As
aspiring moviemakers, we are always burdened with finding
actors to appear in our movies. Where do these elusive beings
live? How do we get them to be in our movies? How will we
know if they are right for a role? The answer is simply
auditions. This is very basic info, but also handy. First
things first. Set a date(s). What will also work best is
if you don’t have audition until you already have a
camera, and a way to edit the movie FIRST. What good is
an audition or even footage for a movie if you can’t
finish it? And setting the shoot dates can let you know
if certain actors are even available for those dates to
begin with.
We
have to let people know about the auditions. Many newspapers,
especially the alternative, more arts-friendly papers, will
post your audition notices for free. There are also message
boards, posting boards, and Yahoo Groups on the Internet
that provide one of the best new outlets for letting people
know about auditions. Also a flyer or an email to acting
teachers or even the local talent agencies give an outlet
for this. As long as you are upfront about the amount being
paid, even if it’s $0.00, will make everything work
better.
Give
plenty of notice, and remind people a few days before too.
You may want to have more than one audition time to allow
people with varying schedules the chance to audition.
Where?
Public libraries have conference rooms anyone can use for
free. Or you can do this at home, but for some people, that
can be a turn off, but if it’s all you’ve got,
then use your house. Just make sure you have two rooms.
One for the auditions, and one for people to wait. It’s
not fair if some people get to see how everyone else auditions
and gets to talk to the director/producers and it’s
not indicative of their raw ability.
Use
a Sign-In Sheet – include their name, phone number,
email, and the time they arrived. It’s always good
to have everyone’s contact info. Also find out if they
are SAG, AFTRA, or any other union. Have a column on the
sign in sheet for “union or non-union”. A union
actor may not be able to work on your film, or they can
get permission.
You
will also want them to sign a release that allows you to
use their audition tape for anything you need as well. You
may never know when you may have the next J-Lo audition
& you pass her up. These auditions also make great DVD
extras, even for us aspiring filmmakers. It can also have
additional info.
If the
more experienced actors come, they will have their own headshots,
if not a Poleroid or digital camera will also be good to
use for any new or aspiring actors that don’t have
headshots. Attach the pics to the release form/info sheet.
Make
sure you tape the auditions. Even if you just go to VHS,
you need to see the actors on tape. It’s amazing how
many people seem to read well, but watching the tape it
comes across flat. Or sometimes, someone that didn’t
feel good in the room really shines on tape. You don’t
want to get into editing your movie to only find out THEN
that this person doesn’t film well.
First
you’ll want the actor to SLATE for the camera. That
is state their name, their age, the part they are reading
for, and a phone number so you can get a hold of them or
their agency if they are represented.
You
will provide the actors with SIDES, meaning 1-2 pages of
script that will be used to test them for the character.
So usually give them something with depth and some meat,
or at least epitomizes the character to you, the director.
Tell
the actor something about he character & the scene they
are about to read. Then let them read it through without
any direction. After one read, don’t deliver the lines
yourself and tell them “more like this…”
(also called LINE READINGS), but ask them to do it again
with more of the particular emotion you want. Tell them
“HOW” you want them to act, don’t show them.
This is also called DIRECTING.
Use
a poker face. Even if the actor is doing horrendous, don’t
make the person feel bad. It can cause your reputation to
be ruined. And even if an actor is perfect for a role, do
not make any offers at the audition. Take your time, review
the tapes and be sure of it.
If there
are two actors that could be right for a role, and even
if you’re fairly sure, try doing CALL BACKS. Call Backs
are a second round of auditions. Bring the best actors back,
have several of them read the sides together and see how
they read with other actors.
After
the Call Backs, feel free to make offers for parts. Verify
their ability to work on the shoot dates. Be flexible, especially
if you aren’t paying. But also know that sometimes
you won’t get your first choice for a role, even though
they auditioned and even did call backs. And sometimes you
will even get through rehearsals and an actor will be a
no-show. That’s when you call your 2nd, 3rd, and sometimes
4th choice. If you held professional auditions, it won’t
be a problem to attract good actors.
Good
luck.
About
award winning filmmaker Peter John Ross & Sonnyboo Productions – Founded
in 1999, Sonnyboo short films have played on 3 continents and at over 50 film
festivals world wide. Projects directed by Peter John Ross appear on Tech TV,
National Lampoon Networks, Movieola the short film channel, The “U”
Network, and Vegas Indies TV. Sonnyboo films have been noted in such publications
as RES Magazine, Ain’t It Cool News, Camcorder & Computer Video magazine,
Film & Video Magazine, LA Weekly, Film Threat, the Village Voice, &
Internet Video Magazine.
About
award winning filmmaker Peter John Ross & Sonnyboo Productions – Founded
in 1999, Sonnyboo short films have played on 3 continents and at over 50 film
festivals world wide. Projects directed by Peter John Ross appear on Tech TV,
National Lampoon Networks, Movieola the short film channel, The “U”
Network, and Vegas Indies TV. Sonnyboo films have been noted in such publications
as RES Magazine, Ain’t It Cool News, Camcorder & Computer Video magazine,
Film & Video Magazine, LA Weekly, Film Threat, the Village Voice, &
Internet Video Magazine. 
