DANCE 10, LOOKS 3

I read an opinion in a paper the other day. You should read it to: http://www.sunherald.com/opinion/story/639413.html

I totally understand the frustration the author of the opinion is stating. Our culture does respond to beauty first and there are many examples of casting that seem like they went for looks over the acting ability. I have sat in many auditions and have seen it first hand, but I have also cast many films with the caveat that the director had the sensibility to look for the best actor.

I always say, “Go for the best actor,” but sometimes there has to be a compromise. Recently on a film I was casting, the director said, “I don’t want this film to look ugly, I want the actors (who were college age) to look good, I want the audience to not be distracted by their looks either way, too hot or not too hot.” I understood the mandate: not ugly people, but no super-models. Directors can get fixated on hair length, hair color, eye color, boobs, butts, whatever, part of my job to steer them away from this thinking and “go for the best actor.”

In regards to the article, I have heard myself say many times to young actors who come to L.A., “You are a good actor, now go to the gym, lose ten pounds, take care of your teeth and skin.” I say this only because part of acting in Los Angeles is the way you look. It’s not always, but it will give you an upper hand and make one more available to more audition opportunities. If an actor chooses not to be “that kind of an actor,” well then the actor has to “own” that he is going to be pegged as a character actor, (e.g. overweight, quirky, funny, villain, etc…) and they are going to have to work hard to make the people they are auditioning for see how talented they really are.

Its just part of the process, it is not a bad or good thing and I don’t think it means that the culture of the industry is totally biased toward beauty. Because, although it may seem like it is, I can give you many examples of films that I have cast where the looks of an actor did not determine all of the reasons why that actor was cast.

Acting is the most difficult profession that anybody could want to get into. An actor is judged the minute they step into the audition room. There is no way around that. The only things an actor can do to get hired are be prepared and hope that luck, talent and timing are working for him or her on that day.

EXECUTIVE DECISION

Many actors are SAG-Eligible. We had a situation this week where we had an audition for a role a day before it shot. The director’s choice was an actress who was SAG-Eligible, meaning that they had to pay their dues to SAG before taking their next job. I was worried that the actor was not going to be able to pay their dues and we certainly didn’t have money in the casting budget to pay for the actor to join SAG. Lucky for us, the actor, upon hearing that they got the job went to the SAG office and paid their dues and showed up cleared by SAG to work the next day.

When we spoke to the actor’s agent about this, the agent said that he advises his SAG-E actors not to join until they book a job. However, I pointed out that what would have happened if the actor was in Atlanta and could do the job but would have to fly back to LA that day; would there have been enough time to join SAG and report to the set? Probably not. Also, if I had a choice of actors that the director liked and the director said to me, “pick who you want,” I may have been more inclined to go for the SAG actor as I knew that I would not have to deal with any additional problems with getting an actor to set.

Speaking of getting an actor to set: Last week we had to hire an actor and the director was very busy shooting on location and the hiring of the actor was based on pairing them up with another actor. So, I called the agents for the two choices for the role and asked them to put their actors on alert that they may get a job the next morning. Both agents assured me that their actors were available. Well, it became very late in the day and I had to decide on someone because wardrobe was having a minor coronary, so I picked the actor and spoke to the manager (whom I had been dealing with the whole time) and the manager assured me that the client would be on set the next day. I had to close the deal and as the actor’s agency was not open after 7pm, I had the manager’s word that everything would be fine. I did as much of the deal as possible and sent the terms to the agent via email not expecting any problems as the role only shot for a day.

At about 8:30pm I received a panicked phone call from the 2nd AD saying that he tried to call the actor but there was a “funny” message on the voicemail that said the actor would not be back from vacation until Tuesday. As it was Tuesday, I got a little worried and called the actor myself, and nobody answered the phone. I then called the manager who was in the middle of her dinner at a restaurant and explained the situation. She did not seem phased at all. I asked if she had spoken to her client and she said, “no, but don’t worry she will be there, and if she is not there I have a back-up for you.” Golly, thanks…

Well, needless to say, I was worried (pissed off & angry were also emotions I was felling at the time). Fifteen minutes later I get a call from the manager, explaining that her client’s airplane had arrived late and she would be too tired to report to work the next morning, but “don’t worry because I have a back-up.”

Really? Don’t worry? You never told me that your client was out of town, how am I supposed to trust that your next in line will be at the set AND I don’t know who this person is, so how can I hire her? I made an executive decision and called my back up and gave her the role. She was very happy to get the phone call, reported to work the next day and was apparently fantastic, so the casting Gods, made it all work out.

I wanted so very badly to write an email to the manager about how disappointed I was that she misleads me into believing that her client was ready for work. But, I decided to hold my tongue  (and write about it in the blog instead ☺), seriously, though, I was miffed but I solved the problem and he show went on.

