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Archive for the ‘Auditioning’ Category

Photos From The Oscar Dance Auditions

Posted by Dana Kaminski on 16th February 2010 in Auditioning, Uncategorized

An audition is an audition.

Yeah, I know this is a site for actors, these are photos of an audition for dancers.

I think the photos are beautiful with talented people trying out for a show, so I put ‘em up to share them with you. It was an open call, held just recently; for The Oscars© Show, The Academy Awards.

I put a notice for this audition on this site, and on my other awards season site, called Oscar Prep.

Oscars Dancer Auditionsoscar auditions jump

All photos ©AMPAS.

dancers in line audition for the academy awards

Break a leg!

;~Dana

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See the little squares peeking out, just below?

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You don’t have to fill in much, at all…Thank you!

The Truth About Casting, By Quentin Tarantino

Posted by Dana Kaminski on 14th February 2010 in Auditioning

Actors have a different view of acting roles, often; than those who cast, and those who are looking for someone for an acting part.

Often, novice actors have a notion that professional acting will be a wonderland where all different kinds of roles await.

On the other side, for those who do the casting, the perspective is converse. They are always hoping that they will find someone who will exactly and absolutely fit the part, and I’ve heard them say that finding that certain, specific, someone can be very difficult.

For actors, that’s harsh, and hard to comprehend. Surely, actors can play anyone, can’t they? Isn’t that acting?

As far as the nuts-and-bolts of casting go; the ones who cast, for the most part, do so according to the casting philosophy.  In this video, Quentin Tarantino talks about casting actors, providing really good insight into the philosophy of ‘the other side’.

Dancers Auditions For This Year’s Oscar Show

Posted by Dana Kaminski on 14th January 2010 in Auditioning, awards

Schedule For Dancers Audition For Academy Awards

And all other pertinent information about the “Open Call” can be found at my other blog.

Click here to get to that — OscarPrep.com by Dana Kaminski.

(You may wish to subscribe while you are there…In case you don’t want to miss anything. Oscar Prep is a seasonal blog, for two months a year.)

Best,

Dana

Please don’t forget to spread the word…

Actor Matt LeBlanc ‘Audition Video’ For Showtime Series

Posted by Dana Kaminski on 12th January 2010 in Auditioning

Matt LeBlanc, Out Of Work Actor For A Bit?

…Therefore, he has to audition for the casting director and producer. Uh, to play himself, Matt LeBlanc. And there are other actors in the waiting room who are also auditioning to play the actor, Matt LeBlanc.

It’s  a joke video, in case you haven’t caught on, as yet. LeBlanc’s new show is called Episodes, and the story is that he is hired because the casting people and producers couldn’t “do better”.

Everyone in this video is actually an actor. In the beginning, the ‘WME’ that you see, stands for The William Morris Agency.

Best

Dana

Please share this with at least one person, it’s the fee here at Hollywood Actor Prep.

On Camera Acting Audition :: Precious’s Lead Actress

Posted by Dana Kaminski on 23rd November 2009 in Auditioning

Gaborey Sidibe Acts, For The First Time, At Her Audition For Precious

I’ll probably put this on the Actors Audition page later, but it just so boss! So I’m sticking it here with its very own page, as a post, first.
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I just am so flummoxed, and bedazzled, by this actress. She is one-in-a-million, and with no formal acting training! That just does not happen. Her natural sensitivity, attunement, and empathy toward others; must guide her acting abilities, fuel her acting instrument. A natural connection to the role and as she has stated, her familiarity with that type of girl. And just divine provenance!
::
Her physicality creates such a beautiful paradox. For an actor, altogether. As an audience, we watch actors, really, to see what’s inside of them. You see nothing inside of her. Part of that is because the character, Precious, has never developed a connection to her own real self. Her own emotional self. As others support the inner Precious, and pull her out, Precious is also discovering herself.  At the  very same time, the audience is also discovering her.
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Imagine that kind of restraint, as an actress. The measuring, the meting out…of an emotional self as it blossoms at only a pace accurate to the story. Slower, than we in the audience can take. Not because it’s a slow movie, not at all. But, rather because the amount of restraint is in equal measure to the amount of injustice that this person, this child, has endured. Precious is played with such restraint, she is so buried in there, in that person so that she is barely found.  When the audience does find her, you just don’t want to let go.
::

This video is absolutely not for children.

If you haven’t seen the movie, you may not want to see it yet, either.

UPDATE!!!

I have removed the PRECIOUS AUDITION VIDEO of Gabourey Sibide’s exceptional acting. If you would like to view it, this whole line is a link to where I originally found it. You can find it there. It starts automatically, which is a little tech issue that made it impossible to keep here.
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Next Post Will Feature Another Actor Who Has A Lead Acting Role In A Major Movie, This Year, Without Any Prior Film Credits…

He may just get an Academy Award Nomination.

I sure do hope Gabourey Sidibe gets one.

:~Dana
There’s no fee for this blog, other than sharing it with another actor, on your Facebook page, or Twitter, Thank you.

Auditions Of Well-Known Actors :: New Page

Posted by Dana Kaminski on 15th November 2009 in Auditioning

Today I added a new page to Hollywood Actor Prep, called ‘Actors Audition’.

If you look up, almost to the very top near the logo, you’ll see it.

Click on those words, and the new page opens.

I put five there, but call it a tease…I’ve got a list of lots more videos. I’ll throw some more up soon.

actor-kristen-bell

Today I posted:

Dustin Hoffman, in drag, auditioning for ‘Tootsie’.

Kristen Bell auditioning for ‘Forgetting Sarah Marshall’.

A very young Miley Cyrus auditioning for ‘Hannah Montana’.

And two videos of Julia Roberts auditioning for something long before there were professional eyebrow groomers.

I l-o-v-e these!

I hope you do too.  Please let me know…

In case you feel it’s too athletic to scroll to the top of the page, here’s a link: Hollywood Actor Prep Actors Audition Page.

Best,

;~Dana

Share share share, please,  at least with one person who may like this. That’s the only fee. Thank you.

Seth Green’s ‘Family Guy’ Audition Story

Posted by Dana Kaminski on 25th October 2009 in Auditioning

Not  only did he get the job by way of some good old-fashioned auditioning; but he took a risk and did something creative, unexpected, and obviously different than the voice looked like it should  be, at first glance.

Very very cool.

Not just cool because he did that. Exceptionally cool of them to give him the job.  Seth Green created the voice for this character. This voice wasn’t in Seth MacFarlane’s head, when he wrote Chris. That’s unusual.

It’s also an abnormal amount of Seths.

Please share this forward. Thank you.

Another Vintage James Dean Audition On Film

Posted by Dana Kaminski on 8th October 2009 in Auditioning

Unlike The Audition Where James Dean And Paul Newman Aren’t Even Acting…

This scene has James Dean at his in-the-moment, acting best.

