AKTA INTERVIEWS: WHAT REALLY HAPPENS IN THE CASTING ROOM WITH AISLING KNIGHT (CBA CASTING)
- Akta Photography
- May 20
- 6 min read
Writer: Takunda Muzondiwa
AISLING KNIGHT X AKTA
“Why didn't I book the job?”
It is a question most actors learn to carry quietly. It lingers in the body after an audition, in the walk home, in the hours spent replaying a tape that now exists somewhere else, being watched by people we may never meet. In an industry that moves quickly and speaks sparingly, the casting process can feel like something happening just beyond our reach. Decisions are made in rooms we are not in. Choices are shaped by factors we cannot see. And more often than not, no explanation follows.
It is not just rejection that unsettles us. It is the absence of understanding. The not knowing what’s sought after, what landed, what did not. So we begin to fill the silence ourselves. We build quiet theories about what casting directors want, about why we were not called in, about whether we were ever truly in the running at all.
Perhaps that is why casting directors can come to occupy such a mythic space in the actor’s imagination. They become, in a way, fountains of knowledge we are never quite allowed to drink from. We gather at a distance, hoping that something might spill over. A piece of insight. A glimpse of clarity. Something that might help us step more surely toward the work we long to do.
I recognise that feeling intimately. So many conversations with actor friends circle back to the same quiet admission. How intimidating casting directors can feel. How much we want to be liked, to be remembered, to be called upon again. There is a tenderness in that desire, even if we rarely name it aloud.
Which is why, when I sat down with casting director Aisling Knight of CBA Casting, I was struck by her openness. With over a decade of experience, Knight speaks with a clarity that gently dismantles many of the assumptions actors carry. There is generosity in the way she shares her knowledge, but also care. A sense that the process, while complex, is far more human than we often allow ourselves to believe.
In the conversation that follows, we move closer to that fountain. Not to mythologise it, but to understand it.
AISLING KNIGHT X AKTA
AKTA: You began as an actor, but found your way into casting. Casting is rarely spoken about as a creative calling in its own right. What first drew you to casting, and what has kept you there?
AISLING KNIGHT: I think I was always unintentionally casting, which a lot of actors do. You’re constantly recommending people. You hear about a role and think, “Oh, this would be perfect for so-and-so,” or you’re connecting friends with directors, producers, or agents.
So in a way, I was already trying to help put the pieces of the puzzle together.
When I made the transition from acting into casting, what really appealed to me was the people-watching side of it. I love observing human behaviour, whether that’s in performance or in real life, and then thinking about how that translates into a role.
The challenge of finding the right person for something excites me. It can feel like an impossible jigsaw at times, but when it works, it’s awesome.
I love people, I love authenticity, and I care a lot about representation. So for me, the goal is always to help create something that feels completely believable. If the audience can forget they’re watching actors and just believe what they’re seeing, then the casting has nailed it.
AKTA: Self-taping has become such a big part of the industry now, and with that, people see tapes online and start to feel like they need expensive backdrops, lighting, and high production setups. From your perspective, how much does that actually matter? Do high-production self-tapes make a difference?
AISLING KNIGHT: Personally, I’m not bothered about expensive backdrops or high-end lighting setups. As long as I can see you & hear you clearly, that’s what matters. The frills make it nicer to look at, sure, but just be smart with whatever you have access to. I don’t need anything fancy.
What I do find interesting is when actors make thoughtful choices with what they already have. If there’s something available to you that can help bring the scene to life, that can be really effective. A bold example would be, if a scene is set in a bathroom, and you can safely and simply use that environment and tape in your bathroom, it might enhance your performance because you have something real to respond to.
Ultimately, performance is King. If using a simple backdrop allows you to focus and deliver a more detailed, truthful performance, then that is absolutely the right choice.
Anything that helps me have to imagine less can be useful, but only if it supports the performance. The priority is always the work you’re doing, not the setup around you.
"The first thing is always the headshot. It’s the decision maker.
...sometimes that decision happens in a matter of seconds. Even subconsciously."
"A good showreel sits somewhere between a full filmography and a highlight reel.
It’s about finding that balance. Showing your strongest work, paced in a way that keeps our attention."
AKTA: When you open Spotlight and begin searching for an actor for a role, what are the first things you instinctively respond to? What initially makes someone stand out to you?
AISLING KNIGHT: The first thing is always the headshot. It’s the decision maker.
That initial image, whether it’s your main photo or one your agent has selected for a specific brief, can be the make or break. And sometimes that decision happens in a matter of seconds. Even subconsciously.
When I’m going through submissions, I already have the character in mind. I’m thinking about their qualities, their energy, what I need to see. And I’m scanning headshots for those things straight away. If the headshot doesn’t grab me, I often won’t go any further. I won’t look at the rest of the materials. That’s just the reality of how fast the process can be.
And it’s a shame, because sometimes an actor might be incredibly talented with strong credits and great work, but their headshot isn’t representing them well. In that case, it’s actually doing them a disservice.
AKTA: When watching a showreel, what makes you keep watching beyond the first few seconds? And what tends to make you switch off?
AISLING KNIGHT: In the first 15 to 20 seconds of a showreel, I need to see what you look like, what you sound like, and what your ability is. Ideally, that’s a moment where it’s just you, in character, doing the work. The opposite of that is when a reel opens in a way that doesn’t show me anything clearly. For example, if it’s too dark, I can’t see you properly, or I can hear you but can’t really gauge your performance. That’s not helpful.
It’s no secret that we are often under time constraints so we need to go through showreels at pace. We’re looking for what we need in order to make a decision, so clarity and immediacy are really important. A good showreel sits somewhere between a full filmography and a highlight reel. You don’t want it to feel like a fast montage where we can’t actually see any performance, but you also don’t need to include full scenes. It’s about finding that balance. Showing your strongest work, paced in a way that keeps our attention.
One common mistake I see is actors using the first few seconds on a still image or title card. You don’t need that. Just go straight into the work. It’s really tricky to get right. There’s no such thing as a perfect showreel, but getting close takes thought and time.
AKTA: When you see actors over time, the ones you encounter again and again across five or ten years, what patterns do you notice in those who build consistent, working careers?
AISLING KNIGHT: It’s the actors who really want it, but don’t need it.
They’re passionate about the work. They want to be there, they want to show up, they want to do the job well. But there isn’t that sense of desperation attached to it. They’re living their lives alongside their acting. They have other things going on. They’re grounded in themselves and confident in what they bring. And that gives them a kind of freedom in the room. A lightness.
There’s obviously a fine line between confidence and arrogance, but you can feel the difference. When an actor knows what they’re capable of and walks into the room ready to deliver, it’s compelling. They’re prepared, they’re present, and they’re not overreaching. Confidence is incredibly attractive, and very bookable.
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