Interview with a Vertical Drama Casting Director
A conversation with Jigar Shah
Jigar Shah is a Toronto-based Casting Director specializing in vertical dramas and mobile-first series. Over the past two years, he’s cast 30+ productions across Canada, China, and Europe for platforms including ReelShort, ShortMax, ByteDance, and Vigloo, working alongside companies like Ottawood Film, Union Film Group, and Archipelago Productions.
A key voice in shaping the industry’s foundations, Jigar recently helped draft ACTRA’s new Microdrama Agreement and cast the first Canadian vertical produced under the IPA. In today’s Behind the Verticals interview we talk casting trends, talent discovery, and where the global vertical market is heading.
But first, this week’s global vertical drama news…
👀 Spotted
Inc.: The Hottest New Stars in Hollywood Aren’t on Netflix. They’re on Your Phone.
Singapore Microdrama Outfit RisingJoy Hits 50-Platform Milestone, Eyes Move Into Original Production.
Double Tap Films takes 21 Hindi microdramas global with TikTok partnership.
Angel One partners TVF for microdrama series ‘12th Man’ targeting young audiences.
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🎙️ Interview with Jigar Shah
You’ve cast 30+ vertical productions in two years across Canada, China, and Europe. What’s the biggest misconception people in traditional casting still have about this format and how does the audition process actually differ?
From what I see, the biggest misconception is that verticals are just ‘lesser’ versions of traditional TV - like we’re just making normal content but cropping the sides off. Traditional casting often looks for that slow burn, the subtle subtext, and the long pause. In a vertical, we’re going for faces that hold attention, so if an actor pauses for five seconds to ‘find the emotion,’ the viewer has already swiped.
The audition process definitely differs. I’m not just casting for talent. I’m casting for immediate magnetism. Casting tends to be appearance-driven, so I often have models and influencers self-taping. I’m looking for actors who can hook an audience within the first 5 seconds, and memorize 14 pages of dialogue a day because shoot schedules are ridiculously fast!
You helped draft ACTRA’s Microdrama Agreement and cast the first Canadian vertical under the IPA. Does union recognition change how talent and agents perceive this work and do you think union productions will become the norm?
