My First Casting Call

NicklausLouis

NicklausLouis

I am planning a Casting Call for my upcoming short film. It will be the first CC that I've ever had for one of my films. Anyone have any advice for me? I am wondering if I should have the actors that audition sign release forms and whatnot, and what kind of form I should have them sign. I plan on taping the auditions, so I am not sure what I need to do there.

Basically, if you have any advice or ideas...lay it on me, I'm all ears.

Poke
 
Sort by date Sort by votes
Can't offer any advice on this one, as most of my casting sessions have been on the casting couch... err I mean have been very informal. But good luck! :) Is this for "...The Cave"?
 
Upvote 0 Downvote
You will have to decide if you want the actors to bring a prepared monologue, or read sides from the script. I get nothing from monologues. I have them read sides. They will ask if they can get the sides in advance. I usually tell them I will give them a few minutes to read them the day of the audition (I don't like the sides floating around). This is what works for me. You'll figure out what works for you.
 
Upvote 0 Downvote
...check out Poke, the big Director! :lol: Good luck with the casting and stay off that couch! :D

....btw, what's the short about, if you don't mind my asking....

--spinner :cool:
 
Upvote 0 Downvote
Poke (long time, never seen) I can only speak from theatre experience, so it might not be helpful - but for you, I'd type anything.
Normally an actor is asked to prepare something before hand (such as the monologue Mr.IT brought up) AND do something you want them to. Normally they have a rough idea of what it is you want them to do (what type of character), which allows them to show you some range with their prepared-piece. I strongly recommend that you allow them to have a short prepared piece, that they know what sort of character they are auditioning for and then give them the few minutes to read through whatever you give them.
Good luck Pokus!
 
Upvote 0 Downvote
Poke, unless you're planning on using audition footage in production there really isn't a need to have actors sign anything other than a basic information form (contact info, etc.)

One thing I've found helpful in conducting auditions: plan the whole in-the-door to out-the-door scenario.

Assuming you've spread the word and have your audition space planned and ready:

- Have a greeter/usher at the door to welcome the actors and explain the drill.

- Have a ready supply of sides, forms, and writing implements handy and in a convenient place.

- Have a space set aside for actors to go over their sides where the noise won't interfere with filming.

- Have an area for actors to mingle, network, and talk where the noise won't interfere with filming or other actors studying their sides.

- Have a PA bring the actors in for their auditions. Have a PA usher the actors out after their auditions.

Anyway, those are the things that worked for me - and it gave the auditions a polished, semi-professional appearance.

Hope that helps.

Oh, one other thing... if you're producing the film locally, go to a couple of nearby supermarkets with audition notice flyers. Ask the manager for a donation for refreshments. I got a couple of gift certificates - and some incredible appetizers from a local restaurant too. But bring the flyer - the managers need to staple it to a donation disbursement form for accounting purposes.
 
Upvote 0 Downvote
A lot of good advice peeps...keep it coming!

I think I will have the actors prepare a short monologue and read a bit from the actual script, as has been suggested.

This audition is for my next film, "The Stream, The Cave, Jim, and Dave." And without going into to much detail, the film is a bout two adult friends who travel back to the hideout of their childhood as one of them nears death.

I have not found a place yet, any suggestions for what I should look for, besides the things SPaul mentioned about quiet spaces for rehearsal?

Poke
 
Upvote 0 Downvote
If you are going to go by what SPaul said (and anyone would - its great advice), I would say somewhere with long corridors. So that a corridor can be a queue to get in to audition, can have drinks at one end etc.
I would say that the best kind of building for that would probably be a campus university building. A church would be too noisy I think, with lack of corridors too. Perhaps a local school...
 
Upvote 0 Downvote
Here's a BIG help later on; have each actor look directly into the camera, state their name and at least a phone number. I can't stress enough how useful this is, especially if you are doing this without lots of assistants who have clipboards.

And if you are at all intimidated (I was when I did this), remember; actors really really really want to act and unless you are in Hollywood, their isn't that much opportunity so you are the one with a viable commodity. You surely need talented actors but they need you more.

