Audition Methods

[Nerdcolony]

I'm wondering if any body knows if there is a general formual onhow to audition people. I guess I'm really looking for:

A) can the person act
B) do they fit the role
C) Can they take direction
D) are the pleasant people

How do auditions normally go down?

[GageFX]

I'm not sure what you are asking. Are you asking the process of setting up and running an audition, or how to choose the right actor for the part once you have held auditions?

[teresadecher]

Auditions always vary depending on what you give the actor beforehand (sides for them to preform) or if you want them to do a cold read (give them the sides at the audition) or just improvisation.

I guess the whoever is holding the auditions has to decide if they want that person, like if they fit the role. Also, when an actor comes into the room, you will get a feel for them and whether you like them or not.

If you want to see how well they can take direction, let them do the script first the way they want to, and then either ask for them to make a big change, or suggest a completely different change. You'll be able to tell how well they can take direction by if they follow your requests.

Hope that helps!

[Nerdcolony]

That does help. Thanks!

What would you say are the main differences between giving somebody a part of the script before the audition V.S. giving it to them for the first time at the audition VS giving the entire script to the person before hand.

[Zak Forsman]

I only look for one thing during an audition and it has never failed me. and that is when I change the objective or intention for the scene, does the actor listen to my guidance and internalize it. or do they get locked into the scene as they prepared it. i don't care if they don't look like the image i had in my head. i just want the best, most engaging actor(s).

my auditions go like this...

1. introductions, hand-shaking, thanks for coming in...
2. they perform the scene as they prepared it.
3. i give them an adjustment
4. they perform the scene once more and I'm looking to see if they internalized the new intention.
5. I ask them in what ways they relate to the character and if they have any questions for me.
6. then we make sure they are available for the shooting days and thank them again for their time.

later, at callbacks... no more scripts or sides. I start pairing actors I like from the auditions into improvised scenarios to see what kind of effect they have on each other, how they listen to each other and how engaged they are. simple. and that is how I mange to work with great actors – making my job as director, almost too easy.

[Nerdcolony]

Zak, That sounds great. I think what you said makes a lot of sense. Do you give the actors any time to internalize the new direction or do you explain it and then go.
How much improv do you expect from your actors?
Just for my own clarity. A side is a piece of the script?

[Zak Forsman]

i give them as long as they need... typically a few seconds. i'm not the sort of guy who calls "action!". i'm more of a "you can begin when you're ready" kind of guy. as for improv, i expect them to know their characters better than me by the time we roll cameras, so they should be able to make choices consistent with the character no matter what is thrown at them. when I make a feature, there is scripted dialogue.. dialogue I wrote... and eventually, I like to throw that dialogue out and use the character's objectives as a guide for finding the scene. nothing is as thrilling for me as working with good actors and finding the scene with them together. it's more work, but I would be bored with the artform otherwise.

traditionally, sides are used during production. they are the day's scene(s) in screenplay format, but shrunk down to 4.25"x5.5" instead of the usual 8.5"x11".

so i'll give them something like this to audition with. but i don't (again, this is my own thing. not everyone does this) but I don't give them a scene from the script. i write a scene for that character set somewhere in their backstory that has two or three emotional turns built-in.

[teresadecher]

That does help. Thanks!

What would you say are the main differences between giving somebody a part of the script before the audition V.S. giving it to them for the first time at the audition VS giving the entire script to the person before hand.

I think the best option for both the director and the actor is to at least give them the sides you want them to read beforehand(we prefer the script also). That way, the actor has time to prepare and make their choices (and you can see who took the time to read the script).

If you just give it to them as a cold read, you may not see their full potential, as most professional actors spend way way longer than like 5-10 mintues preparing a scene. However, cold reads are a good way to see who's quick at making choices.

If its a highly emotional scene I would definitely suggest sending the sides beforehand.

If you do give them the entire script, make sure to tell them which scenes you want them to have prepared.

