Casting a commercial is very different than casting a film or music video.  There are basic elements – like equipment – but it has different variables. Sometimes the agency is there to get a one on one feel of the talent or to ensure they see talent that their client would accept.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees talent – but with commercials, the Director is bound by the agency’s vision – of the talent selling their product – and must conform to that.  As the Casting Director – your job is to have castings that will satisfy both parties.

 

KNOW YOUR PRODUCER

• Get budgets clarified immediately.  The overall casting budget and talent budget.
• Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
• Method of payment for talent in a commercial is based on a Buy Out situation.  Meaning:  the commercial will air for a curtain amount of time – in a curtain area – and that will calculate how much the talent needs to be paid.  The agency usually works this out. This does not come out of Production’s budget – this comes out of the agency’s budget.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out how involved you are needed for the production.  The 2^nd AD usually handles the talent after the payment negoiations are done but you need to know if your are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING

Handling Agents and Managers

• Always do fair negotiations with agents – and SAG – their job is important.  Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them
• They need to know what is required from the director – from their talent.  Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu.  I’m kidding about the Kung-Fu, that’s just when you’re Casting For A Film.

TOOLS OF THE TRADE

• video camera with the capability to transfer material –for viewing
• 2 bright lights
• A camera for stills
• Casting forms:  Sign In sheets | individual Information sheets
• Sides (the part the talent is trying out for)
• Tripod
• Stapler
• A quiet room or area
• Black duct tape to mark the floor
• Stack of blank paper
• A box of pens
• A box of Sharpies
• A box of paperclips.

THE PROCEDURE

-         Get your casting location in order.  Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition.  The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

-         They have holding areas and rooms for multiple castings going on at once.  Call ahead of time – they get filled up fast.  Mention – filmproductionexpert.com. If you don’t use this studio you run into the chances of being charged for both rooms – and other studios are flakey about a large Go-See.

-         In the holding area- set up a Sign In sheet, a stack of individual Information sheets, the stack of blank paper, pens, and Sharpies.  As talent arrives have them fill out forms and on a blank sheet of paper have them write their names big and bold with a Sharpie.

-         Set up audition room with video camera on tripod.  Make sure camera is far enough from the wall to get full body shots. Set up lights.  Place strip of duct tape as a standing spot for talent.

-         Check with talent in holding room area – and give them the Sides you want them to read.  Sometimes you can send this to them ahead of time via email.

-         Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children.  Don’t rush them.

-         Read over their resumes and information – looking very interested.  They are nervous and this makes them feel like you are really trying to get to know them.  Commit on anything special – from there information.

-         “Okay, stand on that piece of tape for me please.  Don’t worry –just relax.  It’s painless.”  Snap a photo of them and then start the video camera rolling with a close up of their face and name sign.  “Okay, hold your sign up and tell me your name and agency number.” After they say their information “Now let me get a profile of you.”  Pull back on the camera to get a full body shot.

-         NEVER – shoot close ups of their private parts.  Stay professional.  1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done.  Keep that stuff to yourself – and make a mental note about it.

-         Once that’s done – have them read the selected sides.  Video this several times – in different angles – close up and wide.  Have them bring out their best actor.

-         Once done – shank their hand again “Thank you.  See – that was easy.  Someone will call you – no matter what the outcome is.”  And really call them – even if they don’t get the part – they really want to know.

-         Once they are out of the room – paperclip all their information together.

-         Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

• Set up meeting with the Director and the Producer to show casting.
• Have a large table available to lay out all photos and information sheets.
• Have video viewing capability set up and ready to go.
• As you go through the meeting mention everything you have learned from the individuals, that you are presenting.

ONCE TALENT IS SELECTED

• There are two things you need to do:

1- Make a booklet of who’s who in the talent for the commercial.  This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the commercial.  Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board.  This board will stay at the Production Office for the Director and the Production Staff to view.  One less thing – for them to worry about.

• Here is where the 2^nd AD would step in – to handle talent.
• If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team,.
• You need to coordinate with the AD for call times – and even give the talent their call times.
• Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
• Never hire a talent that will take you over budget.  If the Director wants them he or she will pay for them.  Never pay out of your pocket.

PRODUCTION

• On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
• Make sure all payment is done – for talent.

POST PRODUCTION

• If possible – ensure a copy of the commercial for the talent who was in it.  This builds relationships.
• Hand in all forms of talent payment.  If you paste all your receipts and talent bills on paper – form a booklet – your good to go and can move on to the next commercial casting.

A STORY

While casting a Coke commercial – I filmed the casting like I would a music video casting – which flashy moves and angles.  Once I dropped off the material to the producer and they showed it to the client – the client complained about the camera work being to jerky and music video like.

The client – did a new casting for the commercial – using another casting director – other than me.

Moral: – it is important to know what animal you are dealing with – in business – in life – or even trapped in the wilderness with a bobcat staring at you.

Human Factor – never make someone feel stupid they hired you.

© 2010 – 2011, Dwayne B. Perryman. All rights reserved.