More Depressing News

Modern Day Myth Prod. LLC

Modern Day Myth Prod. LLC

Looks like we are forced to re-cast both lead villain cyborg roles. One is radio silent. And, the other withdrew this morning. Neither one signed their paperwork.

I'm think it would be a great idea to come up with a clause for their contracts and agreements that they must pay all expenses to the production for re-casting their roles.
 
Sorry to hear that! Hopefully you can find replacements quick and painlessly (and fingers crossed that you find someone better than the original casting!)

Paperwork wouldn't be a bad idea though!
 
Maybe you could ask harmonica44 to take a week off, fly down and help out.
Could be the beginning of something beautiful.

casa45.jpg
 
Once being "cast", then and there make them sign the contract. Or if you've told them via phone, organise to meet with them the next day. Otherwise, they aren't your "Cast". They have no obligation whatsoever until they sign the document.

Until your cast/crew are contracted, nothing else in the production should be done. It'll only cost you in the long run.

Cast/Crew/Location/Insurance. The initial four that should be signed and sealed before any other department is considered. (I could add equipment, too)
 
I sighed out loud when I saw the title of this thread.

I feel really sorry for you but after so many things going wrong perhaps it's time to go back and look at all the aspects of your production. They might seem 'good' in your mind but it's always advisable to make sure everything is in place.

IndieTalk's a great resource. I'm sure there are people on here willing to cast their eyes over your budgets, storyboards, cast & crew...etc. I also don't recall you ever posting your script for evaluation on here. I think that's always a good idea- your friends and family might like it but people on here have no reason to give you anything other than impartial criticism, advice and praise.

There has to be a reason why so many more things are going wrong for you during casting than would normally, even for an indie film.
 
I've learnt the lesson before. But all lessons are necessary.

Next time, just be clear with your Actors/Crew/Location. If they're cast/selected, you have 48 hours to sign the documents. That's how you run things, if they're made aware of this before the audition, then they either sign, or you move on.
 
Nick,



The script is what got a lot of actors interested in the production. I had a script consultant go over it who helps writers prepare their scripts for the studios. So, the feedback was done professionally.



The flake factor is very big in independent film. Actors that are no bodies party as hardy as Charlie Sheen and cannot hold a job outside the acting world or even in the acting world because of their life styles. Ten years ago, the problem was not as bad. I have a friend in the actor's union who got kicked out of a Broadway play because she was making up her own hours and showed up whenever it pleased her.

I called her when she was running hours late for ADR at 2PM in the afternoon. I woke her up and she had a hangover from the night before. She rolled in for her ADR recordings 2 1/2 hours later. She looked like a wreck and she was still sick.



Do you see super model Angie Everheart doing a lot of acting? She was in Dream Team and Tales From The Crypt 2. She made up her own hours and tried to tell the director what to do.



That's why when you find responsible actors, try to hold onto them.
 
Last edited:
Auditions are a story onto themselves.

More than half of the no shows tell me I should reschedule them and they give me their days and hours after they miss the auditions.

Members here will tell you they only give actors one chance. If they miss their appointment, they're out. Who is an a no name actor to tell a filmmaker when they should be auditioned?
 
Modern Day Myth Prod. LLC said:
Actors that are no bodies party as hardy as Charlie Sheen and cannot hold a job outside the acting world or even in the acting world because of their life styles.
Click to expand...

Wow, that's a really harsh statement. I bet you make a lot of actor-friends with an attitude like that.

Seriously, though. If that's what you believe about actors, then those are the only kinds of actors you will find.
 
I have to say that I'm always a little shocked when people run into major difficulties with actors.

Before I shot Woolies I shot a short film called The Samurai which, in all honesty, is unlikely ever to see the light of day. What equipment did I have? 550D, kit lens, tripod, basic sound equipment. No lights or anything which resembled a serious production. I didn't do auditions I just posted a casting call and spoke to a few of the actors before I felt like I was speaking to someone who was genuinely interested and excited about the project. I only needed two actors for that but they both showed up on time and for free (along with a sound woman who also did it for free, she even refused expenses) and the whole thing ran smoothly (until I got into the editing suite).

I had one problem in shooting Woolies that was of my own engineering, not the actor's fault. I managed to rectify it and it all went well. Everyone turned up, was nice, humble and talented and the thing ran smoothly.

I often assume that it's been easier for me because I'm in London and it's one of the world's biggest cities but you're in New York which is pretty much the same size as London. Something is obviously going wrong between the point of you meeting the actors and you getting them in front of a camera.

polfilmblog, I know people who've had actors flake, of course, but the majority of people I know from either film school or from just indie projects in London haven't had any serious problems with actors flaking. I would imagine it's harder to get actors in bumblefuck nowhere because there's more competition for jobs and all the serious actors will have moved to the filmmaking centres of the country (NYC, LA, London...etc).

I just don't think you can make these wild accusations about the actors and actresses who've dropped out of your film without considering that there might be a fundamental flaw in your production. Actors are dropping out, Kickstarter didn't work and you seem to be very focused on props and costumes, so there has to be something that's not working properly about this production. It cannot simply be blamed on actors dropping out.
 