This audition is an improvised scene.  How do I know?   It’s apparent in the words, their sentences.

Clearly, for this audition, James Dean did his homework; and is aware of the underlayers, the deeper subtext.

Dean honors the emotional life of his character.  ”Emotional-aliveness” is his priority, is what he wants to leave on the audition film. Freely,  the emotions flow from him, without hampering. Nor does he direct them. He doesn’t know the lines; but for Dean, his correctness is just where it should be,  a type of instrument for the emotions to run and roll where and how they may.

This is typical process, for working on a role, in the Actors Studio.

James Dean was a method actor.

This audition film is a very good example of “The Work”.

Note how free he is. Doesn’t seem to have any “mind” on how he’s doing, what he is doing, or if he’s making any mistakes.

He isn’t concerned about whether the director or casting person is appreciating him at all. He doesn’t even want to be in the light; he may be standing in the darkness because he wants to denote a different conversation, or  he may be doing that to take the time to get very private.  Or both.

When you watch the video, you can see how free and abundantly his emotions flow.  They have a freedom of their own. No amount of will, force, pretending, or even concentration can make that occur. What some actors call “concentration” is really not enough for an actor like James Dean. Actually, concentration may stifle this kind of flow.

It’s the opposite of forced. The opposite of control.

YouTube Preview Image

Best,

;~Dana

Kindly share this with  someone else.

Even For Lead Actors, Auditioning Doesn’t Change

Posted by Dana Kaminski on 5th October 2009 in Auditioning, Film acting movie actors

Yes, Lead Actors Do Audition

Judging by this little bit of interview with Ben Whishaw, Bright Star’s lead actor, other things about auditioning don’t change either. Like whether the actor can tell if he got the job. Or that nagging-little-negative-naysayer-voice, inside.

No matter what the level of professional actor, ya still gotta go through it…Oof.

What else is in this little tiny bit of interview?

The poker-faced director (Jane Campion) who doesn’t let on that Whishaw’s performance is spot-on, and impressing her.  That his audition is winning him the part,  which is the leading role in the movie.  Which is really a romantic biopic. Pressure, anyone?

Also, he doesn’t meet the actress who is playing opposite lead, his romantic interest; until the first day of shooting; when the movie is all about their intimate love story.

I noted something, a little less obvious.

Whishaw remarks that he really wanted the part, he really prepared, and then, during the audition…he gave up. In a sense. He assumed that he wasn’t the getting the role, and so he still ‘did his thing’, but really, his audition became about supporting the other actor’s audition whom he was reading with.  Interesting. Could that have freed him up, in some way? His acting, in that room, I mean?

I know that I have gotten jobs that I cared a little less about, or felt an overabundance of confidence about (a sheepish true-confess!), or thought I had no chance in hell of getting, while in the room. So then, I did.  Not always, but a lot more than those auditions when I wanted it so bad I was bursting inside with it; or thought if I got the job it would be a life-changer; or the harshest loss of all, which are the auditions that you just feel resonate through your talent so that if you could only get that job you could really spread your talent-wings as expansively as they can go, and your soul could soar.

(I am aware that I changed from first person to second person in the above sentence. That’s cause it still hoy-yts.)

Actors Ben Whishaw, Abbie Cornish :: Photo courtesy of Time

Actors Ben Whishaw, Abbie Cornish :: Photo courtesy of Time

YAMATO: Jane Campion has said she found your audition for Bright Star particularly moving. What was it like, and are you aware you have this sort of effect on directors?

WHISHAW: [Laughs] She’s told me and we’ve talked about it subsequently, but I honestly really, really wanted to get the role because I loved the script. I love Jane. I love Jane’s films. And I just had this very strong feeling that this was mine, I can do it, which occasionally you feel toward a role. So I went into the audition with this desire, and I was reading with another girl who was auditioning for Fanny and I thought Jane was paying her a lot more attention than she was me. About ten to fifteen minutes in I thought, OK, I’m just here to deliver the off lines. Jane’s auditioning this girl and she’s not interested in me at all. And I sort of resigned myself to that fact – quite like, OK, this is just not going to go my way. So I didn’t perceive it like Jane perceived it at all. We were completely at odds there.

YAMATO: So then, did you and Abbie Cornish not audition or screen-test together at all?

WHISHAW: No. And this is one of the great things about Jane. She just has an intuition; I would guess she had an intuition that we’d get on well, and she trusted it. We didn’t meet until the first day of rehearsal. I would have thought I would have to meet her and see if we were going to get along, but no. It was really interesting.

YAMATO: What was that first day in rehearsals like, meeting Abbie for the first time?

WHISHAW: I was a little nervous, I remember. For a while, because we knew we were going to be working intensely together, we sort of were sniffing round each other a bit. But very, very quickly I could feel that she went, oh yeah, I trust you and sort of opened herself and I could relax as well. And then it was just a joy.

Gratitude to Jen Yamato, for this interview.


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Actor Emile Hirsch :: Freedom To Choose

Posted by Dana Kaminski on 17th September 2009 in Auditioning, acting business

A Big  Difference  Between The Outside World, Looking In On Acting; And The Inside World Of Acting…

I am often surprised about  perceptions from the outside.

Even when an actor is as well-regarded as Emile Hirsch (rightfully  so), skilled,  experienced,  and on the ‘industry-hot-lists’…Rarely, are acting roles as plentiful as a Las Vegas smorgasbord.

It’s just really not the nature  of the industry, not the nature of the beast.

Often, in media actor-interviews, there’s that ‘pick-and-choose-roles’ question… I’ve always found that kind of odd.

It’s not like Souplantation: Hey, I’ll try 3 radishes for the iron, some broccoli because  it’s good for me, soup because it’s comforting, and oh, pizza.  Dessert follows,think I’ll try my skills at the frozen yogurt machine…

robert  morse

Last night, at an Emmy party, I heard the actor, Robert Morse, speak–

—Loud and clear.

He was at the podium (full head of white hair), honoring the writers of Mad Men. He described his audition for that show, and the silly things he did. He said that when he got the phone call about winning the role, he cried.

That line got a good laugh.

You could probably find all the  actors in the audience right then. They might have been laughing the loudest.

As an actor, you  hope that you get a part, multiple parts; where you get to really use your best stuff.

You hope that there are roles, in which, you  really get to spread your wings. You wish for parts where you can explore your darker recesses, your craft limitations, different characters.

You  want to glow; blow out  your  own walls;  spread your  feathers like a peacock, fully, then add even more plumage, more iridescence; great material, abundant material; do different genres, different periods, different accents… Do auteur-films, and message films for social change…

I don’t think it’s, ever, a ‘roles-a-plenty’ smorgasbord. I’m not  sure there’s even enough ‘product’ being made.

Every acting job has an audition, a middle, and an end…

And, then, it’s time to get another acting job.  In every career  path, the amount of not-working time, adds up to a lot  in an actors’ life.

