For low-budget filmmakers around the world, there's a certain badge of honor in doing everything yourself, in eschewing everything that the Hollywood studio system does. While there's no question that low-budget filmmakers can't do all the things the way the Studios do them, I feel that we would be remiss to avoid the things that really make the job of directing and producing so much easier. The casting director is one such role that is a Godsend for filmmakers and they may not require a large budget if they're passionated about your project. To speak on these subjects, I had the great opportunity to sit down with Jackie Sollitto, the casting director of LA microfilm, 2 Million Stupid Women (which was the basis for Filmmaker in a Box, which we reviewed a few months ago).
In addition to her work as the casting director on 2 Million Stupid Women, Jackie has participated in such projects as the final season of ER, The Secret Life of Bees, under Fiona Weir on Malpaso Production's Hereafter, as well as Eastwood's new picture due out in 2012, J. Edgar. Highly active in the independent community, Jackie heads the casting department on many short films while continuing to work within the studio system under well established Casting Directors.
As such, she's seen the inner workings of both large budget and small budget pieces, so she's in a unique place to comment on the work of a casting director in different areas.
JH: MFM's primary demographic is micro-budget filmmakers making films for less than $100K (usually under $50K), many of whom have learned the craft of filmmaking outside of the Hollywood system and without formal instruction. As such, many of them may not know exactly what a casting director does and how he/she facilitates things for the director. Would you mind explaining this concept to our readers?
JS: I'd be happy to!
During the Pre-Production phase of a project, the Casting Director is in charge of the search for and booking of each actor for every speaking part in a script. He or she will review the script and do their own Casting Breakdown to find all the roles that speak and any specifics for each character that is already apparent in the script. Often the Casting Director and Director (sometimes the Writer as well) will sit down and discuss the characters to see if there are any other specifics they are looking for in relation to each role (such as height, ethnicity, build, age, etcetera). After a Casting Breakdown is agreed upon, we will go out to agents and managers via the web (or directly) to receive submissions for each role. There are some popular websites that are utilized in Los Angeles but also have the option of releasing Casting Breakdowns in other areas of the US. The most popular is Breakdown Express (www.breakdownexpress.com ), but there is also NowCasting (www.nowcasting.com ), and LA Casting (www.lacasting.com ) - these sites make each role available to actors, agents, and managers to submit themselves and their clients to specific roles and then allow us to review the submissions electronically (very handy for cutting down on mail!).
We're then able to make selections and schedule the actors from those sites. We'll provide the actors with scenes from the script (called Sides) for them to audition with and will (usually, and how I prefer to work) record the auditions for the Director to review. As far as the audition process, each Casting Director and production agree on the steps they would like to take. I personally like to do the initial Pre-Reads of each character and then bring my top choices to my Director to review. Once they have decided on, say, 3 to 5 actors for each role, we can do a Callback Session or Chemistry Reads depending on the types of relationships required between the characters. I usually like my Director (Producers and Writers welcome too!) to attend the Callbacks and Chemistry Reads to try and finalize decisions. Once the final choices have been made the Casting Director can make the initial offer to book the actor with dates and any relevant contract terms for the production. We'll get the contact info for the actor (and agent or manager if necessary) and pass that on to the various production departments to get things moving.
I have found, however, that once the initial contact is made and contact information distributed on MicroFilms, it is best for the Producer (or whomever is handling the money) to take over from there – that way they can work out any finer points in a deal that might have some wiggle room for specific characters (like leads versus one-liners). Lastly, we'll come visit on set to take advantage of Crafty (craft services) and make sure you're happy with your choices.
JH: What are the rewarding aspects you find to your job?
JS: Besides having the opportunity to meet and work with new creative and awesomely talented people, I really love the fact that I can come in to a project and help the filmmakers think outside the box with their cast. That, and I really enjoy working with actors and finding that one person who is perfect for a role. The Director's face after they've just seen the person they want to cast – priceless.
JH: What are some of the challenges you found in your job?
JS: Particularly with MicroFilms, it can be hard finding the level of talent desired when the type of project might be limiting the pool. However, I honestly feel that if you give enough time to search and audition, we can always find what you need.
