THE CASTING DIRECTOR IS IN

I got a request from Mr. Wayne Olsen in Minneapolis to answer some questions about what I do. So, I thought I would share with all of you my answers:

How does someone starting out get a foothold in this business?  If you could do it over from your start, what would you tell yourself then to do?  What would you tell yourself not to do?

The most common way for someone to get an entry level job in casting is to be an intern (paid or unpaid, depends on if you are in college and getting credit and different states have different employment laws regarding the status of “intern.” In California, an intern must either be receiving college credit or be paid minimum wage. There are other specific laws about this and you should look them up and know them. Or, you get a job as an assistant. Here’s the catch-22, when I look for an assistant, I am looking for someone who has at least 1 year of experience in a casting office. This way, I know that they have been exposed to actors, agents, managers, they understand what “lists” are, they have experience on the phone and also know about breakdowns, castit, etc… Another great way of getting experience is to work as an assistant at a talent agency or a management company. This way you are exposed to the entire casting process and you get a good idea, very quickly, about who the busy offices are, what their personalities are like and you may even make some good connections this way.

My path to casting was not the normal path. Normally, you start out as an assistant. I kind of jumped in headfirst and said, “I am going to do this.” But saying that, I had been a professional actor for 8 years and I had a large network of experience with agents and casting directors, so I kind of knew what I was getting into. Friends of mine were producers and directors & stage managers, so it was not like I was blindly starting from zero. I did work for a few months as an assistant to a very well known casting director and I quickly knew that this was what I wanted to do. I won’t go into the details of why I am where I am, and I am sure I made some mistakes along the way, but, so be it, here I am…but to your question, I would figure out who the busiest offices are and aim to work for those casting directors. If you are good at it, you will become a commodity that is highly sought after and you will be able to gain experience quickly.

What I would tell myself not to do? To be totally honest, fear is what will strangle you in anything you do. There were times where fear got the best of me; fear that I didn’t know what I was doing, or not smart enough to do what I was doing, but I hope and think that I am not alone in this and over time you start to loose that fear, probably because over time, experience hardens you and that experience is invaluable to the work you produce.

 What are the networks to tap in to?

You need to know the industry and what is happening in it. You need to read the Hollywood Reporter, Variety, Deadline Hollywood, etc… You should go to the Casting Society of America website and sign up for emails for when casting directors are looking for staff. You should be going to see every film, watch as much television as possible (without alienating your family) and go to the theatre. You need to know people in these circles so that you have a resource to reach out to when you are looking for talent.

What’s the best way to get experience in this industry? 

Offer yourself out as a production assistant (PA) on a film set. Volunteer to be another hand on a low-budget film, short film, etc… see what goes on behind the scenes. This will give you an idea of what your place is in the process and may show you what you may be passionate about besides casting.

Is there a steep learning curve? 

Yes. You will be expected to work hard and be allowed to make any mistake one time, but not two times, that’s the best way to not get rehired or fired!

What technical knowledge is absolutely essential (i.e., treatments, blocking, etc.)?  What technical knowledge is helpful, but not required?  What technical knowledge is mostly useless?

You need to be computer savvy. You need to know both PC and Apple. You must have basic word processing skills and you should understand how cameras work, how to edit video on a computer, etc… The more comfortable you are with technology, the internet, software, the better!

What film financing knowledge is helpful? 

If you want to work in feature film casting, you need to have a basic understanding about how films are put together. The reason being, when you are approached to cast a film, there are specific questions I ask in order to assess how real a project is in coming to fruition.

What street smarts do you need for this industry? You need to be able to smell BS.

What SHOULDN’T you do in this industry, at all, never ever?

Never be rude, never lose your temper and never backstab a colleague you are working with.

What’s the basic etiquette rules?

This is the “Entertainment Business,” it has it’s own set of rules. You figure them out as you gain experience.

Who don’t you ever, never piss off?

I try not to piss off anyone. I try to be as formal and professional as possible. But this doesn’t always work. This is a business that is highly emotional, so you are probably going to piss off many people on your path.

What’s the primary difference between LA/NY casting and elsewhere?  Middle North America (Chicago?) for example?

New York has the most theatre casting offices. It also has a high percentage of independent film casting. My clients are on both coasts so I tend to have to go back and forth a lot. LA is where the Studios are based and where a major portion of the Studio Film and Studio Television casting happens. Other markets tend to support local filmmakers, or support the films and television shows that come to it. New Mexico, Michigan, Georgia, North Carolina & Louisiana all have steady work because their incentives and infrastructure support film & television.

How much money do you need to start? As much as possible.

What drives you to do this every day? My Toyota Prius.

What qualities are necessary to bring the energy required to do this every day? A good sense of self. A great sense of humor and the ability to let things go.

If you had someone call you and beg you to work for them, what are the top three characteristics you would look for?  Honesty. Excellent interpersonal communication skills and the ability to let things go.

What’s a perfect apprentice look like/do for you? Go to http://www.facebook.com/alexthompson416 - he was great.

What’s the difference among working solo, working for a boutique casting shop, and in-house (like for Idol or X-Factor or CBS for that matter)? To be clear: I am hired by producers to cast their feature films. I do not work in reality television casting (which is a skill set I do not have and I have total respect for what they do) and “studio” casting which is a corporate position overseeing people like myself on film and television that is being produced by those entities. My “agenda” is to service the director’s vision while making everyone else happy with those choices.

What’s the future of the industry that every casting director needs to understand? In independent film, budgets are getting smaller and our role as independent film casting directors is changing as the market changes. We must figure out how to make a living in this climate and be able to do the job we love without compromising the quality of our work.

 

My birthday blog…And VOTE FOR MY PANEL AT SXSW 2012!

I just turned 40. Thank you in advance for your birthday wishes and love, but that’s not why I am writing this. I am writing this, because I like to think that birthday’s are a great time to reflect on where we are, or, more importantly, where I am, because this is really only about me. And well, kind of about you, because what I feel, affects how I operate on a daily basis and I suppose in some way, actors, directors and producers (if they care) would like to know this stuff.