Later I received an email from the manager explaining herself. I read one line and deleted it. It didn’t matter anymore…

Cajun Casting

Ok, so for this film I am casting, there has been this role that we have gone out to everyone we could think of for the part. We have not been having a lot of luck with it, because the part is for scale, it requires a lot of improvisation and it is part of an ensemble. Also, the age of the character is 50+. So, this is a hard role to cast, because anyone 50+ worth anything is going to want more than scale and not be attracted to the deal we are offering in order to play this role that shoots for 3 weeks.

About a week ago I decided to go through my on-line submissions via Breakdown Services. Up to this time we have been going to actors based on ideas floating around between producers the director and myself. Of course everyone had a list, but no one read it, not because they didn’t care but I think because everyone was so busy that they really rely on me putting pressure on them (producers, director) to make a decision and if they respect my opinion they wait for me to chime in with who I think would be good as well.

I try to suggest only the actors that I would want in the film if I were the director. But things don’t always go that way and for the past few weeks, for this one particular role, we have been going all over the map creatively (or not) to figure out who this character is.

After a few more auditions, I was finally getting a sense of who to put into the film and my sensibility for the role went younger than what the director kept beating into my head: that the role had to be over 50 because it is part of the on-going joke in the film. So, I looked on-line at the submissions and there right in front of me was the actor I should have gone to from the beginning. He is a fantastic actor with loads of credits and is recognizable to audiences but not so recognizable that he takes you out of the context of the scene or the film.

I called his manager and within the few hours that I spoke to him, he was on a plane from New Orleans on his way to L.A to play the role. He liked the script and he was cool about the money. He just wanted to work. Which, I respect… a lot. One can’t always offer actors the money they actually deserve and when I am looking for an actor for scale, it can take a lot longer to find the right person because of all of the reasons previously discussed. But if an actor wants to work and they aren’t doing anything else at the time, if they have the right attitude they will usually do the job. It’s just finding the right actor at the right time.

I know I am being vague with all of this, but I don’t feel comfortable ever mentioning names or the actual jobs I am working on, mainly because I don’t want anyone to feel that their privacy is compromised, but let’s just say that I have gained a lot of respect for various actors who I have been casting over the last few weeks. I have seen a lot of really cool actors take parts that I didn’t think they would do because of the money.

Of course their reps hate me…but I can live with that…

SAG STRIKE :0(

…really? Do we have to have one? I support whatever the SAG members decide is right for them. Everyone needs to feel that they are working under terms that they can deal with, that is why there are contracts in the first place. As for the world of independent film-making, the films I am on all have SAG’s permission to go forward with production as they are not Studio films. I have spoken to many colleagues at various studios and there is an obvious slow down in feature film production and internal agency meetings are getting shorter and shorter when they talk about upcoming feature film projects. As for television, I don’t know. Ask a TV casting director.

Being a union man myself (teamsters local 399) I understand the importance of what a Union can do for its members. I am very proud of the fact that casting directors were able to organize and find a union to take them in and look out for our best interests. It can be difficult for producers of low-budget films to get their heads around the fact that we are unionized, but I have been able to get every producer I have worked with since unionization to agree to pay for our benefits.

So, I hope there is no strike, but if there is one, I will support the actors.

CHIM-CHIMINY CASTING

Because I have an account with Spotlight, the UK version of Breakdown Services, I will often get the following e-mail alert! “Hello all, Please note that Troika’s phone lines are currently down, so please refer to the details below if you need to contact them…”
Many times I will call an agent in London to get availabilities because the actor I want is not based in L.A or is not represented by a U.S. agent/manager/lawyer/publicist/personal trainer/therapist/horticulturalist…

So, I dial London:

TALENT AGENT RECEPTIONIST: Hello Troika (said with an upward vocal glissando that could crack ice).

ME: Oh, hello, JOE SMITH, please.

TALENT AGENT RECEPTIONIST: Who’s calling, please?

ME: Matthew Lessall Casting, from Los Angeles (I pronounce Angeles in the British Airways cabin crew way – “Ann-Gel-Ease” so that the receptionist understands me).

TALENT AGENT RECEPTIONIST: And what, may I ask, is this regarding?

ME: I would like an avail on (ACTOR) please.

TALENT AGENT RECEPTIONIST: And, what is it for?

ME: A feature film.

TALENT AGENT RECEPTIONIST: And, where is it shooting?

ME: Los “Ann-Gel-Ease.”

TALENT AGENT RECEPTIONIST: Can you hold a minute?

ME: Sure

PAUSE/HOLD/PAUSE/HOLD/PAUSE/HOLD

TALENT AGENT RECEPTIONIST: I’m sorry can you call back? He isn’t in at the moment.