And you need not get releases but if you do, that's one less thing you have to worry about. And if anyone gets squirrley about signing one, it's better to find out now rather than the day of the shoot or, god forbid, afterwards when you've got stuff in the can. Even if they say "Let my agent or lawywer or mother look at this first", they know up front the have to sign something. That's another thing I've learned the hard way, chasing down actors for release forms is a PAIN.

Opps, forgot to add this: Good luck and have fun! It's really exciting to see someone nail an audution, bring to life a character or words that you have written and when they do a BETTER job than what you imagined, it's a real thrill.
 
Last edited:
Upvote 0 Downvote
indietalk said:
Poke, is the first audition session an open call, or are you choosing from headshots?
Click to expand...

Open call.

Here's a question, if in the opening intro on tape I also have them state if it is okay that their image in the audition be used in any promotional or DVD material, would that be okay?

Poke
 
Upvote 0 Downvote
Poke,

I was going to do a long info. for you, but SteveP did such a good job, I not need to repeat his suggestions, which were great.

Have another person run the camera. If possible have a "real" actor read a second part with the actor doing the audition. . PA's who read "flat" are a real drag. Review each person later. Use SIDES, not monologues. Use a "cold" read.

Let the actor do his/her own thing first after perhaps explaining the "set-up" for the scene (in other words, where the previous scene set-up this scene) and let them create. after every first take, give each actor a little "direction" so you can see if they are "directable". Two takes are ususally enough for the first session. Three takes are ok. If the actor doesn't do well after three takes, thank them and tell them you appreciate their coming in, but try not to show too much dissapointment (this is where you get to act).

At the beginning of the take, roll camera with sound, (on camera mike is ok) have the actor look directing into the camera and "slate" (which means the actors states their name, their agency or their phone number). This is so you can call them even if you loose their photo and resume (which happens more than it should).

At the end of the audition, tell them they did "fine" or "good", but don't get blown away. Encouraging actors is good, but sometimes they read "I got the part" after you have been too nice. Actually what is harder is trying not to be sarcastic and state "would you send the next person in, please", which is a pretty crappy way to run an audition session.

Tell each actor who did do well when the call-backs will be and mention when you have planned the shoot to see if there are any conflicts. Last thing you want is to offer a job to an actor and them not be available and they could have told you that after the first audition.

Sign in sheets are important and show if someone was late, and if that might be a bad habit on their part. It's also a good place to get a name and phone number. DO NOT ASK FOR SS#. Be sure to have them state SAG or non-union so you can make decisions later.

Start reviewing the tapes the very next day. Watch them several times. Take notes during the review and not during the audition so you can concentrate on the actual performance.

Good luck.

WC
 
Upvote 0 Downvote
If you're offering money you''l probably get more responses. A short film might get you a smaller audience, but then again I be wrong.

And try not to let beauty get in the way over talent, but that's your decision. Don't get caught up in your auditions, move it along.

m f
 
Upvote 0 Downvote
- you may want to wait on videotaping performances until the first callback. There is no point in videotaping people that you know at first impression will not make the cut. It just wastes time.
- SAG actors require sign in sheets. SAG recently lowered their rates to 100/day for low budget features (under 200k) and fully deferred for low budget short films. So SAG is almost always an option now.
- don't read an opposing part with the actor, you won't be able to concentrate on the actor. It's okay to use PA's/coordinators for reads in my opinion. Bunch together different actors and have them play different parts
- swap actor's parts just to change things up, an actor may do better in a different role
- I avoid open calls whenever possible, except for casting extras (where anything goes including getting people off the street :D) For lead roles I always go by references from other filmmakers, producers, theatre directors, etc. The closest I'll get to an open call is posting a bulletin for all actors to mail in headshots/resumes to an address.
- give all actors as much respect as possible, as you may want to call them later as extras, or for minor parts
- by the same token never give an actor a part - (or the impression that the actor has the part locked up) until you have done callbacks and you are sure you will not see anyone else.
- give them water
- schedule them at 4 per hour or at most 6 per hour. Otherwise you seriously won't have enough time.. and/or all the actors will be waiting for hours, and word will get around, possibly preventing the better actors from showing up.
 
Last edited:
Upvote 0 Downvote
It's all pretty much been covered, except that you might want to consider doing three run throughs of the sides, one on a wide, one midshot and one close up.