 

I know, if you are an actor and just want to know how to “get a job” or you, if you are a producer, just want to know how you could offer me the lowest possible rate to get your film cast. I get it, and if I sound bitter, I TRULY AM NOT, I get it. Probably better than you think. Hence, why I write this blog, to “reach out” and hope that some of the people that I want to “get it,” will, well, “get it” they get what I am about and that they see that what may seem like cynicism is really just years of, for lack of a better word (my vocabulary is crap – this is a warning kids, study for those SAT tests because at some point in your life you are going to have to come up with a better word then “things”) THINGS…

 

As you know, I love the South By South West (SXSW) film festival. And this year, I have proposed a panel on casting for low-budget films. The panel is NOT for actors. Sorry guys, you get a lot of advice from a lot of blogs, articles and workshops. This panel is truly for low-budget/no-budget producers, writers, directors to get a sense of what they are getting themselves into when searching for a cast and why, a casting director may or sometimes may not be the right person to turn to for help. So, dear readers of my blog, my birthday wish is for all of you to go to: http://panelpicker.sxsw.com/ideas/view/8960

And vote for me! Please. I really want to do this…

 

I was just in NYC and I what I love about NYC is the Theatre. You really can’t beat it. Unfortunately, it is so expensive and so over priced and so uncomfortable that once you pay the outrageous ticket prices you then have to sit next to the drooler, or the old man with the dodgy head piece thing so he can hear better, or the woman who sits in front of you and has the largest hair done up in the most anti-gravity force field that you just want to set fire to her hair. I do love the theatre, I think I love it better when I can go to Mann’s Chinese and have popcorn and watch it “Live from the National Theater in London.” It’s way more relaxing and you don’t have to sit on a plane to get there and back with people who clearly have no manners or boundaries or have fostered too many children into this world. I am not anti-child, well maybe a little bit, I am anti-crappy parent.

 

I saw “Follies,” which I loved and before all you bitter queens who saw the original production comment about it (the NYT already did it for you as a matter of fact), one must say that Sondheim is a genius and even if Bernadette Peters isn’t really 49 years old, a line that made me guffaw in my seat, the show was a who’s who of Broadway’s Dames and I appreciated what it was about and how mind-blowing it must have been to see it in it’s original form. Although, according to the NYT article, when Galt McDermott saw the origional production, he didn’t really see the point of it. Which to me is so ironic, because “Follies” and “Hair” probably have more in common then you think in terms of tone: unfulfilled dreams, longing, passion for a unrequited love in the past or in the future, etc…

 

I absolutely LOVED “Jerusalem.” And although towards the end of the play I was like,
“if that fairy girl comes out and sings one more time I may swat her!” the acting was flawless and one more bit of proof that Mark Rylance is the Laurence Olivier of our generation. The casting was genius!

 

This summer was busy for me. I finished up casting “Saving Lincoln” and because contractually I can’t talk about it in a blog, I won’t, I’ll just say this…actors really love to do period pieces. I was genuinely happy and surprised with the quality and level of actor that was drawn to doing this low-budget feature film. My director & producer were happy and that’s what matters to me. I am also about to finish casting “The Healer.” I am off to North Carolina on Tuesday to cast the remaining day-player roles. I love going to a location, because getting to meet local talent is always exciting.

 

So, now that I am 40, you may ask do I have any wise words to share? But of course I do!

 

Just do your best, go easy on yourself, don’t be sad if your make-out idol is Adam Levine and you know that you will never ever get to make-out with him. Be thankful for what you do have and try not to be bitter. It’s hard, I know, but (a) there is Xanax & (b) there is Xanax. And of course Yoga, Pilates, spin class, blah blah blah…..to help with the anxiety. Be thankful for your friends, your family (even if they drive you crazy and I bet we can all relate to that) and remember, your DOG is GOD. And I am sure if you have kids you are really happy that you have them too…just please, please teach them not to kick the seat in front of them when they travel. And I promise, no one will question your parenting skills if you give the screaming baby in row 22 a few drops of red wine to make him go to sleep.

 

If you are an actor: BE PREPARED – for everything. If you are a producer: BE PREPARED – for the rejection, the ups & downs of casting, the emotional wreck that you will become over the next few months and try not to take it out on your Casting Director. If you are a director: LISTEN TO YOUR CASTING DIRECTOR.

 

Most importantly, maintain a sense of humor, smile & dream bigger and when you ask for stuff from the Universe…be specific.

 

All of the above were themes of a Sondheim show. Wow, I am that gay.

 

40 is great…I think I am going to like it here (not meant to be a reference to “Annie”).

The worldwide-weby-thing-y-tweety-facebooky-casting-thing

I am now on twitter and facebook. On Twitter you will find tweets from me pertaining to auditions coming up where I may need something out of the ordinary, or maybe a great film or play I saw. Not sure how I will use it, but I know I won’t be Tweeting during an audition! I feel it will be an organic process.

Same thing with my facebook account. I have a personal facebook account and I do keep that private for friends and work-friends and in general, if you are an actor you should sign-up to the “Matthew Lessall Casting” Facebook page (see below). When I am auditioning actors for upcoming films, I send a breakdown out to agents & managers via breakdown services, because it is the service I am most comfortable with and like to use. There are a few exceptions: If I am casting a commercial (which happens every now and then) I use LA Casting to send out a breakdown to agents & managers. I do this for various reasons, but mainly because, the casting studio I use for commercials (I don’t cast commercials out of my ghetto office) is tied into LA Casting and it makes the casting process easier for me. Something else I am exploring to use is LETITCAST, which is a worldwide casting service and it allows actors to upload their own auditions to a site set up for a project. I am going to use this system soon on an experimental/arty film I am casting that shoots in (of all places), Indonesia, and for various reasons, LETITCAST feels like the perfect fit for this specific project.

I don’t always make breakdowns available to actors, but if I do they will be on Actors Access, my FB page and there will be a Tweet about it.

Most of the time, I send a breakdown out only to agents & managers. It’s not because I don’t want to let actors have the breakdown, but mostly it’s because I need to control the incoming calls, emails, etc… and it can cause the workload to become overwhelming to let everyone in the world know what is going on. I try to create lists first of who I want to have come in or offer roles to and work that way, then call the agent or manager for avails and interest. This can be a looong process. I release the breakdown because I am having to search deeper, or my brain is fried and I want to make sure I am not missing anything. It’s a good way to communicate what I need to the representatives as well. If I had a huge staff (or even a singular staff), I could maybe be more selective about how I go about things, but usually, it’s just me, so I need to be as efficient as possible and sometimes a solution to streamlining this process and casting the widest net is to release the breakdown.

