Audtitioning: What do you look for?

[TrueImage]

I have my first casting call coming up for a short and I just wanted to get some feedback on what you more seasoned veterans look for when casting.

Right now, I am looking for enthusiasm and timing. Big things for me. I believe I can coach them in any other areas, if necessary.

Thanks in advance.

 

[indietalk]

I look for the right person for the part. When you find them you will know. It's that simple. Don't settle for less. Being in NYC it may be a bit easier, since you can post a cattle call and have 60 people show up per session.

 

[M1chae1]

There are a handful of things to look for, although each production company’s priorities are different.

Here is what we look for in casting (I’m mainly an actor, but have been working the production side of films for several years now):

• Does the actor ‘get’ or ‘understand’ what they are reading? Do they understand the character, and the character’s wants? Do they understand the driving action/need/want of the scene?
• Has the actor made a strong choice, and stuck with it through the audition? I don’t care if the actor’s choice is wrong…I just care that it was a definite choice…and it was consistent.
• Can the actor take direction? After allowing an actor to read…give them a bit of direction (related or unrelated to the script), and see how they take it. Many actors won’t change a single thing about their performance…this isn’t good. Good actors listen and augment their performance from the slightest direction.
• Are they friendly without being overly friendly? Professional? Prepared?
• If you choose to read two actors together (which I recommend if you can), how is the connection? Can the actor connect with the other actor? Eye contact? And if chemistry is important…how is that chemistry?

Those are the main things we look for. One last word of advice…if you settle for actors that aren’t very good…your production will suffer. Bottom line. Oh, and finally…when you find quality actors who are nice, and professional…get to know them, and cast them in future projects.

Good luck. Have fun.

 

[Gonzo_Entertainment]

Aside from their ability to fill the role, look for ANY.. I mean ANY signs of "difficulty" to work with. Do they complain about ANYTHING, how long they had to wait, the temperature in the room, ANYTHING. If they display any signs of the above then unless they are 100 X better than the next best performer for the role, don't cast them.

 

[countevil]

How much you like them as a person counts for a lot.
Reading biographies of directors it becomes obvious that the best performances come from a good off set relationship. You'll probably know from one meeting. That was all it took for Tim Burton to know Johnny Depp was right for Edward Scissorhands. Look at how far they've gone together.
You should take into account the fact that you'll be spending long periods of time with them. Somebody could be the best actor in the world, but if the director can't get on with them it'll damage the film.

I've not had to do formal auditions yet, but it's the same for any job. You can't work with somebody you hate.

 

[M1chae1]

How much you like them as a person counts for a lot.
Reading biographies of directors it becomes obvious that the best performances come from a good off set relationship. You'll probably know from one meeting. That was all it took for Tim Burton to know Johnny Depp was right for Edward Scissorhands. Look at how far they've gone together.
You should take into account the fact that you'll be spending long periods of time with them. Somebody could be the best actor in the world, but if the director can't get on with them it'll damage the film.

I've not had to do formal auditions yet, but it's the same for any job. You can't work with somebody you hate.

Absolutely. I think one of the reasons our production company is so tight and is able to kick out a feature a year is because the core of us are all good friends who hang out off set.

Working relationship (and non-working) are all super important to the casting decision. We are more apt to work with a friendly, cool person, than someone who is super talented but we don't get a long with. Who you are as a person is more important to us in the long run...at least when it comes to inviting you back. You get one production to prove yourself as a colleague and an individual...if we like you, you get invited back (or even written into the script)...if we don't like you, you don't get invited back (even if you're amazing).

A little off topic but...we just started shooting a new picture this weekend...and we brought in a new guy for a small bit part. He spent all day with FX on his face...he didn't complain once. And when we wrapped for the day, he helped move gear to the cars ---> Brownie Points. He was friendly and helpful. He has two more days on set...if he keeps it up, we'll find something bigger and better for him in the next production. Also, in relation to the topic...this guy nailed his audition...but we unfortunately couldn't find a speaking role for him...so we cast him in this bit part--he played his cards right, and will be invited back next time.

 

[directorik]

Gonzo hit on my number one. Everything else - do they get the
script, can they make a strong choice when reading, can they take
direction, do they react as well as they act - is very important,
but how they treat others is even more important to me. Of course
they are going to treat me and the producer well; how do they
treat others?

