After attending the “IndieLink: Actors Program” at Film Independent, I came away more aware of the many variables that go into auditions. The evening kicked off with a Q&A session with Julia Kim, an independent casting director (CD) from Los Angeles. The session piqued my interest in this phase of the industry and I have developed your feedback where relevant.
He talked about the casting process, how a casting director can help get a project off the ground. Considerations like the name game, recognizable faces, availability, and budget are critical to assembling a worthy cast. He also touched on how some directors have weak communication with actors, direct too much, give too much feedback, or can’t reduce suggestions to actionable terms.
The casting process involves suggesting actors for various roles based on availability, experience, and the demands of the role. The CD selects this list and calls the remaining ones for auditions with the director, sometimes the producer. The casting process continues with callbacks, negotiations, and the eventual signing of cast members.
If you arrive with a scene set up, select one that shows both your rank and your character type. Emotional range is another consideration, as is the ability to choose strong intentions that fit the scene. He told the scene to be short, two to three pages maximum.
On assigned scenes the normal preparation time is four days, however some production companies are slow to ship sides and you may end up with only two days to study and memorize the script. A good agent can help expedite this process, and with email transmissions, the script should arrive giving you adequate preparation time.
Casting directors usually allocate only ten minutes for the audition. Therefore, be prepared to take advantage of this time. It means having your photo and resume at hand, how productive in them and being ready to answer the most important question: “Tell me about yourself?” You should also have the scene memorized, out of the book, and have made solid choices about the characters’ intentions and emotions. Also, consider things like dialogue delivery, mannerisms, facial expressions, pacing, timing, and acting styles.
Of the twenty actors who performed that night, the common flaw was that they seemed rushed and did not take advantage of the breaks. Common reasons for pausing include looking up a word, changing your mind, reflecting on what was heard, or making a joke. Pauses combined with looking away can disengage with the other person and create internalizations that the audience can visualize. By creating focal zones for memories, issues, and avoidance issues, the actor allows audience members into his head, allowing them to speculate on what he is thinking and/or feeling. Combined with facial expressions, gestures, and the context of the scene, these eye behaviors divide problems into departments and make internalization more apparent.
Another suggestion was to add more variety to the performance. This is done by giving the scene more peaks and valleys, stronger reactions to what the other character is saying, and creating an arc for the character, for example going from happy to angry. Instead of a single note performance, add levels of vulnerability to the piece. Well-placed mannerisms and gestures also help develop characterization.
Before you begin, name the board and provide the CD with what and where details about the scene. For example, the scene takes place in a courtroom where I play a lawyer questioning a witness in a murder trial. Also, enter the scene with a character attitude and physicality along with applicable behaviors. This establishes your character early on and hooks the viewer into your story. Sometimes this requires adding elements not found in the script. Acknowledging the setting or environment of the scene should also be evident in your presentation. For example, a discussion in a restaurant would be portrayed differently than one that takes place in the living room.
Predictability is another issue and if you take the scene in an unexpected direction, you are more likely to be remembered and considered. The ability to make bold, powerful decisions and honestly implement them is the love of a trait CD. This is especially true when using an overdone audition scene. The topic of forced and made-up emotions was also raised. Emotions are what drive the story, especially in the drama. Being able to portray the full spectrum of feelings with integrity is a skill few actors achieve. While emotions can be felt deeply by the actor, they must also be readable and appear authentic to the audience.
Being in the scene and recognizing the other character through sequences of feeling, thinking and acting. This progression of behaviors draws the audience into the piece. It is reacting and using behaviors such as awareness, reflexes, realizations, expectations or pondering options. Such behaviors keep them asking the most desirable question: “What’s going to happen next?”
The genre of the scene is another consideration and demands a certain acting style. For example, in comedy, time is highly calculated and precise. Timing is the ability to feel what is going on in the audience’s mind and use this dimension of time to create the optimal response, eg laughter, tension, or surprise. Likewise, in comedy, reality tends to be suspended and unbalanced, while in drama it tends to be realistic and logical.
With several actors, Miss Kim gave suggestions and asked them to do the scene a second time. Sometimes the CD does this to improve the actors’ understanding of the scene or to explore a technique the actor might not be familiar with. Such repetition often reveals how well the actor takes direction and his dramatic prowess. As such, when rehearsing a scene, it may be beneficial to try several approaches to ensure flexibility.
One last item covered was the resemblance of her image to her live character. Sometimes a flattering photo does a disservice as it evokes impressions that aren’t you. Capturing your essence, your potential in a photo requires more than making you look attractive or handsome. Enter the dynamic that her photo evokes, her ability to portray compelling characters. Sometimes it’s the thought or emotion that goes through your head. Other factors include attitude, lighting, and camera angle. Movie characters come in a variety of types and appearances, and trying to remake their image into something that isn’t restricting their ability to find work.
The craft of good acting has to do with making and implementing choices. Knowing what to do, knowing how to do it and knowing how to do it well. Developing strong listening skills is an essential part of that trade.