I encourage you (actors) to look at all of these sites and be familiar with them (most of you are, I know) but it in case you aren’t…now you are!

TWITTER: @lessallcasting

FACEBOOK:  Matthew Lessall Casting ….  http://www.facebook.com/pages/Matthew-Lessall-Casting/44041770524

BREAKDOWN SERVICES/ACTORS ACCESS: www.breakdownexpress.com

LA CASTING: www.lacasting.com

LET IT CAST:  https://letitcast.com/en/

 

 

It’s the weekend! “Woop-Woop!!”

Casting - I love it, I love the discovery, the putting together the pieces of the puzzle, the magic of seeing a cast come together, it’s all an amazing thing to see and watch conjure up in front of you. I could live without the following:

 

1) Actor is cast, deal is closed. Actor forgets that he needs a passport to travel to Canada but still thinks that the check-in agent at Air Canada will simply “let him on the plane because OF COURSE they know who he is” …

2) Actor is cast, deal is closed. Actor gets another offer for more money and decides not to do my film. Not fair, not nice, it happens. What are we supposed to do? Sue him? Take him to court? When casting a film that is already functioning on spit and glue, you just recast. Hopefully the producer doesn’t have a heart attack (probably won’t because he is 20 years old anyway) and just go with the flow, because they have been beaten down to a pulp on other “issues” with the production.

3) Actor is given an offer. I call, and call, and call (JUST PUT ME OUT OF MY MISERY ALREADY) and call, etc…to get an answer, a peep, and a “thanks Matt but it’s not happening, something, PLEASE GOD, to say to my producer. But, alas, nothing. AND PS – why is it whenever I need something from an agent, it’s like pulling teeth, but as soon as that same agent needs me to see their client, they are begging me, pleading with me to have them meet or read? (I am sure agents feel the same way-in reverse)

4) Director wants to see if Gerard Depardieu will work on his 400,000-dollar budget movie in Nova Scotia (it’s close to France, right?) for $5,000 dollars. Really? Deep breaths….REALLY? Seriously, shoot me now. How can this even come up in conversation? Aside from the fact that 5k is 1/100th the price of the jet fuel it would take to fly him to Nova Scotia on a G5, because, yes, that’s what it would take… and when you said you needed a French speaking actor and were shooting in Canada, whatever happened to the dozen or so amazing ideas of FRENCH CANADIAN SPEAKING KNOWN WORKING ACTORS that could do your movie? But no, you want Gerard Depardieu and it’s my fault that he doesn’t want to do it? REALLY?

5) My assistant has shown up to work today in a bright yellow 1970’s inspired tank top and short shorts and looks like an “angel” from CHARLIE’S ANGELS….he is a boy.

6) The Internet can’t handle the uploading. The Internet is down. The Internet is up, nope it’s down, nope it’s back on…

7) Breakdowns is down. Gmail is down…Why do I think the world is ending when Gmail goes down?

My assistant’s computer won’t connect to the printer…AGAIN…for the 40 millionth time.

9) Auditions! Actor just got the sides. Actor has had the appointment for FIVE days. Actor has the wrong sides. Actor went to the OTHER 5225 Wilshire Blvd and is running late. Actor just flew in from Texas for the pre-read with his mother, father, twin baby brothers, half sister, three cousins, an aunt and their dog, Spike. They are all staying in one bedroom for the night at a hotel near the Ontario airport, because it was cheaper to fly there and take 4 busses and the metro into LA to get to me. This audition is the biggest thing that has ever happened to him. He could have self-taped.

10) All of the light bulbs in the office are not working. Call the building manager. He tells me they are raising my rent.

 

Thank God it is the weekend.

 

