How to hold auditions

[HBlack]

My main question is when to give the script to applying actors. In many of the casting calls I've read, they've stated that the script will be read cold at the rehearsal. What's the benefit in that? You would think it would make sense to send the script to the actors a few days beforehand, so you know how they will perform once they've practiced as opposed to how they'll perform on the spur of the moment.

How do you usually organize yours?

 

[Blaine]

In auditions for Where the Heart Lies we scheduled the actors for their audition times (amazingly we had 32 of 35 showed up) and sent them sides they'd be reading. During the audition we provided them with an additional scene to read.

 

[Jim Brennan]

It's a personal preference. Some directors don't want to send sides before they have a chance to work with the actor. Sometimes if an actor gets their part, they can make choices and come to that first audition locked into some things they have a hard time letting go of. Those things might run counter to how the director sees the part. Sometimes the "practiced" choices aren't as appropriate as the "spur of the moment" ones. Having everyone get a hold of the entire piece at once (and altogether) can lead to some interesting interpretations.

It's not how I work, but there is some argument for it, depending on your confidence as a director, the experience of the actors and your working style.

 

[Loki]

The way I do things for my casting sessions is I make the script available to the actors ahead of time.. and also provide sides from the material that will be used in the audition.

For a short film, that you are not paying actors for, generally it makes little sense in my mind to withhold the script from them. If the script jives with them, you more likely to get a better performance from a talented actor.

I want the actors coming into the audition with their own interpretation of the material. I want to see that they can at least bring a foundation on their own. As well, during the audition, I will always do a second read (sometimes more) and give a simple piece of direction. If they can take my direction and apply it to the new performance; that is a great first step.

Everyone does it differently, but I think when making short films, especially if you are in-experienced it is a great idea to make sure you have talent that WANTS to get the film made and are not there solely because it is a good piece for the demo reel.

With features, since I have not done one yet.. (soon) my approach could very well be different, and will most likely be. When dealing with money its a whole different ball game in my mind; there is extra incentive as well as an expected level of professionalism inherent.

my 2 cents.

PS: Rehearsals and Script reads are where I voice my opinions on a character and how I see them. etc.

 

[Jim Brennan]

It also depends on what you are trying to accomplish with a specific audition. The last auditions I held were for a feature with 25 speaking parts. After sending out the breakdown to 4 agencies, we spent a whole day seeing LOTS of people for LOTS of roles. I asked for a monologue and wouldn't release sides. Part of the reason was efficiency. We had to get people in and out quickly.

Someone could come in who is a good actor, who chose to play the character in a way I didn't like. It doesn't mean they couldn't do well with direction, but it would prejudice my opinion. My mindset was that I wanted to see what they did with something they were already comfortable with, without them worrying about whether they were interpreting the character correctly. Then, if I liked them, I would give them direction on their monologue. That told me if they could break out of something they felt comfortable with. To me, that is an essential skill.

It was the first time I worked that way, and it worked well for our purposes.

 

[Ted Spencer]

At this point, as an actor, I will not go to an audition without seeing the sides, or preferably the entire script. Plain and simple. Why? Because of:

1. Bad writing.
2. Roles that are completely unsuited to me.
3. Tiny roles (I know...there are only small actors, etc., but if I'm going to commit to an *unpaid* acting job, sorry, but I want something worth my time).

I believe that SAG (to which I do not yet belong) requires that actors be provided with sides prior to auditions. There's a very good reason for that...

As a director, I would follow the same policy. If I wanted to give an actor something else they hadn't prepared for to see how they did with it, then that would be fair game too.

My $.02

 

[Mickey Munday]

my first short i gave them sides at the audition, but gave them time to read over it, it was only for three characters anyway. i really didnt see any benefit to it except to find out what actors can adapt to something they've never seen before like if i was going to have multiple changes/additions while filming. which i didnt

for my feature i gave everybody sides about a week ahead of time and for the people that i liked, i gave them an additional scene. i also put up on my website a long character background description for the characters i was auditioning at the time with a link for them to download multiple sides if they're interested. i could tell which actors actually read it and were prepared

once the actors did well, or if i was interested in them i told them about the role and how much time would be required/how long their part was if they're interested

out of the 65 people that came out, i only gave a copy of the entire script to actors i selected or offered the part to (which was about 10-12 people). ultimately they liked the concept and script and we had our first table read the other week and i'm happy with my selection

for people with minor roles and one or two scenes i'll probably just give them their part and not the entire script

 

[Zak Forsman]

i supply sides (usually a newly written scene from a character's backstory, not the actual screenplay) designed to reveal a performer's ability to listen, make emotional turns and internalize adjustments. for callbacks, i do not provide anything. we pair actors together and they improvise based on some opposing objectives. again, the scene is usually based on events that would have occurred before the story of the film. my casting process is still evolving but works very well for me.

 

[Jim Brennan]

At this point, as an actor, I will not go to an audition without seeing the sides, or preferably the entire script. Plain and simple. Why? 2

Yeah, this was definitely a paying gig. I did get a little resistance from a few of the actors/agents, but most of them were actually happy to come wiht something they were more comfortable with. I'm not sure I would do it that way again (as I said, I normally don't), but it worked for what we needed.

But I also wanted to applaud your willingness to be picky about what you go out for. Too many actors don't really discriminate, feeling that any experience is good. That may be true for some folks, at a certain point. But there comes a time when you have to respect your own time and abilities. Besides there isn't much that can hurt an actor as badly as working on a real turkey that gets around and makes them look bad.

Honestly, I don't know how actors do it. You have to deal with tons of rejection just to have an oppotunity to give up control and trust other people's abilities, judgement and intentions. All while making yourself publicly vulnerable to people who statistically don't have a clue about how they should be doing their own job, much less telling you how to do yours. I couldn't do it.

 

[HBlack]

Another question: I'm 16, and I'm slightly worried about convincing actors who could potentially be much older than me to take me seriously. I'm fully confident in my ability to maintain a professional attitude in myself and my crew on set, but getting actors to commit to a non paying job organized by a "kid" seems somewhat daunting.

When should I state my age? I'll of course have to tell them before the audition, but I was thinking of informing them once they've seen the script excerpts and an example of previous work (this) so that they're not turned off by it immediately, as opposed to in the initial casting call online. Is that late to the point of being considered misleading?

 

[Jim Brennan]

Admittedly, it may be an issue for some actors. But honestly most of that should dissipate after a little time with you. If you know what you are doing, they will see that.

There are always differences between us. Some of us are older, some younger, we all have different degrees of experience and come from different backgrounds. Any one of those things can be interpreted as an obstacle. What matters is our ability to work together. Your age is an issue only for those who make it an issue (including you). We all have our first shoot.

But if it makes you feel more comfortable, you can ask them at the audition if they have a problem taking direction from a 16 year old. If they do, move on. There is no one actor that will make or break your film. That's your job :smile:

 

[PaPa]

How is "The Melon Drama" Turning out? I just finished watching the Dispute, and from what i saw, the first few shots made me very interested on what was coming, but then it fell short right after. I am not exactly sure what it was about it, perhaps going from slow pans to handheld. Perhaps it was the choreography, but something felt amature about it, unlike your opening shots which screamed production value.

 

[HBlack]

I think it was a combination of sound design and choreography. The sounds are what seem to be most lacking to me, I guess I need to work on developing them further.

Oh, and just added some pictures to the melon thread.