And, winning each job, is almost always a hurdle.

Unless, it’s not. There are rare times that it’s not. At all.  At those times, it’s just so easy, and  so wonderful. And, for a minute you wonder how it could have seemed  so  difficult, before. Then, that  minute  passes. For most  actors, those easy times, those moments, are the gleaming little gems along the memory path of a career.

Even when an actor achieves a certain  success level…and gets offered all kinds of roles…

There’s still ‘The Industry’ that has to grant you the work, there’s ‘The Industry’ which has to create the amount and kind of work, first. There’s access to that work, for an actor, or not.  There are career ebbs and flows; there’s trends, there’s type. There’s ability, and then the opportunity to even show that. Or not. There’s want; and there’s need; and there’s always competition.

Always, there is plain old fate.

A lot of it.

Influencing every actor’s career path…

actor emile hirsch woodstock

Having done this big sort of potential blockbuster and then something more intimate, do you feel a sense of freedom when picking roles? Or is there by necessity a sense of strategy to your career if only so that you can do more different kinds of characters in the future?

Emile Hirsch: Sometimes I find myself scheming about my career and being a careerist and fancying myself a little game-player, right? But the reality is it never goes according to whatever scheme you could kind of hatch up because the way that business works and the way that the entertainment world works with movies is that they just come along randomly and spontaneously. It’s not like after Into the Wild I went, oh, I’ll make Speed Racer! Those movies just popped up all of a sudden and I was like, whoa! After Speed Racer, all of a sudden Milk popped up; I wasn’t like, oh, I need to do a cool supporting role. I wasn’t thinking anything like that. So thinking in terms of a careerist perspective is tempting and it’s kind of inevitable, to be honest, but very rarely does it actually follow through. Most of the time, you’re just going to follow a different path, because the very nature of what you do dictates that.”

[Gratitude for this, to Cinematical.]

actor emile h into

actor emile hirsch  dogtownThese are all Emile Hirsch. In various acting roles.


Emile-Hirsch-Milk

Please remember: I’ll be live-tweeting from inside the 61st Emmys,  this Sunday September  20th.

My Twitter name  is  __dana__


I’d also appreciate if you would share Hollywood Actor Prep.  Thank you.


Three Young Actresses Audition On Camera

Posted by Dana Kaminski on 15th July 2009 in Auditioning

An Audition Casting Tape

This is a real audition, where they were casting a 12 year old girl. The movie, not yet released, is called ‘Let Me In’.

May I ask you to please leave a comment, and tell me who gives a good audition, and why. Or why not.

I will reserve writing my own judgment, until I hear from you…

Please don’t think that these girls are too young to do well at auditions. Recently, I saw one of these actors, in a nice-sized film role, and she did very well. Also, by the time they are this age, children can have quite a bit of technique classes, and coaching.

Even if they aren’t well-schooled, or very skilled, kids can sometimes be great because they haven’t developed limiting confidence handicaps. Not only have these girls not been through an entire puberty, where insecurity rampages through the hormones; but they also haven’t been through any kind of big social or professional rejections, and not had their heart broken in a big love affair, yet.

If you think this may be a little off of my philosophy, because I am asking you to compare acting that could possibly be relying on instinct alone, you are somewhat right! I do prioritize acting craft and learning skills, first and foremost.

But I also know that one of the things that actors get out of a committed acting class, is confidence. Hopefully, there is also ‘privacy’ work. There was at the method acting classes that I studied at. For a good long time.

Privacy allows the actor to free his or her work from getting stuck in audience judgment. To act, freely. Even if they have been bashed and thrashed emotionally, and have no confidence at all. They are free, if they have a good craft that includes building a strong reliable privacy, to act as if they were young and unhampered.

YouTube Preview Image

Please leave a comment and let me know what you think about each of the auditions.

And please put my blog on your Facebook page, by using the share/save below…or email to any actor that you may know…Thanks…

Happy Summer!

:~Dana

‘500 Days’ :: How The Lead Actors Got Cast In The Film

Posted by Dana Kaminski on 13th July 2009 in Auditioning

The Director And Writer Of ‘500 Days Of Summer’…

…Did Q+A’s after the film screenings, and I went to two screenings of this movie. So I got to sit in on two different informative sessions.

They shared inside information, on how the actors were chosen.

At the LA Film Fest, film leads Joseph Gordon-Levitt and Zooey Deschanel were present, and shared the dais; and the time.

But, at the second screening, just the Director, Marc Webb; and, one of the two Screenwriters, Scott Neustadter, were onstage.

So, anything they said wasn’t because the stars were there, no actor-stroking was going on.

Gordon-Levitt, Zooey Deschanel Weren’t On The List, At Casting Time.

The studio, Fox Searchlight, was acting Hollywood-traditional…at the start of the casting process. They shared with the Director and Writers which actors should be in contention:

–A list of bankable, credited, recognizable names of actors for both the male and female romantic leads.

The male lead actor is a central role, maybe the central role in this movie.

Logically, they wanted a star. Someone with a track record of acting, and box office mojo. Which means in Producer terms, a ROI–Return-on-investment. Bankability. Using Box Office Name Actors means tickets can be counted on to be sold by the name of that bankable star, alone. A “name” opens a movie with big ticket sales, and can be counted on to bring in a continued audience, perhaps, even when a movie isn’t so great.

[Although...this Hollywood-hard-fast-rule, about being able to rely on A-list actors is suddenly-soft-and-not-performing-up-to-usual-prowess, as of this summer--See the post following this one.]

The Writer Quipped: Thankfully, Julia Roberts Wasn’t Available!

He wasn’t really dissing Julia Roberts; when you see the ‘500 Days’ you will see why the casting of Zooey Deschanel, in the lead role, as the love interest, is so very spot-on…ideal…perfect.

Really, there couldn’t be anyone who could do such a job of playing “Summer”. (That’s the character’s name.)

It wouldn’t have been this movie, with different actors.

500days

It Was Joseph Gordon-Levitt Who Was Cast First.

And for a very good reason.

A very definable reason.

A reason that set him apart from all the actors on The List, and all the other actors that came in to audition.

“He Asked Intelligent Questions.”

He set himself apart from the other actors, by doing some thinking.

By asking questions. Acting questions, script questions.

The right kind of questions.

You Know When You Go On An Audition, And You Are Asked “Any Questions?”

Gordon-Levitt said, right off, “Why are you doing this movie? What is the goal of the script?”

In other words, what is the point that, all involved, should be going for, thematically.

Especially, the actor.

The lead actor. Who, in this script, carries the entire movie on his back.

So he’d better know which direction to take it, so that his performance tells the story. So that his performance could give the message of the movie, in the most accurate and efficient way possible.

Does his initial querying seem confrontive?

Maybe to some. Maybe it isn’t nicey-nicey.

To the Director, Writer, and Producers, it sounded right.

…Intelligent, artistic, smart, and in sync with their own sensibility and way of working; way of approaching this script.

