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Behind the ‘Top Chef’ Casting Process — Interview

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Unlike some other — although equally beloved — cooking competition shows, the demands on a “Top Chef” contestant are intense and specific. There’s really only a small cohort of James Beard award finalists, chefs opening their first restaurants, and up-and-coming culinary stars on the Internet who can handle the wide range of demands and timed challenges of the legendary Bravo series

And yet, Ron Mare and the Magical Elves casting team keep finding them. 

Mare, who joined “Top Chef” in 2017, has cast Seasons 15 through 23 (and counting), told IndieWire that there are definitely some benefits to being part of such a long-running show. For as many people who decide to audition for the hell of it — and they do occasionally find some diamonds in the rough — there’s also a clear understanding within the culinary world of what “Top Chef” is, who is qualified to do it, and how, even if you don’t win the competition, the series can change your life. 

“Everyone that’s qualified to do it wants to do it,” Mare said. “When someone says no, it’s usually because they’re opening a restaurant and they can’t get away from it, or they can’t dedicate the time just yet. It’s usually a timing issue.”  

There’s no timing issue for the casting team itself, because even when they’re out of season, they’re constantly sending each other chefs on Instagram or culinary write-ups of new chefs as potential contestants to consider. “We could not be casting for another six months, but we’re like, ‘Let’s write down this person.’ We ask pretty much all of the show’s alumni, too, ‘Is there anyone you would want to recommend?’ Because they know who can handle it,” Mare said. “It doesn’t even have to be someone they know. It could be, ‘I was traveling, and I went to this restaurant and the food was amazing. Check out this person. No one’s writing about them yet.’” 

TOP CHEF --
‘Top Chef’ Paul Cheney/BRAVO

Mare and his team have spreadsheets on spreadsheets tracking potential chefs, often for years before they’re invited to audition. But putting together contestants for each season is much more involved than a quickfire challenge. “It’s not even about, ‘Let’s see if [a potential contestant] gets nominated for a James Beard. Sometimes you can just tell they need another year or two before they go on,” Mare said. “We don’t want to put somebody on the show before they’re ready.” 

It’s a misconception about reality competition casting that the team is looking for potential flame-outs and drama. Mare said that “Top Chef,” more than any other series he’s worked on, wants to support and nurture potential contestants and contestants. In addition to camera tests and close research into a chef’s menus, background, and experience to see if and when a chef will thrive inside the world of “Top Chef” challenges, the casting team stays in close contact with the chefs to answer questions and guide them through each step of the process. 

“ We’re never going to put somebody on TV [just because]. We’re never gonna be like, ‘They’re twins, we have to do it.’” That’s not what it is at all,” Mare said. “They submit sample menus to us. We study them. They send over their resume. We have chefs take a look at them if we’re questioning anything. There are references. There are multiple things we do in order to ensure that the person is a good fit.”

TOP CHEF --
‘Top Chef’ Paul Cheney/BRAVO

The casting team has a very long view of that good fit, as well. “Sometimes talented chefs don’t make it in, and we always reach back out to them next season. I’m sure you’ll hear some of the older Top Chefs talk about how they auditioned three, four, five times. Dan Jacobs, I think he auditioned like 10 times. Eventually, it makes sense,” Mare said. “I always tell people, if you don’t make it on, it’s not about you not being a good chef or people not liking you. You may not have fit into that puzzle for whatever reason this season, but absolutely keep in contact.” 

When the casting team knows it makes sense, it’s because each chef fits into the larger ensemble they have to build for each season, one that must feature compelling, distinct, and yet also complementary storylines. That balancing act is way more involved than a Quickfire Challenge; for Season 23, it was made even more challenging by the casting team embracing a few duos, which lowered the number of available slots open for other chefs.

TOP CHEF --
‘Top Chef’ Paul Cheney/Bravo

“It’s such a high-level show. There’s a ton of eyes on it, and every year you want to try to do better than the last time,” Mare said. “We stumbled across [twins Jonathan Dearden and Brandon Dearden] and it felt like gold. So we continued them in the process; and then, we’ve known [couple Jennifer Jackson and Justin Tootla] for a long time. We talked to them for multiple seasons, but they came back to us out of nowhere, ready to do it. So we just embraced duos. And that’s four out of 15 slots, so all the other people that made it on were super strong.” 