SXSW 2011: A (Casting) Review

Looking for talent, but really looking to rediscover my passion for independent film, I went to SXSW 2011 in Austin, Texas. For the past week I have met the most amazing people; filmmakers, actors, internet wizards, marketing gurus and just great people in general. SXSW is more then a film festival, in fact, it has many parts and the interactive and music festival overshadows the film programming. Unlike Sundance, which has grown into a marketing festival for films looking for distribution, SXSW is about the audience. There are film geeks, film bloggers, press and fans passionate about independent film. Standing in line to get into cinemas (something that one does a lot of) I realized how much knowledge this audience has about the work that I am part of and am a fan of. The programmers seem to be keenly aware that the point of this festival is to headline emerging filmmakers with a clear voice and point of view. As in all things, some of the filmmakers make the most of what they are given and some who are given a lot (a big(er) budget) waste it. Filmmaking is a collaborative art form, but the most successful films (in my opinion) at this festival were ones fully realized by the directors. Many of the films did not have a Casting Director. In one case, the Casting Director was the sister of the filmmaker and that film could have really used a professional eye when it came to the acting. Many times, the filmmakers used actors that they saw in shorts or met at other film festivals or went to school with. I had 21 films scheduled to see but due to exhaustion, meetings and wanting to see my friends’ films that were in the festival, I ended up at 18 narrative features and 1 doc. I wish I had time to see the shorts and more of the docs, but I would have to be in Austin for the full 2 weeks in order to see it all. Out of the films I saw, there are clearly some discoveries and future stars in the making. Overall, the quality of acting was very high. So, future filmmakers and casting colleagues, take note: here is my list of who to look out for (film by film) and who my favorite actor & actress overall where: 96 Minutes (Casting by Chemin Sylvia Bernard) – This was one of the best cast films I saw at the festival. Brittany Snow & Evan Ross turned in excellent performances.  A Bag of Hammers (Casting by Brad Gilmore) – I loved this film. It was a little too long, but Jason Ritter was able to show great range and Jake Sandvig has grown into a super cute young man who is funny and nuanced.  A Year in Mooring (Casting by Mary Vernieu, Venus Kanai, Janet Pound) I wanted to like and appreciate this film. From the start the filmmakers wanted to make sure that it didn’t feel “overindulgent.” It kind of did feel that way to me. I appreciate a good “mood” piece, but at some points this just made me, well, moody. Josh Lucas, looking as handsome as ever, turns in a solid and emotional performance. This has a great cast that includes James Cromwell and John Tenney.  American Animal (no Casting Director). The filmmaker, Matt D’Elia, wrote, directed and starred in this intense character study of a man coping with the isolation of a sickness and what that does to him psychologically. I loved this film. Matt’s performance was solid and the rest of the cast worked flawlessly together. The real standout to me in this is the lovely Angela Sarafyan. But all of the cast (Brendan Fletcher and Mercia Monroe) have excellent moments in the film and show that have the ability to do more.  Attack the Block (Casting by Nina Gold) Overall, this was my number one favorite film at the festival. Probably a little bit because it is shot in South London (my spiritual home) but mostly, this film was one of the best cast films that I saw and the talent was all new (except for the wonderful performances by the fabulous Nick Frost, Luke Treadaway and Jodie Whittaker). This film, (a nicer version of Kidutlhood meets Alien in a South London Council block) is exciting, scary and funny. A perfect little film that proves that this genre never grows stale when done right. The standout newcomers (all of whom were great) are: John Boyega & Alex Esmail.  Bad Fever (no casting director) Watching this film made me uncomfortable. Anyone who has a dream of becoming a “star” will know what I mean when they see it. To that end, this was also what I call “a mental health movie.” And while it is clear that the filmmakers avoid the issue of if the main character has some type of medical/psychiatric disorder, the actor playing the lead, clearly delved into the role headfirst and embraced it with skill and reckless abandonment. I love Kentucker Audley’s work on this and his co-star Elenore Hendricks was fully committed to her role as well. Bellflower (no Casting Director) Another film written, directed by, edited, produced by and starring the same person, Evan Glodell turns in a magnificent performance and highly thought out, smart film about the psychology of a breakup. I call this film, “The Straight Man’s Version of ‘Black Swan.’ Jessie Weismann and Rebekah Brandies are total finds and were excellent. I am especially excited about Jessie. She was so compelling to watch on screen.  blacktino (Casting by Angela Burns) This film had a lot wrong with it. A lot of odd choices were made in the making of this film and I think that the Director tried to accomplish many things and forgot that visually you cannot hire actors who look over 30 to play teenagers. It does not work. And he seemed to have a lack of understanding about teen genre films. Also, the dialogue was questionable. The Casting Director is the Director’s younger sister and there were casting choices that did not serve this film and this films potential. However, the positive side to all of this is the discovery of Devyn Rey. She carried the film and was the one part of it, where when she was on screen you were drawn to her performance.  Caught Inside (Casting by Kirsty McGregor) Who doesn’t like to look at hot Australian men surfing and fighting over their women folk? I was into this thriller the moment it started and the cast was well conceived (maybe a little bit too white?) and their ensemble carried the excitement of the film through its entirety. The standouts in this were: Ben Oxenbould and Daisy Betts. I also liked 19-year-old newcomer Harry Cook.  Detention (Casting by Judy Cook) I wanted to like this film, I did, I promise I did…but, I didn’t. From the start, the opening title sequence went so quickly, if I were the CD, or DP or any actor on the film, I would have been pissed off that my name was literally flashed on screen for a second and then gone. The main title sequence was so off putting to me, that it kind of informed me of where we were going with this film. The film seemed rushed. A plush film, with excellent design and potential cast, overall, the film missed its mark to me. It was trying too hard and just became messy and while you wanted to enjoy the storyline, I started not to care about it and the comedy, adventure, time-travel, horror mixed genre, became just that, too mixed and too complicated for the actors to succeed in any way other then just being themselves and hoping for the best. With all that, I am going to surprise all of you and let you know a dirty little secret: I love Dane Cook. I think he has potential as an actor and needs to stay away from this kind of material. He is a stand-up comic, he should do that and then find something dramatic to do and stick to that. That is where he will excel and surprise us all. I have faith in him.  Kevin (Documentary) Go see this. I had a mini-breakdown in the bathroom afterwards. The story touched my soul and anyone who thinks of themselves as an Artist will know what I mean after it is viewed.  My Sucky Teen Romance (no casting director) The SXSW sensation and Austin native, 18 year old director, writer & producer, turned out a cute and perfectly pitched teen comedy. Emily Hagins can tell a story. She understands cinema, timing, acting and writing. She is going to be huge. Overall, I had fun watching this teen, vampire-love comedy. The standout actors are all local to Austin: Devin Bonee, Tony Vespee (who should have his own television series on Nickelodeon) and Sam Eidson.  Small, Beautifully Moving Parts (no casting director) A character study about an expecting Mother seeking closure from her Mother about their strained relationship, this film has a lot going for it. Especially the lead, Anna Margaret Hollyman. I loved watching her on screen. Greta Gerwig better watch out, because this actress is coming after her roles.  Sound of my Voice (Casting by Danielle Aufiero & Amber Horn) I was sucked into this film from the start. A science fiction film that is character driven and smartly written is a winner in my book. The standout here for me is Christopher Denham. He has a lot to cover in this film and he had me totally believing him and his journey in this role from the start. A fully fleshed out performance, he was subtle, complex and utterly compelling.  The Dish & The Spoon (no casting director) A slow paced film, I dug in and let the plot unfold and trusted that I would understand the characters more when the film was over. I did: two lost souls, trying to figure out their lives. Greta Gerwig is seething and upset about finding out her husband cheat on her and Londoner, Olly Alexander, is a love-sick teenager (almost adult) character searching for a connection in this world. Overall the acting was solid, but I do have to wonder why filmmakers ALWAYS shoot Greta with the same close-ups and angles and why she always seems to be dressed in gender-neutral clothing. Maybe her performance in “Arthur” will help me see another side of her. Olly is clearly someone to look out for.  The Key Man (Casting by Ellen Parks) This star-studded cast would hopefully bring the director’s vision to the table. Sadly, the director’s vision is clouded by “technique” and well; it just feels like he is trying too hard to be interesting. I was bored with the plot and was sad for the actors because they were clearly acting their tuchuses off.  Turkey Bowl (no casting director) Shot in 18 days and on a shoestring budget, this comedy showcases LA based actors (some not really actors professionally) who are all terrific. I am a huge fan of Zoe Perry, I think that she has a unique quality to her that other actors only wish they could have. All of the cast in this is fantastic and energized and totally believable. The standouts to me are: Bob Turton and Tom DiMenna  Wasted on the Young (Casting by Gregory Apps) Having cast Australian actor Alex Russell in two features, I was excited to finally get to see this film. I had only seen clips of it from Alex’s reel. This film did not disappoint. Extremely well cast, I was hooked into this storyline and disturbed by it (in a good way) on many levels. Alex’s performance was excellent but I have to give this one to the beautiful and talented Adelaide Clemmens who to me was perfectly cast in this role.  Yelling to the Sky (Casting by Eyde Belasco) I really liked this film. I liked the film even more when I stayed for the Q&A and got to hear the writer/director’s passion for the film, it’s actors and the casting process. Zoë Kravitz did an excellent job and Yolanda Ross and Antonique Smith turned in beautiful performances. But the standout to me in this one is Jason Clarke. Playing an unlikable character but still being likeable on screen to the audience can be a huge challenge. His acting skills were evident here. A solid, well rounded performance by an actor who chose to embrace the good, bad and ugly of who he was portraying. Eyde Belasco did a great job sprinkling this cast with the supremely talented Tim Blake Nelson and Oscar Nominee Gabourey Sidibe.  OUTSTANDING PERFORMANCE BY AN ACTOR SXSW:   Matt D’Elia (not represented) for the role of Jimmy in “American Animal.”   OUTSTANDING PERFORMANCE BY AN ACTRESS AT SXSW:  Anna Margaret Hollyman (Manager: Davien Littlefield) for the role of Sarah Sparks in “Small, Beautifully Moving Parts.”   OUTSTANDING ACHIEVEMENT IN CASTING: Chemin Sylvia Bernard for “96 Minutes” Chemin rocked this cast out! You could tell that she had her hands all over this cast. Her point of view and consideration for the ensemble was thoughtful, creative and nuanced. So much so that Evan Ross won an award for “Breakthrough Performance at SXSW.” Well done and congratulations!