500daysofsummer-header

What happened in the auditions with the other actors?

Webb and Neustadter said that some actors just read-the-sides; just did whatever they individually did, as far as choices.

And some said some really dumb stuff. (I hope it was just nerves or because they weren’t prepared as they should be.)

The director revealed that some actors, at the audition, suggested that the writers change the ending of the movie. That it ’should’ turn out the opposite way than they had written it, in the script.

–Uh.–

(WORD::Most likely the writer has already thought about every possible other thought. It’s not an actor’s place to come in and be an expert of ’story’…And please note: The director and writer didn’t say that those actors, with their ending-changes, looked “dumb”… They didn’t have to.)

Gordon-Levitt’s Control Of His Acting-Instrument Is Just Beauty.

He holds this movie in his hand like he’s King Kong and the beats of the film are Faye Wray, dancing in his palm.

It surprised me because of the skill and apparent ease in which he handled every acting challenge, every change, every necessary vulnerability.

It also surprised me because, well– he’s a guy. Look, acting is always hard because we live in a culture where feelings are supposed to be masked, as habit, as maturity, and because we think of it as ’sanity’. So to be facile and expressive with feelings and emotions is part of a big mountain an actor needs to wrestle.

For male actors, facility with emotional expression can be even more difficult. (We all know how males are supposed to be, about expressing themselves, about emotionality.)

Shall I mention that he was a kid actor? That often means acting with lots of “indicating”, and cute-making. Child actors can grow up without a gage for authenticity.

This actor didn’t seem to have anything b-u-t organic instincts.

Zooey Deschanel Was Suggested For The Female Lead Actor, By Gordon-Levitt…

After he was cast.

Adding, with just a tinge of logical Hollywood-rationality; that although he thought she would be the best artistic casting, she probably wouldn’t be an acceptable business choice…

Since he was already the non-box-office lead, and so if two non-box-office-mojo leads are cast in the two main acting roles, would that weaken the film’s chance of success?

Luckily, the director and screenwriters prioritized the artistic, and they agreed with his suggestion. They read Zooey Deschanel, and they cast her.

Fully aware of his reservations; and the usual logic.

Remarkably, so did Fox Searchlight…

[Everyone in the audience, at this point of the Q+A, murmured praise and Hollywood incredulity.]

500 Days is a romantic movie that is traditional, and original; at the same time.

…It’s probably going to be to be a big summer hit. And I think it’s precisely because of the original thinking, and unique creation. It’s also an wonderfully honest film.

[Unusually, they all went with 'trust'. Wow.]

Overall, it’s a solid, and impishly hip, finished package.

And, the casting, the acting, the people that populate this story…just superb.

500 Days of Summer opens this Friday in many cities. Click here to find your area on the film release schedule.

Click here to get to the Fox Searchlight webpage for the movie.

Do I recommend this film?

Um hm.

Follow me on Twitter, you can find me there as __dana__. (Two underscores, both sides of my name.)

Share to your Facebook page, if you can. That way, we can reach more actors…

Thanks!
;~Dana

The Auditions For ‘Lost’ :: How Casting Directors Choose Actors…

Posted by Dana Kaminski on 5th May 2009 in Auditioning

The casting auditions for “Lost” were not typical.  At all.

The Actors That Were Cast In 'Lost'

The Actors That Were Cast In 'Lost'

 

 

 

 

 

 

 

 

 

Let’s start with actor Matthew Fox’s audition.

In the audition video below, Fox is reading the ‘sides‘ for two different parts; he’s auditioning for the role of Sawyer; first, and then Jack.

Wait…he auditioned for the role of Sawyer??

Yep.

Unbelievably, this TV pilot was taken on, by the network, because of idea + concept alone…and the mojo, record, and reputation of J.J.Abrams.

At the time of these auditions, there was no script yet. (Which meant the auditioning actors had no overview; nothing to reference: to base their character choices on, nor to guide their acting choices…)

Also, without a script, how could they possibly decide to accept the job should they be chosen? How to make that career decision?

Even more drama that you’ll notice, when you watch the videos:

At the time of the auditions, the three characters (Sawyer, Jack, Kate) were planned, but…

The plan was to have  the Jack character die off in the pilot; first episode. Then, Kate would become leader, and continue as such for the rest of the season.

The part where Jack was supposed to die is still in the pilot…Remember when he and Kate find the plane and then Jack goes inside, and doesn’t come out? Later, he is found, high on top of the tree, with a big bleeding gash that needs stitching?? Originally, that was Jack’s ‘death moment’.

 

The situation, from a casting director perspective…

Matthew Fox was a well-known television actor, at established ‘lead actor’ position; from “Party of Five”. If he had only come to the  ’Lost” auditions or the role of Jack, then he would be trying out for a role that wouldn’t be a series regular. (At that time.) Basically, it was to be a big guest star lead (which could be considered a step down in stature, and it was only a television pilot; so it wasn’t even on a big established show where a good guest star lead would be a feasible career choice.)

Cast Of Actors :::: 'Party Of Five'

Cast Of Actors :::: 'Party Of Five'

 

 

 

 

 

 

 

 

 

Yes, JJ Abrams, the show runner, was established…but again, here was this recognizable lead actor being called in to audition for something that, without a script,really couldn’t be assessed as to what it was going to become. Or if it was going to become anything, at all. Failures can be harmful to actors’ careers.

 

Professional rank, for actors, is very important. So  is maintaining that stature.

Since acting careers are based on trajectory,  no one wants to go backwards. It’s professional stature, that influences future prospects, as well as current reputation, in the industry.

Not to forget, all that… and the Jack  character gets killed off, first show?  The casting director would have had to have that in mind,  when calling in the actors she wanted to see for the roles.

All the actors were auditioning for something that they were clueless about…Couldn’t read anything with no script yet, and had very little information about…not only to make acting decisions, and choices, of how they would perform during the audition; but also, they were clueless about what the professional ranking level would be, of their character.

 

April Webster, the ‘Lost’ casting director, has been well-established for a very long time.

So, I watched these tapes carefully, to see what I could observe…

See, casting directors know type, and they are usually adamant about what type they categorize individual actors into.

(Why? Well, for one, it’s a main skill for which they build their professional reputation on.)

Clearly, Matthew Fox is a perfect fit, personality-wise, for the role of Jack. But, surely, April Webster would have known the role of Jack was not going to be a lead role, not a series regular.

Maybe, because it was a JJ Abrams pilot, that they were going to try to cast recognizable people (such as Matthew Fox) for the guest lead. Certain shows qualify for movie actor guest stars, or television lead-billing guest stars, because the show-runner has a big reputation in the industry. Like JJ Abrams. (Originally, Michael Keaton was in mind for this part! And, only as a guest star, but specific to him; because he wasn’t interested in doing a regular role on TV.)

 

The belief that casting directors let actors audition for different types is a myth, basically.

