BREAKING BAD’s Bryan Cranston on the Casting Process

Breaking Bad - Bryan Cranston

Before Bryan Cranston became a star, he was already an established actor, thanks to his work mainly in Malcolm in the Middle and Seinfeld.

One day he got a call from some Vince Gilligan. Gilligan was a writer he had worked with before (years before, in one X-Files episode). Now Vince had a new series in line. Maybe Bryan would consider playing the lead? Cranston read the first episode of Breaking Bad and his mind was blown to pieces.

The rest (which BTW is the most difficult part) is history.

Cranston wrote a very enjoyable book about his private and professional life called A Life in Parts.

In one of the chapters, he shares his thoughts about a persistent difficult moment in any actor’s career: The casting process.

A Life in Parts - Bryan Cranston

What Usually Happens

The process of auditioning for TV pilots is a petri dish for self-doubt. When you test for a pilot at a network, you wait and you wait for them to call your name. When they finally do, it’s common to walk into a room and find twenty people in really nice business attire staring blankly at you. 

A few hellos, and it’s show time. Act your ass off on command. Typically, they consider a minimum of three actors for each role, but it can be up to eight. It’s nerve-wracking, and it’s over before you know it. Out you go to wait for the next guy to step to the plate, then the next. 

When everyone has been in once, you’re usually asked in again for round two of the same scene or scenes, but only after sitting in the waiting room, dissecting your audition, thinking about all the things you’d change if you had the chance to do it again. Or maybe you’re pleased with the work. But your competition is there, too. By the water fountain. And he seems pleased with his work! 

You sit, trying not to seem nervous. You even smile at your competitors as if to wish them good luck. What you’re really hoping is that they break down and confess: I screwed up. I was awful. But no one says a thing. We’re actors. Looking confident under pressure is our stock-in-trade. You look unbothered. Cool, even. Inside, you’re wondering: Am I any good? 

You’re staring at the door. They’re discussing your fate behind that door. It could be five minutes, it could be half an hour before the door swings open and the casting director appears and offers a boilerplate: Thank you. Everyone was very good. You’re all free to go.

And just like that, it’s done. You collect your things and go home, your mind racing. Did they find their guy? Did they think we were all terrible? Will they have to cast a wider net to find the actor they want? Ah, fuck it. You may never know. You could get that call from your agent saying, Congratulations! You got it! Or, more often than not . . . nothing. 

Malcom in the Middle - Bryan Cranston
Bryan Cranston in Malcolm in the Middle

Mental Toughness

That’s the life. That’s why talent alone doesn’t cut it. If you want to be a successful actor, mental toughness is essential. Lay your whole self-worth on getting the role, on the illusion of validation, before long you’re left angry, resentful, and jealous. You’re doomed. 

(…) I knew I wanted to make my living as an actor. Rejection is part of that living. It comes with it, like rain on the Blue Ridge Parkway. You can sugarcoat it. You can use a euphemism if you wish. But the bottom line is that sometimes they are simply not going to want you. And if they do want you, they may fire you. We’re going in a different direction. Or they say with what seems like sincerity “Let’s keep talking,” and then never call you back. Or they tell your agent, in a polite way, that you sucked. Or that you’re great. “Wow! Fantastic! Really. He’s perfect for this. We’ll be in touch.” And then . . . crickets. There are a lot of crickets in this business. 

Early on, after an audition, I’d wait by the phone, wringing my hands. And then when I heard I didn’t get the part, I’d marinate in disappointment and introspection. Could I have done something differently? 

Seinfeld - Bryan Cranston
Bryan Cranston in Seinfeld

Something Changed

But about twenty years ago something changed. I’d gotten to a place where I didn’t feel any of that negativity. No more post-audition self-laceration, no more competition, no ill will toward anyone else. I made a switch in the way I approached the process. The switch seemed simple enough once I understood it, but it took me years to achieve that understanding. 

Early in my career, I was always hustling. Doing commercials, guest-starring, auditioning like crazy. I was making a decent living, but I confided to Robin that I felt I was stuck in junior varsity. I wondered if I had plateaued. 

Ever thoughtful, my wife gave me the gift of private sessions with a self-help guy named Breck Costin, who was really wonderful with actors and other creative people. Breck suggested that I focus on process rather than outcome. I wasn’t going to the audition to get anything: a job or money or validation. I wasn’t going to compete with the other guys. I was going to give something. I wasn’t there to get a job. I was there to do a job. Simple as that. I was there to give a performance.

X-Files - Bryan Cranston
Bryan Cranston in X-Files.

Embrace the Process

If I attached to the outcome, I was setting myself up to expect, and thus to fail. My job was to focus on character. My job was to be interesting. My job was to be compelling. Take some chances. Serve the text. Enjoy the process. 

Once I made the switch, I was no longer a supplicant. I had power in any room I walked into. Which meant I could relax. I was free. 

In advance of an audition, I’d read the script, suss out what was expected. The character is going to murder his coworker, so there’s probably some rage and frustration and fear of getting caught. My job is not just to deliver those expected feelings, but to find something interesting and unexpected, maybe some barely contained glee or mania or righteousness. I learned to take control of the room. 

If I felt the scene called for the two characters to be standing, I might ask the casting director to please get up. “What? Get out of my seat? Oh, uh, okay.” The casting director gets up, and now we’re at eye level. Or if the objective was intimidation, I’d get close. That shift in physicality is visceral. It changes the power dynamic. We are accustomed to keeping a certain distance in professional settings. Cheating that, even if it’s just by a few inches, provokes a reaction. 

Of course, I didn’t always get the job, but that wasn’t my intent anymore. What was important was I always left that room knowing I did everything I could do.

Cranston’s basket

I had a basket at home. I’d audition and then toss the script in the basket. I’d forget about it. I’d let it go. You can’t fake letting it go. You have to really genuinely detach from it. 

If I’d get a callback, I’d fish out the script and say, “Oh, yeah. I remember this guy.”ant was I always left that room knowing I did everything I could do.

I had a basket at home. I’d audition and then toss the script in the basket. I’d forget about it. I’d let it go. You can’t fake letting it go. You have to really genuinely detach from it. 

If I’d get a callback, I’d fish out the script and say, “Oh, yeah. I remember this guy.”

Breaking Bad Poster
Cranston’s Big Break

MORE ON FILM ACTING IN OUR POSTS Michael Caine On Acting For The Screen, More About Film Acting from Master Michael Caine (Part 1)The King of B-movies, Bruce Campbell, on Film ActingGoodbye to a Master of Acting, Max Von SydowOn Screen Acting According to Edward Dmytryk (and Jean Porter)Joseph Cotten, a Great Autobiography and On Directing: An Elia Kazan’s Masterclass.

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