The single most important element for any movie or television
show is the casting. Even documentaries must consider casting
as a primary element, as this single most important element is
what ties the audience to the material. No matter how good you
may be as a director, if it is not cast appropriately, it will
not work. And appropriately means casting in keeping with the
director’s concept and theme for the story and its characters.
Initially things begin with casting, as directors must look for
life in their casting session. Oh, yes, everyone who comes in
and auditions is alive! But is there life in what they bring to
you?
When actors audition, they walk in nervous, scared or anxious,
as they really want that job – that moment in front of the camera
during which they will exercise their ego and perhaps get a few
bucks for it. But once in a while, you will find someone who walks
in and is just alive – full of life. And you know it because it
is that person who you want to see more of.
When a director casts actors, they often work with a casting director
who is a person who supposedly knows acting talent as they comb
theaters, workshops, and acting schools, as well as watch movies
of all kinds looking for new talent. But you must make sure that
they have the same taste in acting that you have and the sensitivity
for the characters of the material that you will live with for
weeks if not months to come. You must talk to your casting director
for as long as it takes in order to impart to them the essence
of the characters as they imagine them.
It is best to avoid speaking to them about physical characteristics
because that will limit their search. The author may write the
role as someone who is short and dark in appearance, and a large,
tall, strawberry blonde actor may walk in who could be better
for the part because he has the essence you seek for the character.
But also recognize that in some instances, it is impossible not
to speak about physical characteristics if it makes it easier
to explain your vision.
What can be helpful is to tell your casting director that if you
had all the money in the world, who you see in the roles. This
way, they will get a clear and quick understanding of the essence
of what you are searching for. This may lead to your casting director
sending you tapes on actors or asking that you visit a theater
to see someone’s performance.
At the casting session, don’t read the actor right away, but instead,
sit and talk to them. Talk about the material, about their family,
about their life, about music, about movies, or share your life
with them. Just get to know them, all the while watching their
face and eyes since your camera will be photographing their eyes
most of all. Be very interested in them (or appear to be) when
talking to them that first time.
You will know how quick and alive they are if you just ask them
questions. You will see from their responses if they are very
engaging. Get them at ease and comfortable while you look for
a truthful quality and an essence that is right for the role.
All the while you should try to distill the salient qualities
of the person you are speaking with.
Is it someone you can imagine as the character? Do they have the
key tenets of the character they may portray? Can you see them
in your mind and trust them as the character?
And then afterwards when you read the actor for the role, watch
how their instinct tells them to play a nuance of a moment. This
may not always happen. And you should be looking for a little
gleam of the character in the right direction, since actors are
put on the hot seat when you approach the reading portion of the
session, since they are out of the appropriate environment for
reality and are usually reading the scene with the casting director
knowing that everyone watching is sitting in judgment. This could
make them very nervous. It could make anyone nervous. Eventually,
you will have to listen to your intuition, which will tell you
whether they are right or not right for the role.
When you are lucky enough to possibly cast known actors for your
film, you will first meet with them. When that happens, be aware
that they are casting you in the role of their director; someone
they will put their trust in for the days, weeks or months they
work on the project. They want to know how attuned you are to
the story, to the characters, and specifically to the character
you are speaking to them about. They will be sniffing you out
as a person and your passion about the project. They may tell
you why they like the project and discuss their excitement with
their character. This may get you to discussing the character
traits, and you should be flexible enough to adjust your thinking
to align your ideas with theirs.
These sessions can be stressful for you especially when you know
that casting a recognizable actor will secure the funding for
the project. Often times, well known actors will not take the
job without meeting and approving of the director, so it is important
for you to just be yourself. And, of course, try to imagine spending
several weeks, if not months, with them. Will they hate you? Will
you hate them? Nothing is worse than having a schism between an
actor and the director.
But once you get through the casting sessions with them and you
begin to work with them, you will primarily find that they are
as nervous about the role they are playing as you might be in
directing them. So don’t treat them any differently, or be bashful
or keep a distance from them because of their name stature. They
want the same communication with you that you have with your other
actors. So give it to them!
Robert Altman said that casting is 70% of the success of a project.
Whether that is true or not is debatable, but what is true is
that consistent casting excellence in an acting ensemble of a
project, signals a talented director. You only have to look at
the memorable films to see that.
Workshops