Casting directors are skilled at assessing type.  

If they are good ones, that is.  And they’re not easily moved off of their interpretation. 

There are more than enough actors to audition for any one type of role…No reason to try to get others who don’t really fit the type to try their character. It’s quite a favor, from them, if they allow an actor to read “against type“.

April Webster may’ve had Matthew Fox in, for Sawyer, as an attempt. Maybe she was hoping that he really would pull off the ‘Sawyer’ characterization well; because an actor with his television track record is as great as a casting director can offer up, to the Producers, and the network. ….Maybe, she taped Fox doing the other role too, the ‘Jack’ role, in case Michael Keaton dropped out.

Or, maybe she knew that Fox would make a great ‘Jack’.(He’s just such a clear fit for the ‘Jack’ character.) and she knew he could do the role well, and was someone great to offer to the Producers. (More accomplished actors are always a great offering for Casting to give to Producers. Why? Because the Producers may be familiar with that actor’s work, and therefore there’s no risk in hiring them. (See Hollywood Actor Prep Blog: MythBust #2 Are All Actors Screw-Ups?–link–)

 

 

actor-sawyer1

Hiring professional actors who are recognizable, is preferred, as practice.

…And not just for the obvious reasons…

Recognizable “name” actors equals success, especially in Hollywood. Recognizable ‘names’also add clout, when networks decide what pilots to pick up, etc. (Another reason may have just be Producer-ego: Big bragging-rights.

Casting Directors are savvy about Producers; and the more successful they are, the more they deliver what the Producers need and want. They know ‘the system’, and utilize it well.

 

One more point…Successful Casting Directors get familiar with successful professional actors, and vice-versa.

When you get to be successful, as an actor, you will audition for the same casting directors, again and again. They will know your work and abilities, and you will be familiar with what it is like to audition for each of them, individually.

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Casting directors tend to favor those actors who are established, very talented, and skilled.

Or at least one of the above.

From that group of actors, they comprise their own favorite bunch. He or she will often try to cast actors from that favored bunch, into whatever projects that they can..

Sometimes, it’s just personal taste; and they simply like an actor. (But believe me, that actor must be able to act, to be liked…)

From their favored group, they will even call an actor to audition, for parts that aren’t an ‘exact type fit’. Most people mistakenly think that actors get to audition for all types of characters.

There are casting people that call the same crew of actors in, again and again and again, for almost every show that comes his/her way. In some way, they know that they can depend on these actors; and they feel that they can parade these actors in front of any producer, and that the actor will do an audition that will be pleasing and professional, and that the casting director will look good by bringing the actors in. Often, in a certain Hollywood-industry-type-of-exchange, the Casting Director is very loyal to the favored actors.

It works the opposite way, also. When a casting person doesn’t ‘get’ an actor, they may not have the actor come in to read for a part that is, precisely, a perfect fit.

Sometimes, you can tell (by the way the Casting Director is reading the sides with the actor, during the audition) just how much he/she wants to cast that actor. Now, don’t count on this, because there are many casting people who just give a monotone-read, each and every time. But, sometimes, after you get to know them and their different styles, you can tell when they want you to get the job. Or at least, when the casting person has a sense of trust about a certain actor; and a surety that when the actor is put in front of the producers and director, whether or not the job is awarded; the casting director will look good.

 

actor-matthew-fox-jack-copy1

I think April Webster wanted to cast Matthew Fox on ‘Lost’.

It may’ve been simply because she thought it was a good “caliber” match.

Or she may think he’s a strong actor, or a starring-role type, and has a “certain ‘je-nais-c’est-quoi’”.

(She may also…or only…think he’s plain-old-handsome-as-can-be, and his attractiveness suits her style…)

Whatever it is, I think, consciously or not, she’s helping him get this job; and assisting him on this audition. (You can see it on the video.)

Not that he needs it.

 

 

Just one more tidbit…

Actor Evangeline Lilly, who plays Kate, had never done a speaking role, before.

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I am going to write very specifically, about her audition, in a whole other post.  (Don’t ya think there’s enough here?? ;} ) If allowed, I’ll post the other actors’s auditions, too.

Suffice to say, for now, that when I first saw all of these auditions, I was impressed, and charmed. 

You’ll see in the videos…These ’Lost’ actors did a damn good job of auditioning.

Agree?

 

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…About the Lost auditions; and the topic of casting and auditioning for actors, here, on Hollywood Actor Prep…It’s gonna be major focus here for awhile.

So… 

Do you get my articles delivered to your email box?  Sign up, at the top-right, on this page.

Strongly, I suggest that you do so: I don’t write on any specific day of the week, and you may miss something very important.

I am going to be expanding soon, too; doing other related stuff — and those people who sign my list will be informed, and invited, first.

Best,

:~Dana

Are you on Twitter? I tweet under the name of  __dana__ .  Are you one of the 1450 people that ‘follow’ me there?

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Casting Directors :: Hollywood :: New York :: Profiles

Posted by Dana Kaminski on 5th April 2009 in Auditioning

Actors, Here’s Info On 25 Hollywood Casting Directors

I found this in The Hollywood Reporter. If  you want casting people to know about you, reciprocally, it’s probably a good idea to  know some individual stuff about Casting Directors, too.  

I put some photos in. If you are going to audition for any of them soon, it helps to familiarize yourself with them, even their faces.  (Almost everyone here can be found on Google Images.)

The more you know about them, and about the business; the more of a business edge you will have. Less audition anxiety, too. If you wish to individually make professional relationships with them, and keep them; this should be a time saver, and help you navigate your way…

 

It is the invisible art, the art that can distinguish talent from a lack of talent, appropriateness from god-awfulness. Having an eye for actors, along with the diplomacy to steer a filmmaker toward the right performers, is what makes a casting director so invaluable in today’s business. But it’s also the invisibility of the work that makes it so hard to distinguish who the really good ones are… Among the criteria we have considered: Distinguished credits; affiliation with the leading directors; depth of experience and that great intangible — reputation. 

Kerry Barden 

Can you imagine “Monster’s Ball” starring Erykah Badu, or “American Psycho” starring Leonardo DiCaprio? Kerry Barden can, because he saw them read the parts. “There are so many great actors that sometimes it’s a disappointment there’s not more than one role in a film,” he says.

The Atlanta native discovered his calling while producing plays, then formed a casting company with Billy Hopkins and Suzanne Smith. For 15 years, they handled such Miramax movies as “Good Will Hunting” and “Shakespeare in Love” and worked with directors from John Waters to Michael Bay. Last year, Barden started a partnership with Paul Schnee and cast “The Visitor,” which earned Richard Jenkins an Oscar nomination. His current slate includes “Sweet Flame,” “Everybody’s Fine” and “Betty Anne Waters.” 