Supporting strong contestants through the arduous process of “Top Chef” is a not insignificant part of the reward for Mare and his team. Every season, selecting contestants at the exact right moment for both them and for the show, Mare and the casting team have changed lives. 

“I love to see so many chefs we cast go on and do such amazing things. Like, look at Kristen [Kish], becoming the host. Look at Mei Lin, Joe Sasto, Jeremy Ford, Buddha Lo, Brooke Williamson. Brooke has that deal with Food Network. So do the Voltaggios. It’s to their own credit; it’s because they’re such talented people. It has nothing to do with me. But it is gratifying to be able to see them and watch them grow,” Mare said.

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Netflix Veteran Andy Weil Joins Amazon MGM Studios As Head Of Comedy

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EXCLUSIVE: Netflix‘s VP Comedy — and the streamer’s second longest serving programming executive — Andy Weil is leaving to join Amazon MGM Studios as Head of Comedy. Amazon MGM Studios‘ Head of Global Television Peter Friedlander just announced the hire internally in a memo, which you can see below. Weil’s first day is September 14.

The Head of Comedy search was launched a month ago by Friedlander who was Weil’s former boss at Netflix. At the time, Friedlander tweaked his original plan for the studio’s scripted operation structure, creating three areas, Drama, Comedy and Young Adult, each reporting to him, alongside the previously established Worldbuilding & Genre Series, led by Blair Fetter, and Animation (Melissa Wolfe). Weil joins Amazon veteran Kara Smith, who was named Head of Drama at the time of June’s restructuring announcement. The Head of YA job is still vacant.

Weil is the latest Friedlander hire of a senior executive he had worked with at Netflix, following the appointments of Fetter, Jenn Levy as Head of Nonfiction and Mandy Schaffer as Head of Business Affairs. He is the first current Netflix executive to make the move; the rest had left the streamer before they were recruited by Friedlander.

A well-regarded comedy executive, Weil had been at Netflix for more than 11 years; he joined the platform’s comedy team as Director, Original Series, in June 2015 from Universal Television.

By then, Weil already had been a rising star — he was 27 when NBCUniversal brought him in as VP Comedy in late 2011 after he had served as head of scripted television for BermanBraun. At Uni TV, Weil shepherded hit Brooklyn Nine-Nine and also worked on two other acclaimed comedies, The Mindy Project and Unbreakable Kimmy Schmidt, the latter of which was developed for NBC before moving to Netflix.

During his Netflix tenure, Weil served as No. 2 comedy executive, first under Jane Wiseman and then Tracey Pakosta, and was promoted to VP in February 2020. He took the reins of the department on an interim basis after Wiseman’s October 2020 exit until Pakosta’s arrival a month later.

In addition to Unbreakable Kimmy Schmidt, the many Netflix comedy series Weil oversaw over the years include Master of None, BoJack Horseman, Nobody Wants This, The Four Seasons, Russian Doll, The Upshaws, The Ranch, Trigger Warning with Killer Mike, Tires, A Man on the Inside, Big Mistakes, Free Bert, Lady Dynamite, The Kominsky Method, Leanne, The Vince Staples Show, On My Block, A Different World and the upcoming A Hundred Percent and I Suck at Girls. He also was the executive on Netflix’s sci-fi anthology series Black Mirror.

While Prime Video has established itself in the drama and YA space with a string of global hits such as Reacher, Fallout, The Summer I Turned Pretty and Off Campus, Amazon MGM Studios’ streamer is yet to scale up in the half-hour comedy space. Its modestly-sized current comedy slate include two hits in the YA arena, Overcompensating and Elle, as well as the Emmy-nominated anthology Jury Duty. There is also the recent breakout hourlong comedy-drama Ride of Die, which is awaiting word on Season 2 renewal.