What we do isn’t a secret and my thoughts on Casting Workshops…

In response to the criticism about casting director workshops: When I go to give a workshop, which is usually three hours long, I have spent at least half of my day getting organized for the upcoming class. Then once I am in the class, the point of it is to get to know the actors who are reading, point out what I am looking for when they come to audition for me and also give some advice out as to what I do, what I am looking for in an actor and what an actor should be doing in order to get work. I am happy to answer any question. Ironically when it comes to question time, I inevitably get the same questions over and over and over again. Most actors in the workshop only want to get in front of me to show me that they can act and 90% of the time, they are trying too hard, not listening, not acting. So when it comes time for me to make adjustments, I spend time with each individual to show them specifically what I am looking for in an actor. I do this repeatedly during the class and I hope that by the 20th actor, the class begins to see that there is a method to my madness and that my instruction on technique has a purpose and comes from over 10 years of casting, 6 years of professional acting, and years of training in classical acting, Meisner, etc… So, yes, when I go to a workshop, it is about my conducting just that: A WORKSHOP ON ACTING. I want to demystify the casting process and if I can give someone the confidence to keep on acting, then I think it was worth whatever amount they paid for the class. I also look at workshops as an opportunity to meet actors who may be older then students coming out of the elite drama training programs around the world or who have not had the opportunity to go to one of those programs (who, by the way, have all paid a fortune for their education – there are scholarship exemptions, I know that). If I were to only go to the Julliard, Carnegie Mellon, NYU, LAMDA showcases, and not go to workshops, would that be fair to everyone? I go to various industry nights, theatre, see films, watch television, meet as many actors as I can for general meeting; it’s all part of the process of what I do. Casting is global. I say this all of the time, LA actors are competing with actors in every market around the world. Once an actor understands that they also understand that all they can do to get a job, is do the best that they can possibly do at an audition. An actor who attends a workshop is giving himself or herself an opportunity to hear another perspective from a professional who knows what the market is looking for and attracted to. They are using the fact that they are in LA and not Chicago, New York or London to say to a CD, I am here, think about me! Becoming a working actor is about: 1) Actually having talent, (2) persistence & (3) luck. Being in the right place at the right time and actually prepared is all an actor can do. That’s it. Nothing more. The rest is up to the people who are hiring. Workshops are not auditions. Auditions are auditions. Nobody gets a job from a workshop. It’s not possible; one actor is not the only person under consideration for a role. There are at least 10, 20, 30, 200 other actors in consideration. And just in case actors think that it is harder for them then anyone else in this industry, let me assure you that every casting director, costume designer, editor, DP, etc… is out there pounding the pavement every day trying to get a job, secure the relationships that they already have, hoping their agent is helping them be in the mix, trying not to get fucked over by the people they have worked with in the past, hoping that the producers and directors they have worked with stay loyal to them, wonder where the next check is going to come from, etc… The Casting Director-Actor relationship is not “Us vs. Them” we want to hire you, we want you to walk into the room and be amazing. There is an “ah-ha” moment from the Director or Producer on every film I work on. They see an actor and they think, “Oh my God, that’s my actor, I found him.” And that is precisely my job. I have been thanked for my work many times by the actors I have cast. I have been thanked publicly for the work I have done, but this type of work is not about getting thanked, it’s about the process, making something happen and being part of a bigger picture. Sure, casting folk are forgotten about, we are not invited to premiers, award shows, we are looked over in thank you speeches, but I know what I did and I know what I do on the films I work on and that is all I need…ummm…but gifts and a seat at the table are always truly appreciated! The Casting Society of America, of which I am a board member of, is set up and designed to promote “Excellence in Casting.” Every year we have an award show that honors our members. For me, this is a perfect time not only to honor those nominated, but also honor our community. Every year I do feel that with the more CDs I know and am introduced to, the more I feel like I am part of a community and I hope that my fellow CDs feel the same way as well. Casting is an art form (I can tell who cast a film or good television by the way it is cast) and casting directors are required to not only perform their specialty but also have acute business sense and manage a world that they get plopped into the middle of. Casting a pilot, film, television, reality television, short film – we are asked to sort out a shit storm, figure out the answers and come up with solutions, usually in a time frame that would make most people loose their minds. I have had many people who work for me cry at the end of the day, because the pressure can be a lot to take. Hell, I cried at the end of the first week of the first pilot I cast and the fabulous manager, Laina Cohn (if she remembers) had to talk me off of a ledge on a 9pm phone call – I thought I was in over my head! But by the second week I got the hang of it. On a side note, casting a pilot can help you loose weight… So, I hope this explains a little but about where I am coming from and where some of my colleagues are coming from on the current issues facing the casting community. Casting is a unique profession and one comes to it in various ways; like me, a former actor, but I have friends who have never acted and just love actors, or colleagues who were one day assisting a CD and the next day found themselves running a studio (true story), a casting director who used to be an agent or manager (goes both ways), we get birthed in all different ways, but in the end, our job is to find talent, give options to our directors, producers, writers, and hopefully have a successful product come out at the other end… 

