Auditions

B

brianluce

Carbonite Member
I wrote a short and am getting some emails from actors.

Problem: The film is in San Francisco. I live 5 hours away. The actors are all SF based.

The script opens with a v/o.

Question: What if I had them email a webcam/youtube video or even just the audio of the v/o instead of a formal audition which considering it's unpaid work, seems like a lot to ask. I know I could tell a lot from a small video, but how do you think an actor would feel about that? These actors all seem to have real resumes and head shots and all that.
 
email them sides and have them video tape the audition. you are going to miss the key reason to audition an actor though. and that is to respond to the way they prepared the scene on their own with an adjustment to see if they are capable of internalizing the direction (truly listening to you) and making a tangible change during a second readthrough.
 
Zak Forsman said:
email them sides and have them video tape the audition. you are going to miss the key reason to audition an actor though. and that is to respond to the way they prepared the scene on their own with an adjustment to see if they are capable of internalizing the direction (truly listening to you) and making a tangible change during a second readthrough.
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Thanks Zack. I take some, but not all, of the stuff I've said about you. What are "sides" anyway? Also, I'm thinking I going to try it and see what happens. I think I'll also offer then the opportunity to change lines with discretion. That's what I'd do any way if it was in person. Whattya think?
 
Sides are the relevant pages from a script used in an audition or for a day's shoot.

If it's just a V/O (off camera), it's quite common for auditions to be done with talent-uploaded MP3s or the like. When you've cast the actor, you could direct him/her over a phone patch, or in a pinch, on a regular phone call. Don't use a cell phone though. The actor records a high quality version of the audio while you listen and sends the take(s) to you on a CD. People do it all the time for VO.
 
yeah, sides are just a shrunk down version of a small portion of the script. during a shoot, they're the scenes for that day. and they're small enough to fit in your pocket. most screenwriting programs offer an option to print as "production sides".
brianluce said:
Thanks Zack. I take some, but not all, of the stuff I've said about you. What are "sides" anyway? Also, I'm thinking I going to try it and see what happens. I think I'll also offer then the opportunity to change lines with discretion. That's what I'd do any way if it was in person. Whattya think?
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that seems fine. why don't you also ask them to read the scene twice with two different intentions? you'd be surprised how many actors are only capable of doing a thing one way, regardless of what you tell them.
 
Hey Zak,
Who was reading with him? She made a nice adjustment to his adjustment herself. It makes it so much easier when you have a reader who is working with you. It's not unusual to get the same flat reading no matter what adjustment you make. Where the hell were you guys when I was living in L.A.?
 
haha! when were you living here?

that voice you heard was Carrie Williams. she's an aspiring casting director here in L.A. and an actor as well. she works at a casting agency so we got the facility and her amazing help for nothing. she taught us a lot about the traditional Hollywood approach to casting. i can give you contact info to anyone who's interested. she's cool.
 
Zak Forsman said:
that seems fine. why don't you also ask them to read the scene twice with two different intentions? you'd be surprised how many actors are only capable of doing a thing one way, regardless of what you tell them.
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that is so.. so true...

Auditions are sometimes painful when the actor just isn't getting it...

but they are also a lot of fun when an actor really brings the work to life.

Already discussed here, but I always let the actor come in and read the way they have prepared then I have them read again after I give a small piece of direction. Really helps to show who can and can't take direction. Helps separate the talent from the line readers.
 
Hey Zak - that's a great example you posted in that video.
Thanks for sharing so much of your behind the scenes and prepro process.
 
The actor's (Kelly) adjustment in Zak's clip linked above was very impressive. His first take was very soft and sympatheitic. Fine, but evidently not what the larger subtext called for. The second take was *so* much more layered and interesting.

Note also the non-result oriented direction that put him there:

Casting Director: "He's trying to be a good son - he's trying to do what's expecetd - he just kind of resents Grandpa". Not: "Be angrier" or "Try it more resentfully". She put him into an emotionally charged *situation*, without asking for an emotional "state". Speaking as an actor myself, that's very good, very playable direction. Playing a situation lets a good actor have his own natural emotional responses (good). Trying to play a specific emotional response (aka "result") tends to detach the actor from the situation (bad).

