Dealing with a variety of acting talent

Azmyth

Azmyth

Veteran
We just finished our casting calls for our movie Exit 101.

One thing I have run into so far, is that we have a varying "quality" of actors.

We've got some who are locals with no experience, and some with "some" experience, and some who are professional.

The differences are pretty staggering. I'd love to get all pros after seeing what some of them are capable of, but its just not possible with our budget and location.

The best actor we had, was a young lady who drove 4 hrs to audition, and she was dead on perfect for every part she read for. She was nice, and easy to get along with. But, she's also kind of "in demand", and being 4 hours away (even though she says it won't be an issue) would scare me a bit, being the project is no pay. She was just really good for any of the parts she read for. We aren't sure how to handle that.

On top of that, by having her and some of the others.. there will be a distinguishable difference between the actors.. how do we get our other actors who were "good" but aren't professional, up to at least a level where its not hugely noticable?
 
You have them work with the really good actors. A good actor creates a reality that can draw a lesser actor into it. It doesn't necessarily make them good but usually makes them better.
 
Yeah - do NOT dumb down the rest of your cast to match your weakest link.

Hopefully you've filled the more demanding roles wit the seasoned actors. If so the rest of them shouldn't really be Acting with a capital A but just being simple and real. 99% of the work I do with actors is just getting them to stop trying so hard and to just be simple. I tell them that they're so interesting just being on screen and saying the lines that they can just trust that. I tell them to be boring. I tell them to speak more softly, or that they're too "on voice", a theatrical term for really supporting your vocal work. It's a simple trick but getting them to not support their voice and be soft and not over articulate is often all you need for smaller roles (and often for bigger ones too). Also you can try "the camera loves to see you think. It can tell when the wheels are turning. It doesn't really care that much about what you're saying. So just think about this and don't worry about how your saying it."

In short. It's usually about trying to get them to do less not more. To stop doing bad things rather than start doing something exciting or amazing. If they can talk and breathe and move and you can get them to stop ACTING, you'll be OK.

If they have to deliver a pivotal speech about their younger sibling dying because they were supposed to be watching them and they fell through the ice, and ever since they've devoted themselves to frozen pond safety ... then you're probably screwed.
 
Just echoing here really. If you have a great actress, whom you think is perfect for a role, and who is willing to come do it, then go for it! She will inspire the rest of the cast to do better.

Also, make sure that you compensate her for the 4 hour drive. She will be doing that for your film, so the least you can do is pay the gas.
 
doing a ditto myself on what everyone said and elaborating by saying....

always bring the talent back who wow you. you won't be sorry and they can 'pull up' a lesser talent.

also...on new actors...bring in the ones who are eager yet calm. they will listen and take direction and work hard to 'bring it'. the hyper ones can exhaust the cast and crew and the ones who don't seem eager, often won't work as hard.
 
You must log in or register to reply here.
Back
Top