Auditions

[Zak Forsman]

I don't give the script to auditioning actors. I give them sides specially written as a scene from the character's backstory, before the events of the actual film/screenplay. then at callbacks we do not even look at a script. i pair actors i like in improvised scenarios with opposing objectives, stepping in time to time and whipering an adjustment in each of their ears. these scenarios are also an event in the characters backstory -- like how they met, or their first date, or the fight they had the day before the film starts. this again, has value to whichever actor I cast to incorporate into their character.

then I hand out scripts to the actors I cast knowing I will do rewrites after meeting with the cast individually to develop their characters. on "Heart of Now" I did two revisions before we started production.

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.

heh heh heh, don't feed them that sh*t. they may not complain, but their morale and energy and enthusiasm will plummet.

 

[Loki]

I don't give the script to auditioning actors. I give them sides specially written as a scene from the character's backstory, before the events of the actual film/screenplay.

I should clarify; Since I have only (up to this point) done short films, and my work has been somewhat less 'character' driven thus far, I think a read over of how that character fits into the overall story really helps.. cause lets be honest.. sometimes short films are so short that they are sides in an of themselves..

For a feature, my approach will be different... and I will let you what it is when I get there.
:thumbsup:

 

[Ted Spencer]

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..

Yep...'tis true...'tis true...

 

[Ted Spencer]

I don't give the script to auditioning actors. I give them sides specially written as a scene from the character's backstory, before the events of the actual film/screenplay. then at callbacks we do not even look at a script. i pair actors i like in improvised scenarios with opposing objectives, stepping in time to time and whipering an adjustment in each of their ears. these scenarios are also an event in the characters backstory -- like how they met, or their first date, or the fight they had the day before the film starts. this again, has value to whichever actor I cast to incorporate into their character.

As an actor, all that would be fine with me. I just need to see what the quality of writing is. If it's good writing, I'll audition for a part I'm suitable for anytime.

then I hand out scripts to the actors I cast knowing I will do rewrites after meeting with the cast individually to develop their characters. on "Heart of Now" I did two revisions before we started production.

Only two? : )

heh heh heh, don't feed them that sh*t. they may not complain, but their morale and energy and enthusiasm will plummet.

Thank you. You may cast me anytime!

Seriously - if I see another damn pizza on a set I think I'm gonna mutiny. Actors need to eat sensibly, even short term, like on a given shooting day. Heavy carbs and soda might be just great for the crew, but not for the actors. Light stuff - lean chicken, raw veggies, fruit juices, water...that sort of thing. Pizza, lasagna, burgers, sodas, chips...makes me want to take a nap afterwards, not act...

 

[Zak Forsman]

Only two? : )

two after working it over with the cast. maybe half a dozen beforehand.

 

[Sad Max]

I think the next time I interview someone for a Set Design slot, I'll hand them a napkin sketch and say now draw this at 1/4"=1'-0", the way that *you* would draw it.

Then look at the drawing, and say that's very good; now, I'd like to see what you do with it at 3"=1'-0", but with the sense that you are overworked, underpaid, and no one understands what the hell it is, you do.

Heavy carbs and soda might be just great for the crew

They're not. Producers are now routinely ordering crew jerseys in XXXL "muffin-top"; typical crafty turns us into a pack of fatigue-ridden pudgebarrels, just like it does to you guys.

 

[Zak Forsman]

try having them draw it "faster, with more intensity".

 

[Sad Max]

It's something of a professional insult, to imply that a set designer is not *already* drawing at maximum possible speed...

...but faster, with more intensity is admittedly a lot funnier.

 

[Ted Spencer]

two after working it over with the cast. maybe half a dozen beforehand.

Right. Just teasin' ya...