"How does the film casting process work well?" is 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 clues about the process and give some guidance in regards to what casting directors, producers and directors ought to be aiming to achieve from the process.
The Casting Process
Let's begin by saying that there is no definitive solution to the question. Projects vary greatly, just as budgets, cast requirements and time-scales. But you can find fundamental elements important to note which we think will likely be helpful to both directors and producers.
Briefing the Casting Director
Probably the single most important part of the process is the briefing of your casting director. Any director worth his salt will curently have a clear vision for his film. Hopefully this is actually the one shared with his producer. That vision must be effectively communicated to the CD, who having browse the script can be of inestimable aid in identifying potential casting problems. It isn't uncommon for a key character to feel underwritten and to disappear for a significant amount of a script. Not helpful in case you are hoping for a 'name'. A lack of sympathy or redemption can create a part unattractive; a prospective casting 'black hole. ' Tune in to your casting director. They're able to identify these problems. If lead actors consistently miss a script, you will find there's reason.
Key Things to ask...
As a director/producer you may curently have strong casting ideas. Are these consistent with your budget? Are they realistic? Don't become too wedded to an idea. Is that actor actually available? Is it something they would consider? Your casting director is much better placed to know or learn for you.
Meeting the talent!
In relation to meeting actors, the director is responsible for setting the tone with the meeting. It is important that he engages with the actor, is forthcoming and provides notes. If an actor is required to read again, and then suggest it clear what it is you require from them. Does the scene you have provide actor give sufficient opportunity to show light and shade. Develop an awareness of mood. Actors shouldn't ought to jump through hoops. Should you be absent from a session and they are viewing tapes, rely on CD to elicit the best performance from the actor and make rash judgements.
Producers are often guilty of arbitrary objections based on hair length or shirt colour. Never forget the actor is giving a reading, not just a performance. If you don't just like a particular actor, fair enough but also have good reasons for your decisions.
Feel safe in your decisions plus your script!
It is a frequent misconception which everybody is desperate to develop your project and will keep themselves available indefinitely. Sadly this really is rarely the case. Agents is probably juggling projects for their clients and there is always the possibility of something better near. If an actor really loves a script then better the possibility you have of getting him aboard. It is a mistake to throw money at somebody in the hope that they will say yes. Money becomes an issue in negotiation if deep down they are not really bothered whenever they do the job or not. Be guided by your
The casting process will be as simple or as complicated as you like to make it. It is the job from the casting director to facilitate that process in a thorough and creative way. Nevertheless they must always be given clear thoughts, up -to- date information and trust, to get this. As a director/producer, sometimes it is hard to let go!
But with trust, whether it is seeking the perfect lead, or discovering an exilerating new talent the casting director can enjoy a pivotal role in giving your movie balance - and as a result the film has a much greater chance of success!