2011. BRING IT!

Happy New Year! Wow, it has already been very busy but to tell you the truth, I was a little bit of a worrywart in December. If I don’t book enough work by October, November to January can really start to suck for me and money can run out. By this October I was on one film and when it ended, well let’s just say your favorite casting director was having a minor melt down. So, I looked in the mirror and said to myself, “Self: YOU LOOK FAT! I mean WTF did you do to yourself? You are overweight, taking Crestor and blood pressure medicine and feeling generally cranky most of the day because you are stressed about work, and let’s be honest, the weight is part of the problem.” After I wrote the blog about Rosario Dawson and the way she perceives herself, I thought maybe it was time to have a reality check of my own. How am I perceived? How does that make me feel? Is it affecting my work? In general (and I know she will understand), I blame my Mother for my weight/eating issues. I love food and I am (I admit this) inherently going to choose the couch over the treadmill. But after I saw a picture of myself at my friends engagement party, I thought, “Wow, who am I? That’s not me.” It was time to do something about my overall health. And what a better time to do it then when I was not really busy, and not because I didn’t want to be busy, but because sadly, I was not busy. A day after my epiphany (after seeing that photo), I had a general with an actor. He was very fit and handsome and after I learned about him and his acting the conversation turned to me (insert joke here) and we started talking about health issues and my weight. Turns out he is also a personal trainer (not surprising) and offered to take me on at a very reasonable rate (I think it had something to do with me being a CD) and he insisted that he could get me to loose the weight. What did I have to loose? So we started training. Ummm…more like torture! I felt like I was in my own personal hellish version of AMERICA’S BIGGEST LOOSER. We ran up Runyon Canyon, ran around parks, did 1.5-2 hour sessions. Yes, I was that person screaming and yelling, “help me, please help me,” to passers-by as I was trotting up Runyon. He told me what to eat and what not to eat. It has become a love-hate relationship: I love to hate him. My friend who is a doctor put me on medical grade fish oils and liquid CO Q-10 and liquid Vitamin D (because apparently humans don’t get enough of it). I took myself off the Crestor, which was making me feel ill (a whole other story) and started on a natural cholesterol reducer recommended by my doctor friend (whom I went to college with). I stopped eating sugar, bread, alcohol, no deserts, not pasta, no wheat…. It was hard and sucked (still sort of sucks), but I have seen the results. When I started this in October, I was 233 pounds (I am 6’1”) my blood pressure was 140/90 and I was feeling like crap. As of today, I am 207 pound, my blood pressure is 120/84 and I am feeling pretty good…I also started seeing a chiropractor (Dr. Matthew Cobb) who has changed my life for the better. This morning as I was walking my dog Zoe on our long walk (2.68 miles), I realized how lucky I am to live in Los Angeles. I have lived in many places and when you stop to think of all of the things that this city can give you, I am truly happy with being in LA. With all that that is going on in the world: nut-bag Sarah Palin, the shooting in Tucson, birds falling out of the sky, fish dying, oil leaking, government not really governing…at the very least, I can be thankful for the small moments I have with my dog, my walks, my husband, and my life (not in order of preference). Notice I didn’t say my job. I love being a casting director, I do, but it is not my life. Although my husband will say otherwise, because it does take up a lot of my time (a lot), I refuse to make it the first priority of my life and maybe that is why I don’t always work, all of the time. So, October-January sucked on the job front, but was great on the looking in the mirror front and now I just have to maintain this. Which really, is going to be a continuous up-hill battle; but all you have is your health. I know I sound like my Grandmother, but she was right – considering she died of pneumonia at 96 years old, I am going to go with that she knew what she was talking about. On December 24, 2010, I got a Christmas present. A job offer. A cool job, casting the web series of Mortal Kombat for Warner Premiere. It is shooting in Vancouver and the scripts are fantastic and the director, Kevin Tancharoen is kick-ass. It is a lot of fun to work on. I also decided, last year, that somehow, I was going to find a way to work in the theatre. Now LA has a lot of great theatre, and the reason I wanted to work in it was to get myself acquainted with more actors, but also work on good material, work with writers and directors who I didn’t know. More fingers in more pies, that sort of thing. I thought it would open up my world and truly, I love the world of theatre because that’s how all of this (me) started. I am now happy to say that I am also working at the Center Theatre Group. I couldn’t have asked for more: theatre, webseries and I am working on a few indie films. I still worry about the money and where it will come from, I don’t think I will ever be able to not worry about that, but at least there are things happening, there is movement in a positive direction. So, it seems, that when work was slow, working on myself was the right thing to do - for me. I hope, that with all of the craziness that is going on in the world, we can all have the luxury of trying to take a little time out for ourselves and make ourselves a little bit happier: Maybe it will rub off on someone else… 

$268+10%

Over the past month I have literally sat down at my computer to write this blog and have written at least four complete entries but then decided that they were of no interest to anyone, however I did like the headlines I created for the blogs:

1)    RANDY QUAID: TECH AVAIL VANCOUVER (MAY HAVE VISA ISSUES)

2)    MAYBE ROSARIO IS ON TO SOMETHING AND WHY I FEEL FAT (see previous blog entry)

3)    WHY I WANT TO FALL ASLEEP AT AUDITIONS

4)    THERE ARE NO SMALL PARTS ONLY ACTORS WHO THINK THAT THEY ARE BIGGER THEN THE ROLES THEY ARE OFFERED

5)    WESLEY SNIPES: NOT AVAILABLE

 