I always have an assistant checking in the actors - giving them
sides, asking a couple of questions about their resume, reminding
them about the pay (or lack of) and the schedule and letting them
know if we are on, or off, schedule.

When that assistant steps into room with the actors resume I have
her give me a quick impression of the actor. I, of course, always
use someone I trust.

I have found over the years that if an actor treats the person at
the desk with respect they will treat everyone on the shoot the
same way. And if they don’t...

 

[Gonzo_Entertainment]

I think he is making an extreme example, but Lloyd Kaufman always says you should hold auditions in the middle of a mosquito infested swamp. If you plan on reading someone at 3:00 PM, tell them to be there at 7:00 AM.

Not REALLY of course, but his pont is you don't pamper actors at ALL during the casting process. If they get whiny about waiting a couple of hours to read how are they gonna react when something goes wrong on set and they have to sit for 6 hours in uncomfortable makeup waiting for their scene.

 

[Zensteve]

If they get whiny about waiting a couple of hours to read how are they gonna react when something goes wrong on set and they have to sit for 6 hours in uncomfortable makeup waiting for their scene.

Well, it's a bit of a two-way street.

Why would an actor want a job with a production company that can't get something basic like a casting call organised? That would be a red flag as to how the actual shoot would be run.

3pm means 3pm

 

[Gonzo_Entertainment]

Well, it's a bit of a two-way street.

Why would an actor want a job with a production company that can't get something basic like a casting call organised? That would be a red flag as to how the actual shoot would be run.

3pm means 3pm

Indeed.

I kind of split the difference. I held auditions at a somewhat uncomfortable and hard to find place, but didn't make people wait very long.

 

[indietalk]

By the way, video tape the auditions if you can. Have them read sides from the script, monologues are pretty useless. If you tape it, and do sides, you can watch it back and see how they come across on camera, reading your script.

 

[Uranium City]

This summer when I auditioned actors for a short film I had a PA take copious notes in the anteroom as the actors waited to be called. Their behavior while waiting was almost as important as their performance during the audition when it came time to cast. We knew we'd only have one looooooong shooting day and needed both a talented and patient cast. We also needed some minors and their parent/guardian behavior was also noted...did they try to interfere? Did they bring something to do to pass the time?

Sometimes what you look for might be spontaneous. At the same audition there was one young lady who read absolutely dreadfully...she couldn't pronounce certain simple words, she stumbled over simple phrases, etc. A nervous bundle of poo that completely botched her read. But she had a look and other indescribable qualities that were dynamite...a unique face and structure and...something...that was one in a million. I called her back in and just started talking to her, asking her whatever questions came to mind...where did you go to high school, what did you study in college, what is your favorite television show, what is your favorite thing to do on a Sunday afternoon, etc. I was trying to determine if she could be calmed down enough to speak clearly, and in that 10 minute simpleton conversation I had seen enough to know that she could...she could be coerced gently into delivering a simple line or two and wouldn't screw anything up. That night I rewrote the script and included two new lines for this actress specifically. She botched her audition but a part was invented just for her and she NAILED IT at the shoot.

And second to everything already noted...you're looking for the right person for the part, you're looking to how well they take direction and adjust their read based on notes you give them, you're looking at how well they use a partner, you're looking for strong choices (even if they're not the right choices). I love auditions...it's where you first get a chance to see your words (or the writer's words, if not you) come to life.

 

[H.Z.]

I don't think anyone has mentioned this, but at some point in the process I always try to think really seriously about chemistry. Sometimes it can be worth casting a somewhat weaker actor as say, a love interest or supporting character if they have a beautiful dynamic with your lead. Or, you may have two amazing actors, who work terribly together. Depending on the story/genre you're going for, you may want to choose someone else.

 

[indietalk]

I don't think anyone has mentioned this, but at some point in the process I always try to think really seriously about chemistry. Sometimes it can be worth casting a somewhat weaker actor as say, a love interest or supporting character if they have a beautiful dynamic with your lead. Or, you may have two amazing actors, who work terribly together. Depending on the story/genre you're going for, you may want to choose someone else.

Add believability to that. Hot chick with fat dude, etc.