just very real. And, you know, I mean, of course, yes, there's always the role that might be the serial killer or something. And that's probably not true. But the, you know, especially for a commercial, you know, you're playing a mom, you're playing a person who works in an office, you're playing, you know, things that anyone, you know, probably can relate to, especially, you know, we're not casting somebody who's in the wrong age range for we're casting somebody who would be in age range of being a mom to was, you know, a seven-year-old, or, you know, a young group of kids young group of, I say, kids, but, you know, 20-somethings that would be at a bar, enjoying, you know, that particular drink that we're advertising or things like that. So, so, it's really, about somebody who's willing to play, like, sometimes we joke about, we're like, we want to, we want it to be a great date. You know, like, we want you to audition with us. And, yes, have you practiced what you needed to learn for the lines or whatever? But that makes sure that we can ask you to try it differently, and you're not so stuck in that one thing that you can't play. And we also just want to know that you're like, a decent person that we want to spend 12 hours with, you know, a day, because that's also like, really key, I think, sometimes we get folks that come in, and they just give off an energy that just makes it kind of feel like maybe they don't want to be there for some reason. And you're always kind of like, well, then why'd you come? You know, like, you know, come for a different one. If you don't like this one, come for a different one. You know, like, it's not, you know, it's not required. So I think that's something is like, yeah, come we want to hang out with you. We want to play together; we want to spend time together and be able to make adjustments together. But it is still just being very real and believing that the camera is going to see what you think. Like, you don't have to indicate to us what you're thinking. A lot of people like why I can't do it, but a lot of people want to, you know, raise an eyebrow so that, you know, know that they're thinking hard or questioning something and it's like, just think it will see it.
John Twork 44:50
Last question before I let you go. Now that you can add Emmy to the list of your office's accolades. I imagine your phone's probably ringing maybe a bit more than it already was whether that's jobs or congratulations. So, what is the future of Paskal Rudnicke Casting hold?
Jennifer Rudnicke 45:10
You know, so I mean, like I said, you know, we're really fortunate to be working on this show for MGM plus, and, and, you know, we always have commercials going on and that sort of thing, the luxury and our problem with being a location casting person is that you are really only needed when something is coming here. So, unless something new is going to come to shoot here in Chicago, they don't need to hire us, right? So, yes, we've had I mean, I've had amazing people that I hadn't heard from in years, reach out and congratulate and it’s just heartwarming. But as far as like, do I now have seven new television shows to cast? No, fortunately, you know, and that mainly comes from the fact that they're just not shooting here. So, I gotta hope and believe that. The next one that is going to come to shoot here, has heard about the Emmy, and we'll get a call.
John Twork 46:19
Well, we encourage them to do so if they're listening to this podcast for sure. Jennifer, thank you so much for your time. It's been a pleasure. I really appreciate all of your insights and wish you the best as you continue your work with The Bear and all the other work that you're working on.
Jennifer Rudnicke 46:33
Oh, thank you so much. I really appreciate it.
John Twork 46:42
That was Jennifer Rudnicke, co-owner and casting director of Paskal Rudnicke Casting. You can read more about Rudnicke in this spring's issue of State magazine. Thanks for listening to Redbird Buzz and be sure to tune in next time for more stories beyond the Quad.