JH: What's the craziest story that you can share from your work?
JS: Ah! I wish I could tell you – but my lips are sealed. I can tell you, however, one of the funniest was when I was working for Malpaso Productions on the feature Hereafter. I was working for Fiona Weir (Love Actually, Harry Potter) and we were in our offices when Mr. Eastwood walked through the door and totally caught me by surprise. My friend (who was helping us at the time) said my eyes went really wide before he came over to meet us for the first time – the presence of greatness! He is a lovely, lovely man – so talented, and it has been such a privilege to work for him, Rob Lorenz, their team at Malpaso, and Fiona on both Hereafter and their new feature J. Edgar coming out next year.
JH: What project are you most proud to have helped cast for and what things made it so for you?
JS: Oh no! Playing favorites – that's dangerous! I have been so very privileged to work on such a variety of projects with such talented, creative, and amazing people. I will say, however, that 2 Million Stupid Women was such an amazing experience for me, and a fantastic opportunity. The ensemble cast was such a pleasure to find and the team that had faith in me are now like family. Also, some of the extremely ambitious shorts I have had the privilege of working on have been such amazing learning experiences and have allowed me to meet and work with some extremely talented and exciting new filmmakers. And I would be sorely remiss if I didn't mention the "dream come true" opportunities to work along side Fiona Weir for Clint Eastwood. I am a lucky, lucky lady.
JH: When you worked on 2 Million Stupid Women, you were working a production in which the producers had looked at their budget and realized that they absolutely couldn't afford to be a SAG signatory picture, which meant they couldn't cast any SAG actors. How much did that limit your options in LA? What were some of the ways you went about finding non-Union actors for the shoot?
JS: I went about casting 2 Million just the same way I do all my projects - as I explained before - I utilize the same systems and process as I would a SAG project. As far as the limit? Well, I invite you to take a look at 2 Million Stupid Women and let me know if you thought I was limited.
JH: Now, I understand you offer consulting services for filmakers, actors, and up and coming casting directors. Could you tell us about that?
JS: Thanks so much for asking! I do offer consultations on various aspects of the filmmaking industry, for actors wishing to revamp or jump-start their careers, and for those that are interested in pursing work in casting departments. I've found that people looking to break into the industry that are new to LA or don't have a formal background in filmmaking (or the film industry) can have a very frustrating time getting their foot in the door. I've been very privileged to have grown up in Southern California and to have attended Chapman University's Dodge College of Film and Media Arts (Orange, CA) where I received an excellent education in Film Production and have been exposed to the industry for some time. Through my consultation services I try to identify each person's specific goals and interests in order to provide as much information as possible so they can feel they have a solid basis and knowledge to continue on for themselves. All it takes is that first step!
JH: Are these consultations regional or do you do them world wide?
JS: Thankfully, with the use of the internet and phones, I am able to offer my services all over. I'm currently working with a lovely young actress based out of Georgia in regards to revamping her career goals and tactics, as well as consulting on a few short films and web series. I utilize e-mail, phone calls, one-on-one meetings, and even Skype to make sure my clients are comfortable and confident that they are getting the face time and information they need.
JH: Where can our readers find out more about you and your services?
JS: Please do visit my website at www.jtscasting.com to see more information about myself and my consultation and casting services! We'll be updating the website within the next couple months with more detailed information on pricing and such; but, in the meantime, my current consultation rate is around $50 per hour and I track the time I spend researching and compiling the info for each individual situation and combine that with any meetings or phone calls. The total amount would really vary on the type of question and desired information, but I usually ask my clients to budget at least $150 and then we can go from there. I'd like to encourage your readers to contact me (there's an e-mail on the website) for any questions. I'd love to be of help!
JH: Thank you so much for your insight on this, Jackie! We wish you all the best in the future and look forward to the films you continue to help make a reality.
JS: Thank you so much for getting in touch with me about this! I'm thrilled to bring some light to Casting and it's been such a great experience meeting with you Jeremy – I hope this information helps your readers and if they have more questions to feel free to contact me!
To leran more about Jackie and her servieces, feel free to check out her site and also feel free to check out Filmmaker in Box, where she is prominently interviewed!
