Auditions..how much to give

K

keep it moving Jay

Active member
Having a big audtion for my short. Script is polished and ready to go. Just curious if I should send the full script to each auditioning actor BEFORE the audition date.

How is this done without having my script around the state or is this th way it's done?



:)
 
I always shared the whole script with the actors, as I wanted them to be able to give the best audition possible.

EDIT: Just to clarify, this is what I do with short scripts (which is what you said you have) and not a feature length.
 
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I would choose a scene that emphasizes a particular character, most likely one that interacts with another major character. Then, you can have the lines for "Male, 28-32, lead" ready for those applicants. Do the same with the rest of your main characters. Scripts aren't needed for the bit parts, like the stoner on the corner that just says "Snoogins".
 
You would typically post sides which is generally two (2) pages, and the dialouge on the pages would be primarily for the character you are casting for. At least that's what I understand and do.
 
Cryogenic Filmworks said:
You would typically post sides which is generally two (2) pages, and the dialouge on the pages would be primarily for the character you are casting for. At least that's what I understand and do.
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When you say sides what are you referring to? Asides?
:huh:
 
keep it moving Jay said:
When you say sides what are you referring to? Asides?
:huh:
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Casting sides are just script excerpts for actors to read for their audition. (if you are casting for Joe Bloe, the specific sides for that character would mainly contain Joe Bloe dialouge etc. You could also combine several sections of Joe Bloe dialouge to fill out the sides for that character).

Apparently Showfax.com lists sides for actors. They have member and non-member options (if you are non-member you can pay a small fee to download a specific side). Also if you search google for "casting sides" you should be able to find some to checkout for free. I notice most seem to be for episodic television.
 
personally, i write up sides for each character tailored specifically for auditions -- meaning, they are not necessarily a scene from the film, but they have built in turns and certain beats to hit so that i can see how well an actor recognizes those on their own. then, i also tailer the scene in such a way that it can be played in an entirely different way. so that i can see how well the actor responds to adjustments and direction.

but my method of casting might be a little unique, where i'm usually more inclined to choose the best actor and revise the character to match their qualities, rather than casting someone more suited to the character i had in my head, but who doesn't have the same ability to internalize and adjust to the direction i give.
 
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As an actress, I'm usually given two scenes that show the range of the character. Sometimes it's expedient to get duologue or group scenes, so you can in effect audition 2 actors at once, and also you can mix and match the actors so you can see which pairings etc go best together.

Sure, send the whole script if you want to, but I don't think that's entirely necessary unless it's a short. Are you going to have call-backs, or decide on the day? Whole scripts might be better given once you have a short-list, as those actors would have more of an investment in the piece at that point.
 
I've done this...

Posted the sides on a web page... with information about each character...

Like Zahra said... sometimes its nice to see two people playing off each other...

I wouldn't give out the whole script until you cast... an old joke is you'll have an actor in mind for a role and they'll read the whole script and sometimes they'll tell you they want to play another part... most of the time one with a bigger role...
 
I'm actually audition in groups -- like 7 actors in the room -- playing out two sequences -- one interior the next exterior. Just to see how each actor truns under pressure from other actors.

I go nonlinear so would start with an intense scene (exterior) than pause that and play out the interiror scene within the same room. You cold weed out the good actors from the nots, just through reactionary moves and methods.
:-)
 
I am a professional actor mostly working in film and TV. It depends on how many pages your short film is. It will always serve you and the actor to give them a full short script. It also depends on what your comfortable with costwise for making the copies and how many actors your auditioning.

If yor script is 10 pages I say do it. If your script is 20 pages or more thats another story. (Pun intended).

As stated above feature length scripts are to big unless you e=mail them.

Good luck.
 
My two cents (like you asked).

I treat shorts and features the same. I pick two scenes that show range and e-mail or post the pdf of those sides for the actor. I never send the actor the entire script, even if it's a short. This gives them an opportunity to judge and dissect the entire piece. Obviously I want their interpretation of the sides I gave them, but I do not want their interpretation based off the rest of the script. You risk the chance of over ambition. This could lead to the actor reaching too deep, showing you motivations from a character arch or backstory, none of which you asked for.

At the audition I start by calming them down first, this is something missed by many directors (ive seen it). I mean, these actors are pissing themselves inside, trust me. Take a moment to introduce yourself, ask them about the drive there or whatever. Crack a dumb joke (nothing offensive).

Then I ask them what they took away from this character after reading the sides. This gives you a tremendous insight. Think about it, you basically get a ton of mini-critiques/character insights the whole day long. Not bad, I've even made a script adjustment from 40 similar comments from 40 different actors. Not to mention you find out if this actor has a brain outside of his/her looks.

Then I give them a very brief idea of what I'd like to see, regarding the character. They then read (with my assistant). Then, I make an adjustment to watch their range and ability to take direction. This is vital for obvious reasons.

Then I throw tomatoes at them and say, 'so how bad do you want this job, baby?'

Anyway, good luck.
 
alveraz,

Excellent advice about working with and calming down the actors. I have worked as an actor an auditions are always agony.

Chris

p.s. What kind of tomatoes, cherry or the big red ones?
 
Yeah, I did my share of acting as well. It helps having that experience when working behind the camera. Agreed?

Oh, the big red ones. I want them completely humiliated when I ask them to have a seat on my couch.
 
alveraz said:
Yeah, I did my share of acting as well. It helps having that experience when working behind the camera. Agreed?
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Having a background as an actor has been invaluable as I try to become a better writer and director.
 
keep it moving Jay said:
I'm actually audition in groups -- like 7 actors in the room -- playing out two sequences -- one interior the next exterior. Just to see how each actor truns under pressure from other actors.

I go nonlinear so would start with an intense scene (exterior) than pause that and play out the interiror scene within the same room. You cold weed out the good actors from the nots, just through reactionary moves and methods.
:-)
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Just noticed this. I would revisit this method. Forcing an actor into a "pressured situation" with other actors is not beneficial to anyone. Maybe I'm missing your intention here? Ask yourself what you gain with a stressed out actor with his back against the wall? You certainly don't get an actor comfortable with you, or the character.

And "weeding out the good from bad" is not based on "reactionary moves and methods". First off, good & bad is subjective and I never use these words in filmmaking, ever. It's a shortcut to analysis, regardless of the subject. There are several factors you could observe when deciding if this is the right actor for this character. Some of those qualities are mentioned in my previous post. I would start a new thread on the subject of "actor qualities" if you need more insight on that subject.

Take care, and again, good luck!
 
I really agree with Alveraz. Making actors jump through hoops and stressing them out isn't a good thing. It may seem like that is the only way to 'see what they're made of', but I'm not sure it is. Treating them like powerless creatures desperate for a job might be fun for the director, but believe me, auditions are enough shades of hell without that.

Make your actors relaxed, respect them and give them a chance to show their best work. Isn't that what you want for your film?
 
Zahra, Location: Orlando and London

Man, you have some commute there! When you're in Orlando, you do many of the Full Sail projects?
 
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