The Caro Jones papers span the years 1947-1995 (bulk 1975-1995) and encompass 14 linear feet. The collection consists of production files (produced and unproduced), subject files, sound recordings, and oversize material all documenting Jones’ career as a casting director for over 40 years.

The bulk of the collection can be found in the production files, which contains scripts and casting material for more than 60 feature films released between 1973 and 1996. Each film is typically represented by one or more scripts, cast lists, a casting file, and a production and casting notebook. The latter were three-ring notebooks that have been dismantled and foldered, retaining original order. The tabbed dividers typically separated casting suggestions, breakdowns, casting interviews, budget/deal memos, and schedules. Jones’ work for director John G. Avildsen is well-represented, with numerous scripts and casting material for such films as 8 SECONDS (1994), FOR KEEPS (1988), THE FORMULA (1980), HAPPY NEW YEAR (1987), the first three films in THE KARATE KID franchise, ROCKY (1976), ROCKY V (1990), and SAVE THE TIGER (1973). There is only a small amount of material for two unproduced films: FRANCIS from 1977 and ROAD SHOW from 1983. Of particular interest is the material for ROAD SHOW, which would have been directed by Martin Ritt and produced by Donna Dubrow with a cast that included Jack Nicholson, Anjelica Huston, and Timothy Hutton.

The subject files include clippings and correspondence as well as Jones’ files on New York and Los Angeles based casting agencies. There is also a file she kept on martial artist Sho Kosugi, containing a presskit, photographs, and photocopies of clippings. Even though Jones cast over 150 series episodes and television movies, there is nothing covering her extensive career in television, and only a small amount of material related to the Theatre Guild in New York. The oversize material consists of paper dolls for both GONE WITH THE WIND (1939) and Deanna Durbin.

Caro Mary Jones was born in Windsor, Ontario, Canada in 1922. At the age of 18 she moved to New York to train as a singer and was eventually cast in a touring production of OKLAHOMA! She toured for a year, then returned to New York and became a casting assistant for the Theatre Guild. She was soon promoted to head casting director of the Theatre Guild and continued her association with the Guild for the remainder of her career, despite later casting mainly for film and television. She married singer Arthur Eisman in 1953 and the couple had a son. Through her involvement with the Theatre Guild, she began casting for the live anthology television series THE UNITED STATES STEEL HOUR, which was produced by the Guild. She and Eisman divorced in 1966 and she subsequently moved to Los Angeles. There she oversaw casting for numerous television series over the next several years, including GREEN ACRES and MANNIX. She managed casting for Paramount Television and later Filmways Television, where she met producer Al Simon, whom she would marry in 1995. In addition to her steady career casting for television, Jones made a few ventures into film during this time, casting WHAT’S THE MATTER WITH HELEN? (1971), FUZZ (1972), and SAVE THE TIGER (1973), which were all co-productions of Filmways Pictures.

In the mid-1970s, Jones established her own casting agency. Her first endeavor was ROCKY (1976), which reunited her with SAVE THE TIGER director John G. Avildsen. She would go on to cast several films for Avildsen, including the first three films in the KARATE KID franchise. She went on to cast over three dozen films and her other notable credits include CROSS CREEK (1983), BETTER OFF DEAD (1985), and BACK TO SCHOOL (1986). She also remained active in television, casting for such projects as the WONDER WOMAN series, THE MARTIAN CHRONICLES (1980) mini-series, and numerous television movies, including I KNOW WHY THE CAGED BIRD SINGS (1979) and JACQUELINE BOUVIER KENNEDY (1981).

Jones was a member of the Academy of Motion Picture Arts and Sciences, the Screen Actors Guild, the American Federation of Television and Radio Artists, and Actor’s Equity, as well as a member and Governor of the Academy of Television Arts and Sciences. She was a founding member of both Women in Film and the Casting Society of America, which honored her with the Hoyt Bowers Award for outstanding contribution to the Casting Profession at the Society’s Artios Awards in 1994.