Zak Forsman
Major Contributor
i'm starting a new series at NEW BREED called “How to BLANK a Movie“. NB Filmmakers were asked to contribute all of their personal guidelines, DOs and DON’Ts on a variety of topics – casting, writing, directing actors, editing and distribution.
Everybody loves lists, myself included! Today I’ll start with “CASTING“. What’s fascinating here is not only what the filmmakers share in common, but the more unique insights that have emerged in their own processes. Some great advice in here…
Everybody loves lists, myself included! Today I’ll start with “CASTING“. What’s fascinating here is not only what the filmmakers share in common, but the more unique insights that have emerged in their own processes. Some great advice in here…
MARK HARRIS >>- The first thing that comes to mind is, do not, under any circumstances, hold auditions in your home. I’ve heard of people doing it without actors minding, but it’s such a massive violation of professionalism in my mind, I would never, ever insult an actor by doing it.
- But the other thing I’ve started really doing is asking for a reel. In 2009, EVERY actor should have a reel online. It saves everyone so much time, and allows you to see the actor in the context of a movie.
When they come in, I always put them on camera. It’s old Hollywood-think, but I think it’s absolutely true that the camera likes some people and does not like others. This has most to do with the actor’s ability to leave themselves alone when a camera’s on them. This is extremely difficult to do, but absolutely imperative to a film. It’s what separates a good screen actor from a bad. It’s also what makes someone a movie star.
- I never ask to see a monologue. I give them sides, and then work with them as if a rehearsal. Again, the key thing I need in the audition is that they can absolutely leave themselves alone and behave as if no one is watching.
- I never ask them to mime anything. Nothing is dumber to me than this. If the script says: “She picks up a glass,” I tell them to ignore it.
- I am always shocked in auditions, how many actors don’t understand how to act for camera. Many don’t seem to understand that when performing on camera, you don’t have to do a single thing to communicate your intentions, feelings, etc. You just have to be. The camera will see everything. So I see a lot of actors come in and sort of flail about, until I stop them, sit them down and get them to do nothing. Like James Cagney said: “You walk in, plant yourself squarely on both feet, look the other fella in the eye, and tell the truth.” Deceptively simple, but profoundly accurate advice for acting on camera.
MIKE HEDGE >>
- Cast someone who wants to make the role their own. In the end it will look more real on screen….
KEVIN K. SHAH >> - Ask actors if they are available for your shooting dates BEFORE the audition.
- Shoot your auditions as well as your Q&A afterwards with actors you like.
- Have actors that are called back read with each other if they have scenes together.
- Ask actors to improvise a scene using simple objectives like: You want to leave, she wants to stay.
- Ask actors what favorite movie role they wish they were cast in / they could have played (tells you a lot about your actor’s aspirations)
- Audition scenes that are NOT in the film, but show a variety of “changes” in emotion, pacing, and thought.
- Do not cast anyone that blinks too much. You can’t control it on-the-day or in the edit.
JUSTIN EVANS >>
DO: - take months to cast. If you can cast for 10 hours a day, six days a week for three months you have only begun to be on the right track.
- write lengthy character descriptions for every role no matter how small. If you trivialize how you
- treat your own characters why would actors not do the same?
- write a director’s statement and include it with the materials for your actors. You are auditioning for your actors as much as they are auditioning for you.
- use breakdown services and actors access as the backbone of your audition process. It is free and if you manage this correctly it will lead to thousands of submissions.
- attend all casting sessions yourself. After the screenplay, this is the greatest set of decisions you’ll make as a filmmaker.
- provide water in the front room. A case of water will last all day and cost you $8.00. It will surprise the actors auditioning. It will help them relax. It will enhance their performance. It will separate you from the rest of the filmmaking world who spend money on a fancy space but provide nothing for the actor.
- rent the cheapest space you can find. Putting money into your audition space is ego-driven.
- Who are you trying to fool? If you’re budget is 2 million or less any money spent on the space is money not spent on the movie.
- provide lengthy sides two weeks in advance of the audition. Most auditions provide minimal sides the night before an actor is to audition. Is it any wonder most actors show up unprepared?
insist that the actors are off book. If you’ve been a professional and provided sides two weeks in advance then there is nothing wrong with insisting that the actors have their sides memorized.
be kind, be patient, be quiet, be humble…and after the actor leaves be critical, picky, demanding, cynical and require definitive proof that an actor can fully deliver what you need.