Good, professional work all around!

Makes me very interested in seeing this film when it's done : )
 
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forgive me for pimping him out for a moment... kelly mccracken is a rock star. the self-proclaimed King of Adjustments. infinitely moldable. and he will give you everything he's got.

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Question about auditioning. I've got a few people trying out for a non-speaking role, but the movie opens with a close shot of the character crying, near death and with a pistol to his head. Obviously, this intense emotion is quite difficult to conjure up in a 5 minute audition. Any suggestions on what to tell them and what to have them do? This is a male role by the way.
 
HBlack said:
Question about auditioning. I've got a few people trying out for a non-speaking role, but the movie opens with a close shot of the character crying, near death and with a pistol to his head. Obviously, this intense emotion is quite difficult to conjure up in a 5 minute audition. Any suggestions on what to tell them and what to have them do? This is a male role by the way.
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Improv is usually fun to do in an audition.

As long as you have a laid back environment for people to feel comfy, you could work out a completely random scene that has similar emotional content. Or ask them to prepare a scene for you, or one that you select..

For my current film, I had an audition that consisted of just the opening scene of my film which had 1 line. Pay attention to facial expressions and body language. If those don't work, then usually what is coming from their mouth ain't gonna work too great either.

A good actor will just look and feel more comfortable with their body language.

One thing I never see addressed here.. I always post the full script of projects for the actors to read through. Since I have not done anything with a budget high enough for a fully paid cast, I always say in my breakdowns, that if you don't like the script, don't bother contacting me.

I figure why waste everyones time when you don't even want to be there. And there are a lot of actors that will come out to auditions simply because it is something to 'put on a reel'.

ok.

</rant>
 
Loki said:
One thing I never see addressed here.. I always post the full script of projects for the actors to read through. Since I have not done anything with a budget high enough for a fully paid cast, I always say in my breakdowns, that if you don't like the script, don't bother contacting me.

I figure why waste everyones time when you don't even want to be there. And there are a lot of actors that will come out to auditions simply because it is something to 'put on a reel'.

ok.

</rant>
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Yeah this is exactly what I've done. I sent them the whole script. I've never done anything like this, all my prior directing experience has basically been whoring--hiring models and beauty queens and such to sell stuff. I figure if the actor likes the script, they'll show up and probably won't complain when they get their Big Macs for lunch. Actually, I'm wondering why any actor would agree to a part without reading the whole story.

One thing that struck me about Zak's audition was that the guy seemed excited about the material, it was obvious he wanted the part.
 
It's amazing to me how many filmmakers expect actors to show up for auditions having seen nothing whatsoever of the script. I always insist on seeing at least the sides before I'll haul my ass down to an audition. It's a good thing too, because there are people who fancy themselves screenwriters who couldn't write a business card if their life depended on it. And I'm *not* exaggerating...
 
Ted Spencer said:
It's amazing to me how many filmmakers expect actors to show up for auditions having seen nothing whatsoever of the script. I always insist on seeing at least the sides before I'll haul my ass down to an audition. It's a good thing too, because there are people who fancy themselves screenwriters who couldn't write a business card if their life depended on it. And I'm *not* exaggerating...
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Ah yes..

but on the flipside of it... despite being linking to sides in the casting breakdown / call.. then again sending an email confirmation with said link to sides / script.. and even a 3rd email with a scheduled time and said sides / script... many many actors still show up saying they "never got the sides".

the door swings both ways... crummy filmmakers.. crummy actors..
 
Ted Spencer said:
It's amazing to me how many filmmakers expect actors to show up for auditions having seen nothing whatsoever of the script. I always insist on seeing at least the sides before I'll haul my ass down to an audition. It's a good thing too, because there are people who fancy themselves screenwriters who couldn't write a business card if their life depended on it. And I'm *not* exaggerating...
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One problem with NOT seeing the entire script is that some screenplays do 180's. That nice little detective yarn turns into a Worm People from Planet 9 at page 30.
 
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