Victoria Burrows & Scot Boland 

“I’m Disney, he’s Tarantino,” is how Victoria Burrows describes her odd pairing with Scot Boland. That pairing has worked magic for such repeat customers as Robert Zemeckis, Peter Jackson and Albert Brooks. A three-decade veteran of the casting business, Burrows first worked with Boland on Zemeckis’ “Contact” in 1996 and took him on as a full partner in 2000. Lately, they’ve specialized in motion-capture films, from 2004’s “The Polar Express” to Steven Spielberg’s upcoming “The Adventures of Tintin: Secret of the Unicorn.” Burrows likes the visceral change of pace from live action. “A lot of film acting is internal; it’s in the eyes, face and subtleties,” she says. “In motion capture, you’re looking for a full-body performance.”


Ellen Chenoweth 

Ellen Chenoweth was first bitten by the casting bug in the mid-1970s when she took an office job at the Actors Studio. “I was a young girl exploring possibilities in New York,” she says. “Lee Strasberg, Elia Kazan and Arthur Penn were all there. I was putting together casts for Studio projects and people started calling me from outside for recommendations.” 

Having since served as casting consigliere to Clint Eastwood, Barry Levinson and the Coen brothers, Chenoweth remarks that her New York residence keeps her in touch with many stage actors. For “Changeling,” she auditioned several on tape and sent the footage to Eastwood.

In addition to casting, Chenoweth occasionally has a hand in selecting music for movies. “I have done it a few times, such as on ‘Wag the Dog,’ and I love it.”

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Sarah Finn 

A Yale-trained actress, Sarah Finn was mentored by stage director-turned-casting-heavyweight Risa Bramon Garcia, with whom she worked at New York’s Ensemble Studio Theatre, where actors learn everything from producing to running the light board. 

“She said, ‘You should really try casting. It’s a great combination of acting, producing and directing, all rolled into one.’ “

After cutting her teeth with Garcia on films like 1997’s “The Peacemaker,” Finn partnered with Randi Hiller in 2000. The duo went on to cast a string of films from 2004’s “Crash” to “Iron Man” (2008), the former winning a SAG Award for ensemble cast. Last year, she struck out on her own with Oliver Stone’s “W.” and is currently working on Disney’s “Tron 2.0.”

 

Randi Hiller 

When Randi Hiller was casting “Iron Man” with then-partner Sarah Finn, Robert Downey Jr. sang “I Hope I Get It” from “A Chorus Line” during his audition. “Even when you’ve done this a long time, you can never forget that somebody is always excited about certain roles,” she says. Hiller shares the same enthusiasm about casting. She and Finn — who recently ended their eight-year partnership to form separate companies — have worked on “Crash” as well as several Marvel movies and will collaborate on the upcoming “Thor” and “Iron Man 2.” “Actors stop by sometimes to tell us they got a job which has nothing to do with us, ” Hiller says. “I love when somebody calls, because they know I’ll be excited.”

 

Kimberly Hope, Lynn Kressel, Suzanne Ryan, Jonathan Strauss 

 For New York actors, no casting quartet is more sought after than “Law & Order” gatekeepers Kimberly Hope, Lynn Kressel, Suzanne Ryan and Jonathan Strauss. Ryan, who works on the original “L&O” series, says the show “strikes a balance between reality and entertainment,” which is precisely the talent they have to mine from Gotham’s gritty acting pool. Occasionally, that includes theater notables like Christian Hoff, brought on board by “Criminal Intent” casting director Hope. But more often, as Strauss attests, it means having the gut instinct to cast young unknown actors in difficult roles. For “SVU,” Strauss has cast a transgeneder teenager, a genius 14-year-old accused of murder, and a child savant with a form of autism. “These aren’t your ordinary, Hollywood, Shirley Temple-style characters,” he says.

 

Sheila Jaffe 

Actors dropping by Manhattan’s Cafe Central in the 1980s could have easily gotten an audience with Sheila Jaffe. As hostess/night manager, her main casting job was who would fit at what table, but the cafe was an actor hangout — so she got to know such regulars as Mickey Rourke and Sean Penn. When the restaurant closed, Jaffe got her start in casting after catching a break from Georgianne Walken. Such movies as “Slums of Beverly Hills” and “The Italian Job” led to television series “The Sopranos” (where she won a 1999 Emmy with Walken) and “Entourage,” which she co-casts with relative newcomer Susan Paley Abramson. Jaffe still enjoys her role in molding casts, though she acknowledges the process is more democracy than monarchy. “I like painting the canvas (of a show),” she says, “but then reality sets in and people have other opinions.”

 

Allison Jones 

When Jenna Fischer auditioned for the role of beleaguered receptionist Pam on NBC’s “The Office,” casting director Allison Jones gave her a priceless piece of advice: “Dare to bore me.” Too many actors were trying to be funny in the mock-documentary auditions. Says Fischer, “She said to not look hot and to try not to be funny.” Jones has discovered her share of effortless comics, having cast the likes of Michael Cera (first in “Arrested Development,” then in “Superbad”) and an endless parade of improv comics on “Curb Your Enthusiasm.”

 

 

Avy Kaufman

 

New York-based Avy Kaufman likens her work to a journalist who gets inside the heads of her subjects — in her case, filmmakers from Ang Lee to Steven Spielberg. Like a scribe, she revels in the research, whether it means scouring the theater scene for “period” faces to cast upcoming Depression-era films “Amelia” and “Public Enemies,” or watching stacks of Russian DVDs to find actors for CIA thriller “Salt,” currently in preproduction. She says the emotional pay-offs are similar, too: “If people can laugh, cry or learn something from (the films), that’s just icing on what I do.”

 

Ellen Lewis 

Ellen Lewis isn’t scared of the road less traveled. Rather, this favorite of Martin Scorsese, Jim Jarmusch and Mike Nichols explores it with gusto, seeking out undiscovered actors of all stripes to populate her projects. While working on Scorsese’s “The Departed,” she didn’t limit herself to New York and Los Angeles actors, teaming with local casting director Carolyn Pickman for a wide-open call in Boston, where much of the film was set and filmed. “We were looking for priests, cops, mob guys, interesting women and character faces,” she remembers. “People from that community came in, and the faces were like Walker Evans’ photos walking in.”

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Junie Lowry-Johnson 

After almost 30 years in the business, what Junie Lowry-Johnson loves most about her job is helping create new worlds and stories — as she’s done in films from “Bruce Almighty” to “America’s Sweethearts.” But it’s her small screen work that truly makes her a leader in the field, having recently molded casts for David Milch (“Deadwood,” “John From Cincinnati”) and Alan Ball (“Six Feet Under,” “True Blood”).

“Watching actors, studying them, looking at their interpretations of a scene or an emotion always captivates and excites me,” the six-time Emmy winner says. “Recognition is icing on the cake.”