DON’T: - spend your money on a casting director if you have less than $500,000.00 USD to make your film. You can’t afford a great casting director, you can’t afford to exploit a casting director’s relationships with famous actors and you can’t expect a casting director to take your film seriously.
- Spend that money on your space, on water and on yourself, so you can attend every day and sift through the actors on your own.
- be surprised when you discover that casting is slow, boring, tedious and painful. If you see 100 actors you’ll be lucky to find one actor worth casting. That’s the ratio, that’s the business, that’s your job…and if you don’t like it then get out of film now.
- write character names like “Joe” or “Girl #2″ or “Crazy Guy”. Any good actor simply ignores these types of postings on Actor’s Access.
- expect good actors to audition if you aren’t paying them. How many auditions do you think they’ve been to where a director says “We’ll supply you with a DVD when we finish the project. And, we’ll feed you every day.” If you offer $50.00 a day you’ll immediately jump into the top 10% of auditions on Actor’s Access.
- neglect to put one of your trusted teammates in your front room acting as the receptionist. The front room is where actors are the most honest. Have your receptionist write down every time an actor undermines another actor, is rude to someone else, takes two bottles of water instead of one, refuses to share sides or treats the receptionist as anyone less than the direct line to the producer. The audition begins in the front room.
- Show up late to your own audition. Seriously. You look like a jackass.
- forget to provide a qualified actor to read across from the other actors. If you can’t afford to hire one, then audition actors two at a time so they become their own readers. If you have a non-actor read lines it kills the performance of the actors auditioning for you. You’ll get false-negatives. Your job at every turn is to enable actors to do their best. If you do everything in your power to help actors do their best 1% will rise to the challenge…and as low as that percentage is, given enough time you’ll find the cast you need to make a killer movie.
- cast for faces, height, eye color, hair color, breast size or body type. It’s fair to expect an actor to be in shape. However, unless your project is about lifeguards or male strippers, who cares if they have a six-pack? Actors of ordinary stature, looks and fitness have an ability to take on the aura of a superstar if they can bring a character to life. When you cast for a face, that’s all you’ll get. When you cast for a performance you’ll get both. Dustin Hoffman looks like a movie star. Why? Because he’s an amazing actor. Robert De Niro looks like a movie star? Why? Because he’s an amazing actor. Casting for physical attributes in any way is the surest way to guarantee you’ll look past every actor who could have transformed your movie into something special.
- apologize for being picky, perfectionistic or demanding. Any good actor will respect this. Any great actor will be far more demanding of themselves than you ever could be. And, if this turns off some actors then you’ve done yourself a favor. It is best to scare away wannebes early on than cast them and realize halfway through a project that they never understood how anyone can make a movie, but only the exceptionally brave and driven can make a great one.
- Excuse tardiness, rudeness or lack of preparation from an actor. If you’ve done the above you’ve proven yourself to be exceptionally responsible and respectful of the acting process. Therefore, it is fair for you to expect the same from those auditioning for you.
GARY KING >>
DO - be courteous
- give sides in advance to the actors
- audition the actors in the waiting room — evaluate their demeanor the moment they check in with the casting assistant
- give direction during the audition to see if the actors listen
DON’T - approach the characters only looking for a specific type in mind or you may lose out on someone special
- tell people you will get back to them if you don’t plan to — just thank them for their time
ZEKE ZELKER >>
DO - audition as many people as possible for a role. If you aren’t finding who you need hold auditions in another city
- Hire a great casting director if you can, they can me a valuable resource.
- Hire actors who you have seen act before
- If there is nudity involved: be upfront, describe exactly how the scene will be shot and why the scene matters. During call backs ask the potential cast member to get undressed to the point required in the script, with a member of your team present of the same sex of the potential cast member
- Rehearse, rehearse, rehearse
DON’T - Hire friends
- Hire actors who worry about how they look
- Sleep with any of your cast
- Take advantage of anyone
- Vacillate, make a firm decision and stick to it, if not your cast will walk all over you
