Casting Director Sofia Shkabar

My path has been long. I’ve been working in television since 2007. I started as a coordinator for live broadcasts at TSN. A little later, production entered my life — and off it went. I worked on all sorts of projects: I was a guest editor at the Inter TV channel, a live broadcast coordinator at the Savik Shuster Studio — that included talk shows, musical and sports projects. The first Eurovision national selection in Ukraine, African Passions during the 2010 FIFA World Cup, the World Government Summit (Dubai), the World Education Summit (Dubai)… It was an exciting and very active time. Then in 2013, I had my first experience on a scripted set — I worked as an assistant director for actors on a TV series. And I liked it. Even though many people told me it wasn’t worth it — strict schedules, no free time, etc. But I was curious to understand how everything worked. So, I decided to give it a try, and I absolutely don’t regret it. On set, they used to call me a “cerberus.” You see, when you come from live television into series production, and you’re holding a call sheet that says “8:15 – start, 8:21 – stop,” you take it literally. Delays were unacceptable to me. I was always pushing everyone: “Girls, that’s it, time’s up, we’ve got one minute!” But I think that’s a great kind of training. Sometimes I feel we all lack a proper sense of time.і мені здається, що правильного відчуття часу нам усім дуже бракує.

There was also a period when I was working as an agent, representing actors. That gave me the opportunity to look at the acting profession from another perspective. And that’s how I eventually came to casting.

I graduated from Kyiv National Linguistic University (English Philology). And of course, my language skills have helped me many times throughout my career.

Almost! But no, I moved to Kyiv 14 years ago. I’m from western Ukraine, from a charming little town called Chortkiv in the Ternopil region.

That’s a tough question. Probably not. But every project has something unique, something that helps you grow and evolve. Our market is still young, and every new project is a chance to learn and become better.

Oh, my filmography is extensive… Since 2016, I was the head of the casting department at 1+1 Production. So from that moment until 2020, I either supervised or managed all the projects myself. At that time, there was a high volume of series production — both dramas and comedies. Among the latest were two seasons of the comedy series Velyki Vuiky, the medical drama Doctor Vera, the 8-episode drama Still You Will Be Mine, and more. One particularly meaningful project for me was the full-length historical drama Chornyi Voron by Taras Tkachenko, based on the novel by Vasyl Shkliar. From a casting perspective, it was a fascinating experience, and I think we managed to assemble a strong ensemble cast. Many actors revealed themselves to me in a new light through that project.

Many discoveries have happened throughout my work, it’s hard to single someone out. I truly admire our young talents. Even those who are only 15 or 16 and haven’t yet gone through formal education — they’re already different. And that’s amazing.

It all depends on the requirements of the production company and the TV channel. Sometimes producers want big selections — you might need to suggest 10–15 people for one character. But that’s usually for lead roles or complex types. Other times, we have the opportunity to carefully work through each character and offer 2–3 refined options per role.

Again, it depends on the project’s goals and limitations. Often, we work in conditions where there’s no room for risk. Very few are willing to cast a completely unknown actor in a lead role, especially in a long-running series. And on one hand, that’s understandable. An actor without experience in major roles might find it difficult to sustain a character while maintaining the required pace. So unfortunately, actors can end up playing the same types over and over again. But on the other hand — you still have to try, because that’s how new and striking faces emerge.

I do have an established database. Plus, I constantly monitor the theatre scene to see who’s emerging and how they’re performing, I follow new graduates, etc. And of course, let’s not forget about Facebook! It’s a useful resource — at the very least, you can find up-to-date photos and see how someone looks now, so you don’t end up calling one person to an audition and having someone completely different show up. That happens too.

I don’t really remember. But at some point, I wanted to study journalism or psychology — though life took another path.

I love cinema. I try to watch something almost every evening — films, interviews, or documentaries. I really like The World’s Fastest Indian, based on a true story. Anthony Hopkins is incredible in that film — he’s completely transformed. That’s something our actors often don’t have — time to truly transform. In our context, there’s almost never enough time to prepare: you get approved, and a week later you’re on set. Sometimes not even all the scripts are written. But Hopkins had the chance to study everything — how the real man behaved, how he limped, what he did. So you don’t see Anthony Hopkins; you see a completely different person.

Outside of work, I’m really into interior design. I can watch floor plans and redesign ideas for hours.

I wouldn’t say I dream about specific projects. It’s more about wanting to work on different markets and gain new experience. And of course, I’d love to work with a team of super creative people in director-driven films — where creativity, not money, is the driving force.

I think the objectives are different. Producer-driven films are very goal-oriented in terms of finances. Director-driven films are first and foremost about expressing the director’s vision, and the producer’s job in that context is to find the resources to make that vision real. There are fewer compromises that affect creativity.

No, I like being behind the scenes. I don’t need that. I enjoy looking at the screen and knowing — that’s my work.

It’s hard to say — the world is changing so fast.

To collaborate with international companies, gain new experience, and apply it in my work here.

Grow. Never stop. Even if you’re in high demand and constantly working — that doesn’t mean you should stop developing. Always work on yourself.

Actors are creative people with essential tools. But it’s also important to remember that you “earn with your face,” as harsh as that may sound, so you need to stay in shape.

If you have talents — dancing, singing, horseback riding, whatever — keep developing and honing them.

Just having talent doesn’t mean you can relax and coast on it. It’s hard work.

Learn languages, read literature, find time to prepare for roles. When filling out riders and forms, don’t just include dietary or transport needs — ask for time to prepare and rehearse with the director. That will improve both the quality of the film and the actor’s level.

Viewers don’t know how quickly it was shot or what you had to sacrifice — they only see the final product. No one cares that you were cast the day before. We all have room to grow — and I truly believe our industry has a great future ahead.