 

Amanda Mackey Johnson & Cathy Sandrich Gelfond 

When Amanda Mackey Johnson and Cathy Sandrich Gelfond first partnered in the early 1990s, the joke was that when Johnson cried at an audition, the actor got the job. A few years later, Gelfond realized she had developed the same tick. But in many ways they remain as different as the cities they work: Los Angeles and New York. “I’m West Coast, she’s East Coast,” says Gelfond. When evaluating actors, Johnson admits to being “more critical. Cathy will think more ‘yes’ and I’ll think more ‘no.’” Nonetheless, Johnson insists, “Our heart, values, work ethic and generally our tastes are the same.” And, like any good partners, they “fill each other’s gaps,” Gelfond says. “If I can’t find it here, Amanda can find it there.”

 

Francine Maisler 

Scour industry Web hubs and you’ll find thousands of Maisler references, but hardly any photos or personal details. That anonymity allows Maisler to scout talent unannounced, like when she spotted freshman actress Shannyn Sossamon spinning records at a bash for Gwyneth Paltrow in 1999. Maisler went on to help Sossamon land the part of Lady Jocelyn, opposite Heath Ledger, in “A Knight’s Tale.” 

Not that Maisler shies from established talent — last year she cast “Milk” and “Tropic Thunder,” which got Oscar attention for Sean Penn and Robert Downey Jr. She beams about the former in particular. “This is such an important story. It’s all about authenticity. I wanted to make sure I did it justice.”

 

Mindy Marin 

Show business is in Mindy Marin’s genes, but it skipped a generation. Her grandfather Ned Marin was an agent at Ashley-Famous, where he repped such megastars as John Wayne and Kirk Douglas. Her father didn’t like what he saw of the business, Marin says, “so he went into publishing.” But she keeps a foot in both worlds with her company Bluewater Ranch, through which she casts and produces films (“Thank You for Smoking,” “The Family Stone”) as well as publishes books, including the self-penned recipe text “The Secret to Tender Pie.” Currently, the Pacific Palisades-based Marin is keeping busy with literary projects, an Internet show and a film adaptation of Claire and Mia Fontaine’s mother-daughter memoir “Come Back.”

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Jeanne McCarthy 

As a girl, Jeanne McCarthy spent her baby-sitting money on Smothers Brothers albums and, later, tickets to the Improv in New York. The comedy aficionado calls herself “the luckiest girl in the world” to have worked with the likes of Tracey Ullman, Harold Ramis, Jack Black and Jay Roach, whom she helped populate swinging England for the second and third “Austin Powers” films. In “Synecdoche, New York,” McCarthy demonstrated a meta-comedic talent by casting actors who play one another’s various selves, winning the Independent Spirit Awards’ Robert Altman Award for Charlie Kaufman’s film and herself. Yeah, baby, yeah!

 

John Papsidera 

John Papsidera has one thing he would like actors auditioning for him to know: “I am there to create a space where they can do their best work under the hardest circumstances,” the two-time Emmy winner says.

Papsidera enjoys making actors feel at home, so it’s little surprise that he’s co-owner of the Waffle, a modish restaurant on Sunset Boulevard known for its laid-back atmosphere and friendly wait staff.

That combination of the hip and mainstream can be seen in Papsidera’s oeuvre, which ranges from such big-budget spectacles as “Independence Day” and “The Dark Knight” to such indies as “Memento” and “Prime.”

 

Juliet Taylor 

Juliet Taylor cast Meryl Streep in her first film, but you won’t catch her taking credit for it. “As soon as Meryl graduated from Yale Drama School and started working in theater, I don’t think there was any doubt,” Taylor says. “Everybody knew right away.” A Connecticut native who made frequent trips to Broadway as a kid, Taylor worked for theater producer David Merrick before transitioning to film through an entry-level job with casting director Marion Dougherty. Taylor went on to cast “Taxi Driver,” “Network,” “Sleepless in Seattle,” “Schindler’s List,” and every Woody Allen film since “Bananas.” These days, Taylor, the doyen of movie casting, is slowly easing her way into retirement. “I just came back from Egypt last night,” she says. “I’m traveling a lot and having a really good time.”

 

Bernie Telsey 

 

 

 

“You get to fall in love every day,” is how Bernie Telsey describes his job at its best. “When an actor comes in and just nails an audition, it’s like falling in love.” Telsey began his career as an actor but took a part-time job in a casting office and, well, fell in love. Today, he’s one of the top casting directors on Broadway, having found talent for more than 50 shows on the Main Stem as well as television series, commercials and films including “Sex and the City” and “Rachel Getting Married.” Despite the economic downturn, he remains optimistic about the state of theater and entertainment in general. “We’re working as much as ever,” he says. 

 

Julie Tucker 

To cast dynamic such television shows as “Rescue Me” and “Damages,” Juliet Tucker surveys as broad a talent spectrum as the project requires. “I go to theater, school showcases, the small- and big-screen to discover new talent and see the range of actors I already know,” the two-time Emmy winner says. “But I also get inspiration from riding the subway, the streets, current events and people-watching. The challenge is applying that. Each show has its own rhythms and tempos; our job is to discover and maintain them.”

 

Robert J. Ulrich, Eric Dawson, Carol Kritzer 

It takes a person who really loves actors to spend his days casting them — and then go home to one at night. But Robert J. Ulrich, Eric Dawson and Carol Kritzer are three such people, all married to thespians: Kim Ulrich, Roxanne Dawson and Larry Poindexter. The trio, who currently oversee such shows as CBS’ “CSI: Crime Scene Investigation” and TNT’s “Saving Grace,” hail from Ruben Cannon’s workshop, with Ulrich and Dawson breaking away in 1989 and hiring former psychology student (and one-time ICM agent) Kritzer. “There’s no book to read or school to attend to learn casting,” Kritzer says of eventually finding her vocation. “A lot of it is instinct. Some just have it.”

 

Nikki Valko and Ken Miller 

Scribes penning a sitcom about wacky casting directors, take note: Nikki Valko and Ken Miller are perfect for the parts. During their 12 years of collaboration, the pair have developed a lively interplay that’s nearly as funny as their shows, which include nearly all of Chuck Lorre and David E. Kelley’s canons. “We generally respect each others’ opinions, but we bicker through it a lot,” Valko says. The two met through mentor Judith Holstra and hit it off straight away; Valko landed “Dharma & Greg” in 1998 and they never looked back. On Sundays they go to movies together and even admit to buying the same brand of Mercedes-Benz. “Yes,” says Miller, “that’s as dorky as it sounds.”

 

Mary Vernieu 

Casting can be a long and brutal process, so Mary Vernieu likes to make her filmmakers as comfortable as possible. Fortunately, just down the street from her office in Venice, Calif., is her own restaurant, Primitivo Wine Bistro, “which makes it very easy cater.” More importantly, she goes out of her way to serve her directors’ idiosyncratic talent cravings, whether it’s David O. Russell’s desire to find Shi’ite actors for “Three Kings” or Steven Soderbergh’s need to hold auditions in Spanish for “Che.” “I speak Spanish, but if people talk too fast, I can’t understand them,” Vernieu concedes. “Fortunately, my associate J.C. Cantu speaks it (fluently).”