Here is Friedlander’s email

Team,

I’m pleased to share that Andy Weil will be joining us as Head of Comedy TV reporting to me. His first day is Monday, September 14th.

Andy comes to us from Netflix, where he spent more than 11 years leading comedy development, after previously working at Universal Television. He has deep creative instincts, strong relationships across the comedy community, and a proven track record of identifying and developing standout series such as Master of None, Nobody Wants This, Unbreakable Kimmy Schmidt, Black Mirror, Bojack Horseman, and Tires. I’m looking forward to seeing what he builds as we continue to grow our comedy footprint.

Please join me in welcoming Andy to the team.

-Peter

>

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Netflix Veteran Andy Weil Joins Amazon MGM Studios As Head Of Comedy

Published

on

EXCLUSIVE: Netflix‘s VP Comedy — and the streamer’s second longest serving programming executive — Andy Weil is leaving to join Amazon MGM Studios as Head of Comedy. Amazon MGM Studios‘ Head of Global Television Peter Friedlander just announced the hire internally in a memo, which you can see below. Weil’s first day is September 14.

The Head of Comedy search was launched a month ago by Friedlander who was Weil’s former boss at Netflix. At the time, Friedlander tweaked his original plan for the studio’s scripted operation structure, creating three areas, Drama, Comedy and Young Adult, each reporting to him, alongside the previously established Worldbuilding & Genre Series, led by Blair Fetter, and Animation (Melissa Wolfe). Weil joins Amazon veteran Kara Smith, who was named Head of Drama at the time of June’s restructuring announcement. The Head of YA job is still vacant.

Weil is the latest Friedlander hire of a senior executive he had worked with at Netflix, following the appointments of Fetter, Jenn Levy as Head of Nonfiction and Mandy Schaffer as Head of Business Affairs. He is the first current Netflix executive to make the move; the rest had left the streamer before they were recruited by Friedlander.

A well-regarded comedy executive, Weil had been at Netflix for more than 11 years; he joined the platform’s comedy team as Director, Original Series, in June 2015 from Universal Television.

By then, Weil already had been a rising star — he was 27 when NBCUniversal brought him in as VP Comedy in late 2011 after he had served as head of scripted television for BermanBraun. At Uni TV, Weil shepherded hit Brooklyn Nine-Nine and also worked on two other acclaimed comedies, The Mindy Project and Unbreakable Kimmy Schmidt, the latter of which was developed for NBC before moving to Netflix.

During his Netflix tenure, Weil served as No. 2 comedy executive, first under Jane Wiseman and then Tracey Pakosta, and was promoted to VP in February 2020. He took the reins of the department on an interim basis after Wiseman’s October 2020 exit until Pakosta’s arrival a month later.

In addition to Unbreakable Kimmy Schmidt, the many Netflix comedy series Weil oversaw over the years include Master of None, BoJack Horseman, Nobody Wants This, The Four Seasons, Russian Doll, The Upshaws, The Ranch, Trigger Warning with Killer Mike, Tires, A Man on the Inside, Big Mistakes, Free Bert, Lady Dynamite, The Kominsky Method, Leanne, The Vince Staples Show, On My Block, A Different World and the upcoming A Hundred Percent and I Suck at Girls. He also was the executive on Netflix’s sci-fi anthology series Black Mirror.

While Prime Video has established itself in the drama and YA space with a string of global hits such as Reacher, Fallout, The Summer I Turned Pretty and Off Campus, Amazon MGM Studios’ streamer is yet to scale up in the half-hour comedy space. Its modestly-sized current comedy slate include two hits in the YA arena, Overcompensating and Elle, as well as the Emmy-nominated anthology Jury Duty. There is also the recent breakout hourlong comedy-drama Ride of Die, which is awaiting word on Season 2 renewal.

Here is Friedlander’s email

Team,

I’m pleased to share that Andy Weil will be joining us as Head of Comedy TV reporting to me. His first day is Monday, September 14th.