Someone reviewed my blog! (“The Casting Director by Matthew Lessall - as part of the Film Industry bloggers network, Lessall publishes this blog once a month and provides a birds-eye-view (sometimes ranting) into his life as a casting director.”) http://www.alchemistintraining.com/2010/09/roll-call-casti/

Wow! I am so honored. I will admit: I rant. I think I may have grown up “ranting.” I did look up the definition of ranting, “speak or shout at length in a wild, impassioned way.” I am certainly impassioned about what I do, and I probably do speak at length. I am not a shouter (except on the inside), so I don’t think that applies to me. In fact (I hope I am not wrong about this), I don’t raise my voice about anything work related. I am not one of those demanding, shouting, throw your stapler at the assistant kind of person. I try to take everyone at his or her word and take in the information given to me and treat people with respect. Saying this, I wonder if I did the right thing the other day. I feel like I did, but I have had a night to think about it. So, here is what happened:

 

I made an offer to an actor via the agent. The role was to shoot for one day. It was a day-player (3 lines), on a SAG-modified low-budget film. When I put the breakdown out, I listed the film as SAG-low-budget. I honestly did not know that the film was being shot on a Mod-low agreement, because I was casting the pick-ups on the film and was not involved in the entire casting of the film and when the producer said it was a low-budget film, I thought he meant a low-budget agreement. Note to self: check one more time what agreement the production is actually shooting under before putting out a breakdown. I offered the role ($268+10%) for the day and the agent said me that his client could not work for less then $500.00 for the day because the actor works at night and clears at least $500.00 for their night job and needed at least that to do a day-player role. I said, that I totally understood that and that all we had was the $268+10% for the day. The agent emphatically said to me that his actor would need $500.

 

Here’s the thing. Usually, an agent counters and says, “Can you get me $500 for the day and he’s yours, let me know.” But in this instance, I was being told in no uncertain terms, “my actor cannot do it for less then $500, it is not worth it for him.” I said to the agent that I understood his situation and thanked him and moved on to my next choice. Yesterday, I got a call from the agent saying, “what happened to that job offer?” I told him that I had just closed another actor for that role at $268+10% for the day. He was (politely) miffed and asked me why I didn’t call him back. I explained that the role literally just closed and that I was going to call him and let him know I found someone for the money, but I think he meant, why didn’t I call him back to let him know we only had $268+10%. He said, “98% (he used that number) of casting directors would have called me back to let me know that you couldn’t do it for $500.00.” I reminded him that during the original phone call that I had been clear that we only had the $268+10%, that was all we had (why would I lie about that?) and that he was clear that his actor would not work for that money and had in fact told me why. He said, “Oh,” and sheepishly hung up the phone.

 

Do I really have to play the negotiation game on a 3-line day-player role? I have better things to do with my time. I guess if that actor was the only choice I had, then maybe, I would have tried to get him the $500, but in truth I had a list of back-ups and the production didn’t want to pay more then the SAG-modified day rate, which I clearly articulated in the initial conversation. It’s not so much that I feel bad about this, because I don’t, I just think that there is a time and a place for negotiating and there are appropriate times for agents and managers to haggle for more money (it’s what they do, I get it), I just wanted to close a simple deal…

 

My office mate reminded me (sternly and with love, as she is a casting director as well), that I was quite possibly in a, shall we say, “off” mood that day and needed to vent and that this is what I was doing; venting. I just didn’t want to deal with the haggle, I wanted someone to do the role and appreciate that they were getting the job. It makes me feel more confident that I am sending someone to set who is good with the deal, happy to do the three lines and not bitching about the fact that they could be making $500 for the day at their day job.

 

Wow…blog written….I think I’ll publish this one…

 

Attack of the Casting Director (cue, scary music…)

In a recent interview, actress, Rosario Dawson said that L.A makes her feel “Fat & Old.”

Let’s break it down:

From the Article:

 “However, the 31-year-old admits to feeling “uber skinny and super young” in her native New York City, but in Hollywood she is shocked about how many times she’s asked to lose weight on the West Coast. She said:

    “I’m on the East Coast a lot, and I feel uber skinny and super young. I come to California and I feel fat and old. I’m 31, I’m starting to get old. I’m not emaciated. The amount of times I’ve been told to lose weight is unbelievable, I kid you not.”

Here is my thought on this: Why is she surprised? Everyone knows that this is a youth oriented business. Looks are very important and her own image has been portrayed to the public as sexy and youthful. So when 31-year-old Rosario walks into a meeting or an audition, I am sure the response from some people is that they are responding to the change in the image that is being presented before them, because their remembrance of her is of a more youthful time. This is probably one of those situations where people and by people I mean, Agents, Managers, Casting Directors & Producers are opening their big fat mouths and giving an opinion just so that they have something to say in order to give a rational to an actor who may or may not be booking as many jobs as they have in the past.

Continuing:

“Being asked to lose weight isn’t the only way casting directors are attacking the Sin City actress’ figure. Her manager has even come down on her by requesting her to wear tighter clothes so casting directors could know “if she’s slim” or not under her loose clothes.

 The slim actress tells Total Film magazine:

  “I tell them - it’s just the boobs! I would get told by my manager, ‘Rosario, you went into your audition with sweats today. If you want to wear a sweater, just make sure it’s tight.’ Because the casting directors would call her and say, ‘She’s great but the casting director needs to know if she’s slim.

“I’m like, ‘Dude, have you seen the photos I’ve done? You know what I look like.’”

Okay, first of all, “ATTACKING!?” Really? Wow! Moving on, the woman has a rack on her. We all know that. If you recall in the film, “Alexander,” she was all topless with her boobs in our face on a giant screen. That image can haunt a person – anyway, blaming the Casting Director for wanting to know what her figure looks like is odd to me. If you are auditioning or meeting for a role that requires some sex appeal, it is probably not a good idea to be all bohemian in your appearance when you go to the meeting/audition. Why throw off the possibility of getting the job? Aren’t you making it harder for yourself? Yes, in theory, a Casting Director should know what someone looks like, but in this quote, Rosario is kind of assuming that everyone is paying attention to her and knows what she looks like all of the time. Newsflash: that is probably not happening. When an actor comes into meet me or audition, even if they are well known, nine out of ten times I am usually thinking:

1)    Wow, you are so much shorter/taller in real life

2)    Wow, you skin is disgusting/beautiful

3)    Wow, your eyes point in different directions, I never noticed that before

My point is, meeting someone in real life is totally different to what is presented on screen and therefore it is probably a good idea to go into a meeting or audition with some sort of understanding that the image you are presenting in photos & on-screen may want to be reflected in the way you come to the meeting versus walking in with a Starbucks and your NYU comfy sweater that you have owned for 10 years and won’t get rid of because it is your favorite hoodie and makes you comfortable and feel anonymous: which is exactly the opposite reason as to why you are in L.A.