 

April Webster 

Casting ABC’s “Lost” presented a unique challenge for April Webster, not least because the characters were still being developed when she began casting. “I got an e-mail from (co-creator) Damon (Lindelof) that said, ‘Well, here’s the good news: We know what these six characters are going be. Now here’s the bad news: There are more characters, but we don’t know what they do, their gender or how old they are.’ ” Hailing from New York theater, Webster moved to Los Angeles in the late 1970s and worked at the Mark Taper Forum. Having done every job from director to carpenter, casting appealed to her because it was a job in the theater. “That was my love,” she says, “so if there was anything I could do that was going to keep me around the Mark Taper Forum at that time, I was happy to do it.”

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Gary Zuckerbrod 

In a quarter-century on the job, Gary Zuckerbrod has seen a lot of change in the casting world. Some of it, like the advantages offered by new technology, he embraces. “Nothing beats the immediacy of a live audition, but it’s easier for me to ascertain from a piece of video what an actor is capable of doing.” Or the increasing fluidity between television and film: “With TV having such wonderful characters and movies looking for people with recognition, people go back and forth.” But not all change has been for the better, and as president of the Casting Society of America, Zuckerbrod hopes to level what he sees as an unfair playing field. “(Casting directors) have a highly specialized job, and we need studios to treat us equally to other crafts.” His concern extends to the actors they cast, as well. “All the money goes to one or two stars and the rest dwindles down to scale plus 10.”

Professional Actor MythBust #2 :::::::::: “Actors Are Screw-Ups”

Posted by Dana Kaminski on 31st January 2009 in Auditioning, Myths, Real Actor Truths

Casting Director Radar

Listen, whether a Casting Director will admit it or not, their top priority…Radar Level #A …Is not whether or not you are right for a role.

It’s not even whether-or-not you can act.

Nope.

What is it?  

Well, I’ll let you conclude,  after I lay out a couple of things.

 

Making Movies, For Example

Let’s say there’s a movie that you want to act in.

Let’s say that you get the part, and your part shoots in some outdoor setting. (I’m using a exterior shoot as example, but all types of shoots have the similar needs.)

That means, that the sunlight is something that the scheduling, of the entire cast and crew have to work around.  In order to do that, most likely, the crew will be instructed, that day(s), before dawn, to do set-up.

The actors who are written into that scene, in the script, will have to be on set earlier than sun-up, most likely.

That’s so they can get into their trailer / dressing room; get into wardrobe; get into hair-and-makeup….

And so they can have breakfast while all that is going on (***SAG Contract Rules RULE!***)

And all the while, the crew is setting up all the tech stuff needed to shoot a film:

  • The electricity
  • The lights 
  • The camera
  • The film
  • The set the props etc.

The Film Scene Begins To Shoot, Just About….

…When the sun comes up… Dependent, of course, if all  conditions are right.

 

Let’s Focus Back On You, The Actor.

Let’s say your entire part requires that you have two days of work scheduled, only.

Both of those days are to be filmed at the same location, the same exterior.

Than means, that you have a lot of work to do.  Other work, I mean, besides the on-set acting.

 

 

What would that other work be, that an actor needs to do?

Here’s just some, and these are “expected”.  That means, that every casting director believes that the agent, who sent  you in for the audition, sends only actors that have already trained under a credible and solid acting coach or teacher, that you have a good reliable skill set, and that you can deliver a righteously great, or even adequate performance that will look convincing enough, in the movie, for your two-day, supporting, role.

However, unless you have a substantial acting reputation, there is much that a casting director does not know… that they cannot know, unless you show them, in some way.

Casting Directors Have To Have A Lot Of Faith

(And some incredible ‘radar’, of course)

Because, except for your trumped-up acting resume (that he or she assumes is trumped-up because this is Hollywood…) 

… A Casting Director has no way of being sure that you will do the following:

  • Learn Your Lines, Well in advance, and thoroughly
  • Have a workable alarm clock, and enough time-organization skills to assume enough driving time and even allow for potential traffic problems
  • Have a good car and enough gas, sense of direction, etc that will get you to the Exterior Location
  • Get there in one piece
  • Get there on time
  • Get there sane
  • Get there emotionally ready to work…and more…

Note: I haven’t mentioned anything about acting ability.

That’s intentional.

Because not only the casting directors; but the director, the producer, and everyone else there doesn’t want to think about it, but there is a big fear that floats above every project, everywhere, no matter what….When there are more than one person involved.

There is a dependency on that other person.

 

Hiring any actor is always a gamble.

For a major movie, it’s a millions-of-dollars-on-the-line gamble.  

Each shooting day can cost more money than you probably have made in your lifetime, so far.

If you, the actor, stayed out until 5 AM the night (before) or even two days before…

If you don’t take care of your car so it broke down enroute to the set…

If you are a drama queen and just broke up with your boyfriend, girlfriend, or both…

Or even if your alarm clock suddenly breaks during the night before the shoot, so you oversleep

Well, you then not only screwed your own reputation, 

But you screwed EVERYONE involved with the production.

You screw them out of loads and loads of money…

You screw them out of time to do a film, which there never seems to be enough of, technically, anyway

You keep many, many people that have shown up at work, waiting and unable to work

And, you piss them off, big big time.

 

And you make the casting director look like excrement.

Why?

Because… it is the Casting Director’s job to pick the right actors

The most dependable actors.

So then, what is Casting-Director-Radar-Priority #A?

 

‘From The Moment An Actor Enters The Room’…

What a Casting Director (and Director, Producer, Writer…) looks for, from the moment an actor walks in, and throughout the entire audition

 I do believe they use all their senses, and instincts…and experience…and radar… from the git-go, 

…To assess and make sure,

… If they are considering you for the part…

 

…Is That You Can Be Absolutely Depended Upon To Absolutely Show Up.

 

Do you think it’s okay to be a foonk-up?  (As an actor, I mean…other people are not my business.)

In your professional reputation; or during an audition… in any way, shape, form, hint, red-eye, etc?

LIsten,  your personal life is not my business.  (You’ll notice that there is no gossip at Hollywood Actor Prep.)

Actually, none of it is my business.  None of your problems or your personal life, or even your lack-of-professionalism, it’s not my business.

It’s yours.


As an Actor, Your Professionalism Is Your Business

And if you don’t “take care of your business”; especially in that area, then you won’t work as an actor.

 

 

Here’s Mickey Rourke, discussing his own lessons learned, about professionalism, in acting….from  January 27,2009–On the Larry King Show.

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Would you follow me on Twitter? Over 750 ‘creatives’ do already!  Here’s a link, and it’s my Twitter name  __dana__ .


And send some good karma back my way, and thanks…


Best,
;-Dana

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