ME: Ummmm…why did you ask me those questions if you knew he wasn’t there?

TALENT AGENT RECEPTIONIST: Can you call back?

ME: Can I leave a message on voicemail?

TALENT AGENT RECEPTIONIST: I’m sorry, we don’t use voicemail.

ME: Oh. Well that must be very interesting for you.

TALENT AGENT RESCEPTIONIST: Can you call back please?

ME: Is there anyone there who can tell me if (ACTOR) is available?

TALENT AGENT RECEPTIONIST: One moment please.

PAUSE/HOLD/PAUSE/HOLD

TALENT AGENT REPRESENTATIVE: Hello, Troika?

ME: Yes, I was on hold to get availability on (ACTOR).

TALENT AGENT RECEPTIONIST: Oh yes, one moment please.

PAUSE/HOLD/PAUSE/HOLD

ME: (Singing to myself) “My Milkshake bring all the b/…

TALENT AGENT RECEPTIONIST: Hello? Are you still there?

ME: Yes, I am still here.

TALENT AGENT RECEPTIONIST: Can you call CAA?

ME: Oh, I didn’t realize that your actor was with CAA.

TALENT AGENT RECEPTIONIST: It’s new. Can you give them a call please?

ME: Well, where does he live?

TALENT AGENT RECEPTIONIST: In London.

ME: Look, can I please speak with his agent? I am a casting director from LA and I have now been on the phone with you for 15 minutes. Can you at least put me through to his assistant?

TALENT AGENT RECEPTIONIST: One moment please.

TALENT AGENT ASSISTANT: Hello?

ME: Oh thank God. Hi! This is Matthew Lessall.

TALENT AGENT ASSISTANT: Hi Matthew.

ME: Hi. Can I please have (ACTOR) availability?

TALENT AGENT ASSISTANT: Can you call CAA?

ME: Do you know his availability?

TALENT AGENT ASSISTANT: He is available, but please call CAA.

ME: Yes, I got that. Thank you for telling me he is available. Who do I speak with at CAA?

TALENT AGENT ASSISTANT: Please hold.

PAUSE/HOLD/PAUSE/HOLD/PAUSE/HOLD

TALENT AGENT ASSISTANT: We think you should speak with his manager first….

ME: Who is his manager?

TALENT AGENT ASSISTANT: Oh, I know this one. Ummm, it happened, yesterday, if you had called two days ago I could have helped you.

ME: It was Sunday two days ago. I know, let’s pretend it is last Friday. Can I have his availability as if I was calling you on Friday?

TALENT AGENT ASSISTANT: I’m not sure about that.

ME: Please! No one will know.

TALENT AGENT ASSISTANT: What are your dates?

ME: The film shoots June 9 to the end of July in Los “Ann-Gel-Ease.”

TALENT AGENT ASSISTANT: Oh, he is not available, he is doing a play, “Hamlet” in Newcastle to August.

ME: So he is not available.

TALENT AGENT ASSISTANT: Nope. Looks like it, sorry.

ME: Thank you.

CLICK

Just for fun I decide to call CAA.

CAA RECEPTIONIST: Good morning Creative Artists.

ME: Client Info please.

CAA RECEPTIONIST: One moment.

CAA CLIENT INFO: Client info, who are you looking for?

ME: (ACTOR).

CAA CLIENT INFO: I’m sorry I am not showing that actor as represented by us.

ME: It’s new.

CAA CLIENT INFO: Oh, can you call back in a few days? Maybe we will know by then.

ME: Sure.

CLICK

So, I think I have the correct information, but really, who knows? Getting availabilities is very tricky. It seems like, that most often, agents will say an actor is available just to get an offer in. Actually, I understand why they do this. I can’t say that if I were an agent I wouldn’t do the same thing. Until an agent knows they have an offer on a project that they want for their client, if the client is committed to another project or shooting another film, there are ways to make it work. It just becomes difficult in the sense that my production doesn’t want to be in 2nd or 3rd position on an actor. They want the actor when they want him. But if the Producer really wants an actor, sometimes they will work around the actors schedule to accommodate them. This can be a military operation. Let’s say the actor is on a television show that is being produced by NBC. The agent must submit in writing to the current production the actor is working on a letter to business affairs of NBC requesting permission for the actor to work on another project at the same time. If business affairs agree to this, business affairs will insist that the actor’s first responsibility is to them and that our production must work around their schedule. It is a risk to do this, but if the role shoots for one or two days, it could be worth it and if you are shooting on a Saturday then most of the time this is easily done. But getting to the point where all parties are “on point,” and understand the agreements between them can be time consuming and frustrating.

At the end of the day (as they say in London), if the actor you want shows up and does great work, it is worth all of the trouble. Because ultimately, what is on the screen matters most…