Good casting is not an isolated process; it is based on communication and intuition. It requires first-class people skills, an ability to read between the lines, a vivid imagination and a unique "eye"


​THE CASTING DIRECTORS ROLE

BRIEFING   
The aim of the production of a commercial is for the director to realize the vision of the creatives in his treatment of their brief. The 'secret' to the realization of this vision is all in the brief and how that brief is communicated to the relevant parties. When time and energy are put into communicating a brief succinctly then you are on the road to a successful, creative, entertaining and award winning commercial.
The brief is a central factor in the process.
And the casting director's role as the interpreter of a brief is as crucial as the brief itself.

THE GENERAL FLOW OF INFORMATION 

PROFESSIONAL CASTING NEEDS
Time to interpret the brief and visualize the concept.
Time to talk to the decision makers and give dimension to their interpretation.    
Time to source talent to match brief (if necessary, to scout for talent).    
Time to plan in-studio casting and source props, etc.
Practical casting time 
Administration (negotiations with agencies, etc.)

CASTING DIRECTOR vs. CASTING AGENT
There seems to be some confusion with regard to the difference between these two roles.

Although this may appear to be splitting hairs, it should be noted that these roles, though co-dependent, are very different.

A casting agent represents a base of talent - be it characters, models, actors or children - putting them forward for suitable jobs; negotiating on their behalf and handling their administration, e.g. invoicing, signing of contracts, etc.

A casting director receives and interprets a brief. Based on this interpretation he or she will draw on talent from the casting agent's resources and put them forward to the client.  
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FACTORS THAT WILL  ASSIST IN THE  COMMUNICATION OF A BRIEF

First off the casting director is given a storyboard and written script.
The casting director should also be handed a director's treatment of the storyboard (language permitting).
Ideally the casting director should be able to talk to both the director and the creative director - in other words the final decision makers (language permitting).
Failing this he or she should be presented with a dossier of references - especially if the commercial requires a foreign feel. Producers have no idea how much these references help in making the initial casting more effective. This dossier can then be handed to the wardrobe department for their sourcing.