The only reason I say this is that some actors look great in the rehearsal room but seem completely flat on camera and others look like they're doing nothing and the footage looks great. Having a variety of shots to revue gives the actor three shots at pulling a performance out of the bag, it gives you a chance to judge whether they are developing the role with each take and it also allows you to see how they act with their whole body on the wide shot, whether they look credible in midshot and whether their performance falls apart on the close up.

On the prepared speech question, I'm with indie on that. I'd rather work with people on the script than see their audition piece.
 
Upvote 0 Downvote
"you may want to wait on videotaping performances until the first callback. There is no point in videotaping people that you know at first impression will not make the cut. It just wastes time." I could not disagree more. When you see 20-30 actors in a day, two days in a row it's hard to remember who did what. The video tape is for reviewing later that night or even the next day or two. It also gives you the chance to consider who you want to pair up for a scene. Not videotaping is a big mistake. Not using video tape is a big waste of everyone's time, especially yours.

"It's okay to use PA's/coordinators for reads in my opinion" AS an actor who has read with "flat" PA's, it's hard to do your best work with a PA who couldn't care less about acting or is just a bad actor. This is laziness on the part of the Producer to use a PA for a partner in an audition. It's easy to recruit a decent actor to help out for the audition and use them as a utility actor. I use actors I've already cast for another part to help out. They have been more than willing to volunteer to assist and many times you only have to buy them lunch for their efforts. They know what a pain in the ass it is to read with a PA who can't act. Sorry, but again, I could not disagree more.

Casting is 90%. Treat it like it is.
 
Upvote 0 Downvote
Thanks so much for all the advice. I am trying to take as much of it as possible considering limitations due to budget.

UPDATE: I have scheduled the open casting call for August 13th from 10 a.m. to 1 p.m. at the Yarborough Branch Library here in Austin (side note: the infamous girls hazing girls scene of Richard Linklater's Dazed and Confused was shot in the parking lot of this location).

Due to rules, no food or drink will be allowed, and it has to be an open casting call. They've apparently held auditions here before, and the librarian said that they will work with me, but I must follow the rules.

I will be sending notices out to the Actor's Resource sites here in the area, as well as in Dallas and Houston, as well as the casting mail lists in the next week. I will also be posting flyers at the local colleges in the drama departments. To be honest, a SAG actor will have to be simply amazing for me to cough up the $100 a day, considering my budget will likely be less than $500.

I'm gonna have to play it by ear, as far as number of actors seen per hour. It may start out fast and slow down, or visa versa, or it may just be slow or fast all day. I wanted to schedule it, but I can not afford some of the rates for meeting rooms in this city, so I had to go with the free one.

Thanks again for everyone's help.

Poke
 
Upvote 0 Downvote
I did an open call many years ago here's what I did.
1. make sure the announcement gets in the paper.
2, have a secratary or assistant collect info on each actor. Pictures, resumes. If they don't have pictures, take a picture. You may not cast a particular actor for your current project but who knows what's going to happen in the future. get a pix and resume for your files.
3. if your script entails anything senstive, violence, sexual situations, etc make sure the actor is willing to participate before listening to him or her read. Also, make sure the actor is up to the physical challenge. Terry Gilliam cast the perfect Don Quiote only to shut down production when the guy was too frail/sick to go on.
4. never listen to a minor/ under 18 yo, read without a parent or guardian present, make sure they, P&G agree to everything. Beware of the soccer mom who brings all the neighborhood kids. Don't even let'em in the office without each child's mom or dad present.
5. Keep two video cameras rolling all the times. one of the room and everything that happens in that room, the other for talent. The room camera protects you from accusations. That may sound stupid but one wrong word from a disappointed actor can bring your project to a halt.
6. never let actors bring their own material. They'll just waste your time. On the other hand if your putting together a film on casting then let everyone bring their own stuff. American Idol is not a casting session it's a show. And it's a very bad example of the audition process.
7. I would make everyone sign a release form.
Casting for me was finding the best cast, giving everyone a fair hearing and protect yourself.
Good Luck
 
Upvote 0 Downvote
You must log in or register to reply here.
Back
Top