Casting a film is very different than casting a commercial or a music video.  There are basic elements – like equipment – but it has a different variable. 

Example

Casting a music video; the talent only needs to be available for the weekend of the shoot.

Casting a commercial; the talent needs to be available at all times for the agency to have total control of – when they need to see these people.

Casting a film; the talent needs to totally take on the project – because it can go on for months. It’s about the director, trying to tell a story, and finding an actor, who they both feel – is right for the part.

At the castings-most likely the Director is there at all times – to see if there is someone who is bringing the story to life.

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 – and with a film they have full control – unless it’s with a major movie company who wants to ensure sales- and forces a known actor. As the Casting Director – your job is to coordinate real acting talent that will blend together all these important elements – and people.

 

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 film – works on a point system – as well as a bio-monthly or monthly payment. The points are worked out based on how the movie will do in the theatres.
• 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 negotiations are done but you need to know – if you 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. 

 

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. Bear in mind movie actors are delegate – and they are thinking how they are doing you a favor – coming to the casting.  Make them feel that way.

-         Read over their resumes and information – and or – mention productions you seen them in – either stage or screen.  Be truly 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.

-         Here I would say – 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.  If the director needs provocative shots – like a Russ Meyer – you let the talent know – and if they are comfortable – proceed.  You need to know right then if they are down with the requirements.

-         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 film.  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 film.  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.
• Stay on top of choreographer scheduled meetings and rehearsals. Make sure talent is at rehearsals.
• Make sure talent and Wardrobe are in sync.
• 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

• Here – you’re pretty much making sure the talent names are spelled correctly for the film credit. 

 

A STORY

While casting a film – there was this one particular actor – I’m not going to mention names – but he’s huge in the film industry.  He constantly threatened to call the SAG union rep – to complain about the casting conditions.  There was no water.  A car should have picked him up and dropped him off.  I didn’t budget for that – then – but I do now – just in case.  Deep down some actors have a diva – complex.  Figure out theirs’ – cater to it – and rock your casting.

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.