CASTING
Casting is a very interesting aspect of film making. It can
be a beautiful experience or a nightmare. So pay attention to the
details!
Casting a shoestring production is different than any other form of
casting. In its most exalted form it's like matchmaking (perhaps your
own!) The process involves a lot of begging and "exaggeration." You
choose people the way you choose a spouse. They have to be beautiful,
talented and above all loyal (those who won't leave you in the middle
of the fray.)
At its worst it's like being a pimp; you pick people that can "get it
on" together. One distributor told me once to cast couples who create a
"steamy sex scene." I was not very experienced at the time and I
suggested we could always use fog machines in the scene. Needless to
say I didn't get that assignment.
You can tell a shoestring production, after principal
photography has been completed. Half the women on the production are
pregnant. The other half plans to get married and have children. In
some ways casting this type of picture is a service to humanity: the
propagation of the human species!
When you can pay your actors, that's a whole other kind of
movie. You can get a decent performance from your actors. At least
you're on a professional level. Most of the time it makes a big
difference in the results you get. So then how do you cast such a
picture?
Again, this is not a book on casting, but there are certain practical
procedures to put into practice.
Be consistent in all your casting efforts.
(1) Put out the call in casting papers like the
"Dramalogue" or
Breakdown Services. There are a number of ways to do casting calls.
(2) At the audition, meet and greet all your talent in the same way,
whether alone, with the help of a casting agent or through a selection
panel. Present the project as much as possible in the same words to
everyone.
(2) Be cordial, respectful and empathic to everyone.
(3) Use a "cold reading" method (unrehearsed audition) when you have to
cast a lot of actors and provide "sides" (script pages) in advance,
otherwise, (when there is time.)
(4) Let the first "reading" be the actor's own idea. Then give
direction and note any change in performance. A good actor generally
takes direction. Don't try this with Marlon Brando or Robert DeNiro.
They might bite your cheek off! Or your head!
(5) Pay special attention to voice. Unless you have a fantastic sound
person, those actors with a low voice or habit of speaking in whispers,
will give you technical headaches with the sound recording. Deal with
the problem early.
(6) This is a difficult one, but consider how the actors you pick "look
together." Don't laugh, some casting agents have an uncanny ability to
put together "winning teams!" It's also called "chemistry." (Just make
sure they don't elope!)
There are so many other details that it's impossible to list
them all here. Generally, try to be sensitive and perceptive in the way
you pick your talent. You should like them, but don't choose them
because they like you -- as long as they don't hate you!
There are other considerations when you have enough money in
your budget for SAG (Screen Actors Guild) actors. You can then possibly
be interested in signing the SAG contract. If you are interested in
this route, you will find out a lot of things about what you have to do
from the SAG offices. Just call them.
From an artistic point of view, you can expect a high level of
professionalism from well-trained union actors. There are seldom any
exceptions to this rule, but you may run into the exception! Make sure
your contract with every actor is well considered and, preferably,
drawn by an entertainment attorney. Then when problems do arise, there
are well-laid procedures to solve or diffuse most problems and go on
with the production. The main thing is successfully getting the picture
"in the can" (complete principal photography).
Since union actors are expensive, schedule their time
wisely. Cast big name actors in roles that require them to be on the
set for a short period. At the same time make sure that their scenes
chew up a lot of screen time and display their performances with a lot
of visibility. The worst mistake you can make is to have them hanging
around in their trailers all day while you're shooting something than
can best be done at another time, such as doing action scenes with
stunt men and so on. I've even seen some inexperienced directors do
insert shots while an expensive lead actor is standing around.
Don't use big name actors in stupid vignettes or stunts,
such as getting them killed in the only scene they're in -- believe me,
I've seen it happen! Use such actors in significant roles. They may be
one day roles, but if they're used properly you can get tremendous
production value into your film and possibly give an aging actor a
moment to remember fondly about your production. Such moments pay
dividends beyond your wildest dreams. This is the nature of show
business; nothing is ever wasted when you do your job well! The
audience is very sophisticated and the medium works on a subliminal
level. Something very small, a mere word from a star, whether in an
interview or on the screen, can get you catapulted into the "big time."
At higher levels of budget you can work with casting agents.
You'd be surprised whom you get sometimes. Don't be shy when you're
considering "name" actors. Actors love to work, to perform and grow.
The more successful they are, the less they're interested in money.
Most of the great actors go by the role and the script. Of secondary
importance is the director.
However, do learn directing actors as well as you can. It's your
biggest asset as a film maker. And you can start learning about
directing right from the start of the casting process. Take it
seriously. Love it. It will help you with your production.