“How does the film casting process actually work?” is really a question that as professional casting directors we are often asked: whether by up-and-coming actors seeking jobs, or by new directors and producers. In this post, we hope to provide a solid understanding of the procedure and provides some guidance about what agents and directors, producers and directors must be hoping to achieve from the process.
The Casting Process. Let’s start by proclaiming that there is absolutely no definitive answer to the issue. Projects vary greatly, as do budgets, cast requirements and time-scales. But you will find fundamental elements worth noting which we feel will likely be necessary to both directors and producers.
Briefing the Casting Director. Probably the greatest the main process may be the briefing of your respective casting director. Any director worth his salt will currently have a definite vision for his film. Hopefully this is actually the one said to his producer. That vision have to be effectively communicated on the CD, who having read the script can be of inestimable aid in identifying potential casting problems. It is not uncommon to get a key character to feel underwritten and to disappear to get a good portion of a script. Not helpful if you are longing for a ‘name’. A insufficient sympathy or redemption can make a part unattractive; a possible casting ‘black hole. ‘ Pay attention to your casting director. They could identify these complaints. If lead actors consistently ignore a script, there exists a reason.
Key Questions you should ask… Being a director/producer you could already have strong casting ideas. Are these consistent with your financial budget? Is he realistic? Don’t become too wedded to a idea. Is that actor actually available? Would it be something they will consider? Your casting director is best placed to learn or discover to suit your needs.
Meeting the talent! In relation to meeting actors, the director is in charge of setting a bad tone in the meeting. It is crucial that he engages with the actor, is forthcoming and offers notes. Automobile actor is motivated to read again, make it clear what it is you’re looking for from their website. Will the scene you might have provide actor give sufficient chance to show light and shade. Develop a knowledge of mood. Actors shouldn’t must jump through hoops. If you’re absent from a session and so are viewing tapes, rely on CD to elicit the very best performance through the actor and don’t make rash judgements.
Producers tend to be guilty of arbitrary objections depending on hair length or shirt colour. Always remember the actor is giving a reading, not only a performance. Unless you like a particular actor, fair enough but will have good reasons on your decisions.
Be confident in your decisions as well as your script! TV chances is a frequent misconception which everybody is eager to work on any project and can keep themselves available indefinitely. Sadly this is rarely the case. Agents is probably juggling projects because of their clients then there is always the potential for something better just around the corner. If the actor really loves a script then better the chance you’ve to getting him up to speed. It’s a mistake to throw money at somebody hoping that they will agree. Money becomes a concern in negotiation if deep-down they may not be really bothered whenever they get the job done or otherwise not. Be guided by your CD.
The casting process is often as simple or as complicated as you desire to restore. It’s the job in the casting director to facilitate that process in a thorough and creative way. However they must always be given clear thoughts, up -to- date information and trust, to experience this. Being a director/producer, idea difficult to release!
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