Andy comes to us from Netflix, where he spent more than 11 years leading comedy development, after previously working at Universal Television. He has deep creative instincts, strong relationships across the comedy community, and a proven track record of identifying and developing standout series such as Master of None, Nobody Wants This, Unbreakable Kimmy Schmidt, Black Mirror, Bojack Horseman, and Tires. I’m looking forward to seeing what he builds as we continue to grow our comedy footprint.

Please join me in welcoming Andy to the team.

-Peter

>

Continue Reading

movies

Netflix Veteran Andy Weil Joins Amazon MGM Studios As Head Of Comedy

Published

on

EXCLUSIVE: Netflix‘s VP Comedy — and the streamer’s second longest serving programming executive — Andy Weil is leaving to join Amazon MGM Studios as Head of Comedy. Amazon MGM Studios‘ Head of Global Television Peter Friedlander just announced the hire internally in a memo, which you can see below. Weil’s first day is September 14.

The Head of Comedy search was launched a month ago by Friedlander who was Weil’s former boss at Netflix. At the time, Friedlander tweaked his original plan for the studio’s scripted operation structure, creating three areas, Drama, Comedy and Young Adult, each reporting to him, alongside the previously established Worldbuilding & Genre Series, led by Blair Fetter, and Animation (Melissa Wolfe). Weil joins Amazon veteran Kara Smith, who was named Head of Drama at the time of June’s restructuring announcement. The Head of YA job is still vacant.

Weil is the latest Friedlander hire of a senior executive he had worked with at Netflix, following the appointments of Fetter, Jenn Levy as Head of Nonfiction and Mandy Schaffer as Head of Business Affairs. He is the first current Netflix executive to make the move; the rest had left the streamer before they were recruited by Friedlander.

A well-regarded comedy executive, Weil had been at Netflix for more than 11 years; he joined the platform’s comedy team as Director, Original Series, in June 2015 from Universal Television.

By then, Weil already had been a rising star — he was 27 when NBCUniversal brought him in as VP Comedy in late 2011 after he had served as head of scripted television for BermanBraun. At Uni TV, Weil shepherded hit Brooklyn Nine-Nine and also worked on two other acclaimed comedies, The Mindy Project and Unbreakable Kimmy Schmidt, the latter of which was developed for NBC before moving to Netflix.

During his Netflix tenure, Weil served as No. 2 comedy executive, first under Jane Wiseman and then Tracey Pakosta, and was promoted to VP in February 2020. He took the reins of the department on an interim basis after Wiseman’s October 2020 exit until Pakosta’s arrival a month later.

In addition to Unbreakable Kimmy Schmidt, the many Netflix comedy series Weil oversaw over the years include Master of None, BoJack Horseman, Nobody Wants This, The Four Seasons, Russian Doll, The Upshaws, The Ranch, Trigger Warning with Killer Mike, Tires, A Man on the Inside, Big Mistakes, Free Bert, Lady Dynamite, The Kominsky Method, Leanne, The Vince Staples Show, On My Block, A Different World and the upcoming A Hundred Percent and I Suck at Girls. He also was the executive on Netflix’s sci-fi anthology series Black Mirror.

While Prime Video has established itself in the drama and YA space with a string of global hits such as Reacher, Fallout, The Summer I Turned Pretty and Off Campus, Amazon MGM Studios’ streamer is yet to scale up in the half-hour comedy space. Its modestly-sized current comedy slate include two hits in the YA arena, Overcompensating and Elle, as well as the Emmy-nominated anthology Jury Duty. There is also the recent breakout hourlong comedy-drama Ride of Die, which is awaiting word on Season 2 renewal.

Here is Friedlander’s email

Team,

I’m pleased to share that Andy Weil will be joining us as Head of Comedy TV reporting to me. His first day is Monday, September 14th.

Andy comes to us from Netflix, where he spent more than 11 years leading comedy development, after previously working at Universal Television. He has deep creative instincts, strong relationships across the comedy community, and a proven track record of identifying and developing standout series such as Master of None, Nobody Wants This, Unbreakable Kimmy Schmidt, Black Mirror, Bojack Horseman, and Tires. I’m looking forward to seeing what he builds as we continue to grow our comedy footprint.

Please join me in welcoming Andy to the team.

-Peter

>

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