[teresadecher]

Zak, That sounds great. I think what you said makes a lot of sense. Do you give the actors any time to internalize the new direction or do you explain it and then go.
How much improv do you expect from your actors?
Just for my own clarity. A side is a piece of the script?

Yes: sides are the portion of the scirpt you want them to read. (Ie, like scenes 5, 23, and 45)

Actors will usually need some time to make the adjustment. Some people can do it in a couple of seconds, others might need to take a couple mintues. It depends on the actor and the change.

[-JunK-]

Some auditions also ask seemingly random questions that appear unrelated to the script or film BEFORE getting to the actual scene if even. To see how honest the actor is. A question that sparks something more than a yes or no answer... like: "Describe the funniest moment that has ever happened to you" or "What's the thing you are most proud of accomplishing?" (cheesy and lame examples sorry =) But there's no preparation. You can get to know a lot about someone this way.

And what Zak has said is spot on and great stuff =)

[Tom Marshall]

And sometimes you don't even read any lines... the casting directors just want to get to know you...

[tasialabastro]

And sometimes you don't even read any lines... the casting directors just want to get to know you...

Awkward, but true!

[GageFX]

My first national commercial was like this. I was given a vacuum cleaner and a chair and was told to "make a fence", then they asked me questions about my day.

Interestingly, I had gotten in two fights at school that day and someone had broken into my PE locker while I was in PE and shredded my pants with a knife.

I "made a fence" and laughed about my day's adventures.

(BTW, when I say "fights", I was one of few white kids in a gang infested L.A. public high school. And I had the same mouth then that I have now. I dont mean a private school slap fight.)

[Prodigi Pictures]

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[JonathanLB]

Auditions always vary depending on what you give the actor beforehand (sides for them to preform) or if you want them to do a cold read (give them the sides at the audition) or just improvisation.

I guess the whoever is holding the auditions has to decide if they want that person, like if they fit the role. Also, when an actor comes into the room, you will get a feel for them and whether you like them or not.

If you want to see how well they can take direction, let them do the script first the way they want to, and then either ask for them to make a big change, or suggest a completely different change. You'll be able to tell how well they can take direction by if they follow your requests.

Hope that helps!

Yup. That's what I do. I have them do it their way, and sometimes they nail it, just like I would want them to do it, but I'll ask them to go another way with it anyway and give them some different emotions that they are feeling, instead of the ones their instincts guided them to. I'll usually say, "I think that's great, let's just see if we can do it another way too, just to see." So if they still keep doing it their way, I know I'm going to have to live with "their way" the whole project, haha, and I'm not going to be able to direct them much if I disagree in another instance with their instincts.

[Zak Forsman]

Yup. That's what I do. I have them do it their way, and sometimes they nail it, just like I would want them to do it, but I'll ask them to go another way with it anyway and give them some different emotions that they are feeling, instead of the ones their instincts guided them to. I'll usually say, "I think that's great, let's just see if we can do it another way too, just to see." So if they still keep doing it their way, I know I'm going to have to live with "their way" the whole project, haha, and I'm not going to be able to direct them much if I disagree in another instance with their instincts.

you give them emotions to play? what does that prove?

[JonathanLB]

I'm not sure you get the point, or you must not do auditions very well ;)

A scene may have several underlying feelings associated with the character's actions or dialogue, and different interpretations of the feelings that should be present in the scene. It's not that difficult to change them around, it just changes the meaning of the scene. I want to be sure the actor can do the scene how I see it, so maybe they read the dialogue and think of this scene as more somber and serious, whereas I have in my mind that it's actually more playful and sarcastic. It's not really that hard to understand... ;)

[Zak Forsman]

jonathanLB, by asking for a change of emotion, you're asking for a result. and that's a great way to f*ck up any good actor. i give them a new objective to play, using the same words, so that the new emotion comes from internalizing the intention.

oh and take those f*cking ;) emoticons and stick them up your ass you condescending prick.

[Prodigi Pictures]

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