NickClapper said:
I just don't think you can make these wild accusations about the actors and actresses who've dropped out of your film without considering that there might be a fundamental flaw in your production. Actors are dropping out, Kickstarter didn't work and you seem to be very focused on props and costumes, so there has to be something that's not working properly about this production. It cannot simply be blamed on actors dropping out.
Click to expand...

Quite honestly, said "nobody" actors are the ones that need good projects the most. Acting is the most oversaturated field in the industry...

...So logically, why would an actor--paid or not, drop out of a good project?

I mentioned it in another thread but, I'd wager since I'm a newbie here, me thinks my advice doesn't hold weight. Hopefully yours will, Nick, because it's pretty spot-on. I'd go back to the drawing board or try to contact the actors for an upfront and honest reason as to why they're dropping out.

And, I would revisit the script with the intention of showing it to peers and people with no stake in the success or my own emotions.

I'm speaking from experience in producing and directing a feature on little-to-no-cash. Again, grain of salt, though.
 
On a side note, just because actors tell you they think the script is great when you offer them the part, doesn't actually mean they think the script is great. It's just...what are you going to say? "I don't like the script, but if you can possibly get a monkey with steady hands to point the camera at me for a minute while I do MY lines, I might get something decent out of it for my reel"...?

Everybody's script is great, when you're reading for a part in it. Also, every producer's early movies were great and you loved them, every director has an incredible eye and instinct for storytelling, and every washed-up actor you work with really influenced you in ways you can't even begin to describe....

gelder
 
Dreadylocks said:
Wow, that's a really harsh statement. I bet you make a lot of actor-friends with an attitude like that.

Seriously, though. If that's what you believe about actors, then those are the only kinds of actors you will find.
Click to expand...

No,

I did say, when you find responsible actors, hold onto them.

When I see the good ones slipping into bad habits, I tell them how one of my friends ended up . . . an unemployed actor who only has herself to blame, if she cared.

She doesn't. Her Dad is a Reale Estate developer. And, she will live off of a trust fund for the rest of her life. She was born with a golden spoon in her mouth. Not many have a golden parachute to fall back on.
 
Kholi said:
Quite honestly, said "nobody" actors are the ones that need good projects the most. Acting is the most oversaturated field in the industry...

...So logically, why would an actor--paid or not, drop out of a good project?

I mentioned it in another thread but, I'd wager since I'm a newbie here, me thinks my advice doesn't hold weight. Hopefully yours will, Nick, because it's pretty spot-on. I'd go back to the drawing board or try to contact the actors for an upfront and honest reason as to why they're dropping out.

And, I would revisit the script with the intention of showing it to peers and people with no stake in the success or my own emotions.

I'm speaking from experience in producing and directing a feature on little-to-no-cash. Again, grain of salt, though.
Click to expand...

Some don't want to take the time to realize they are missing out on something special here.

Only 2 took the time to Google NATPE to find out what NATPE is all about. The 2 that did are 2 of my 3 top stars. They have the most acting experience and best schooling. They realize a good show at NATPE can further their careers.
 
NickClapper said:
I have to say that I'm always a little shocked when people run into major difficulties with actors.

Before I shot Woolies I shot a short film called The Samurai which, in all honesty, is unlikely ever to see the light of day. What equipment did I have? 550D, kit lens, tripod, basic sound equipment. No lights or anything which resembled a serious production. I didn't do auditions I just posted a casting call and spoke to a few of the actors before I felt like I was speaking to someone who was genuinely interested and excited about the project. I only needed two actors for that but they both showed up on time and for free (along with a sound woman who also did it for free, she even refused expenses) and the whole thing ran smoothly (until I got into the editing suite).

I had one problem in shooting Woolies that was of my own engineering, not the actor's fault. I managed to rectify it and it all went well. Everyone turned up, was nice, humble and talented and the thing ran smoothly.

I often assume that it's been easier for me because I'm in London and it's one of the world's biggest cities but you're in New York which is pretty much the same size as London. Something is obviously going wrong between the point of you meeting the actors and you getting them in front of a camera.

polfilmblog, I know people who've had actors flake, of course, but the majority of people I know from either film school or from just indie projects in London haven't had any serious problems with actors flaking. I would imagine it's harder to get actors in bumblefuck nowhere because there's more competition for jobs and all the serious actors will have moved to the filmmaking centres of the country (NYC, LA, London...etc).

I just don't think you can make these wild accusations about the actors and actresses who've dropped out of your film without considering that there might be a fundamental flaw in your production. Actors are dropping out, Kickstarter didn't work and you seem to be very focused on props and costumes, so there has to be something that's not working properly about this production. It cannot simply be blamed on actors dropping out.
Click to expand...

The flaw was discussed in another thread in one word: BUDGET!

End of Story.

If the project is so bad, why did an original actress comeback to me tonight to get her role back?

Budget limits what a small time filmmaker can and cannot do.
 
You must log in or register to reply here.
Back
Top