Being a star is really hard, I know, but we all have our crosses to bear. As a fan of Ms. Dawson, I am sure that she is feeling a little sensitive to the changes in her own body: WE ALL HAVE THEM…I remember thinking just the other day, looking in the mirror in shock and awe at the state of me: “Is that really my butt? Why is it all the way down there?”

So, as to getting old & fat, it’s nice to know that someone else is on my page. Also, Rosario, 31 isn’t old. Age is a state of mind, just ask my 83-year-old Father who just finished a novel or my Grandmother (when she was alive) lived to 96, and was pissed off that she got a cold that eventually turned into pneumonia – which killed her. To the end she looked into my eyes and said, “Why is this happening to me and can I have some chocolate ice cream?” In my family, we are eaters…

Maybe we should all just chill out a bit and concentrate on what is important: being healthy & happy…try not to take on board what everyone else thinks of you or what you think everyone else thinks of you. Who cares anyway, it’s your life…live it!

So getting back to Ms. Dawson, I am sure she is fine and happy, I mean she is totally gorgeous, nobody can take that away from her. She should take the advice her manager gave her (which all actors should heed) and listen to it for what it is: advice. Give yourself the best opportunity for getting the gig, don’t assume we all know who you are and chill, it will all be fine…

And remember, it is very rare that a Casting Director is “attacking” anyone. Most likely they are “attacking” the Carl’s Jr. burger or the snickers bar hidden in their desk because they are shame spiral, stress eating, but “attacking” an actor, it’s a bit of a strong tone to take, me thinks….

Actors I love to cast, would love to cast, who are going to be “Big! big, I tell ya, BIG!”

Over the past year, there have been several actors that I have been championing for projects I am working on. So, I thought I would share them with you…the world:

(SIDE NOTE: I wanted to post links and pics to this blog but I am having a very hard time with the WordPress of it all - so this is the best I can do for now…)

1)    Alex Russell (UTA/Roar/Shanahan): Alex lives in Australia. I cast him in THE WHEELER BOYS. If you see the film, his performance is subtle and nuanced. He is the type of actor that I love, because he is fearless and comes with great emotional depth. I have seen clips of his latest film from Australia, WASTED ON THE YOUNG and I just cast him in BAIT.

2)    Corey Hardict (Gersh/Burstein): Making his mark in GRAND TORINO, Corey is an acting force to be reckoned with. A total professional, his attention to detail and character is masterful.

3)    Daren Kagasoff (WME/Carrabino): Let me say that I am not a fan of the show Daren is on, but his performance on it is so honest that it caught my attention. Then I got to meet him. He has come in and auditioned on several films I am working on and I am blown away by his determination and his passion. It also helps that he is a total hottie from hot-town, (did I just say that?).

4)    Josh Dallas (ICM/Luber Roklin/United): Josh is the total package, handsome, smart and a trained actor. He spent several years in the U.K training and working and then came back to the U.S where he landed a role in THOR. He is the kind of actor who can literally elevate text.

5)    Lorenzo James Henrie (Luber/Roklin): The last actor I auditioned for the role of BUG in THE WHEELER BOYS was James. He is the younger brother of David Henrie, but this younger brother does not need to worry about being in the shadow of anyone as he is a future star and shines on his own. A fearless and sensitive actor, he has no problem tackling tough material.

6)    Olivia Crocicchia (Vanguard Management): First of all, Olivia’s manager, Bernard Kira, is one of the best advocates for an actor I have ever encountered. I love his determination and passion for her talent. Not afraid of taking on difficult material, she has starred in RESCUE ME, NAILED starring Jake Gyllenhaal and the up-coming feature TERRI with John C. Reilly. I cast her in THE WHEELER BOYS.

7)    Portia Doubleday (IFA): When Portia came in for THE WHEELER BOYS, I was so excited, I knew she was going to get the role. I knew she wanted to do it and to me, the audition was a formality. The director was foaming at the mouth after her audition. When Portia loves a role, she transforms and embodies the emotions and brings in layers to the role that may not have been thought of before. She is in the pilot MR. SUNSHINE (with Matthew Perry) and has also been cast in Tyler Perry’s BIG MOMMA’S: LIKE FATHER, LIKE SON.

8)    Rob Kazinsky (GERSH/BEG/CAM): Book him, book him, book him! This U.K actor’s biggest credit is EASTENDERS and he is a total find. Handsome (in a dirty way) his star potential is so great that I am sure that in a few years he will be booking studio film after studio film.

9)    Saidah Arrika Ekulona (Leading Artists): If you did not see Saidah as the lead in the Pulitzer prize winning play RUINED, you missed one of the strongest performances on or off Broadway last year. Saidah is one of those rare actors whose passion and skill elevate her from the pack. She has toured with Philip Seymore Hoffman in OTHELLO and has been recognized for outstanding guest star on LAW & ORDER. I literally try to find a role for her in whatever I am casting…she is that good.

10) Sarai Givati (Buchwald): This versatile and absolutely beautiful Israeli actress is a total find. It’s hard to find an actor who is the total package. Her beauty is balanced by her ability to handle comedy and drama. Back and forth from L.A and Israel (where she is a celebrity), she is also a musician.

11) Sullivan Stapleton (WME/Shanahan): GO SEE ANIMAL KINGDOM! Sullivan auditioned for me for BAIT and in the room I was so overwhelmed by his ability and star power it was clear to me that his talent would no longer be a secret for long. From Australia, I am sure he will be spending a lot of time making films in the U.S.

12) Zosia Mamet (ICM): Well, I am already on record about my love fest for Zosia. I talked about her in an article for Backstage Magazine. I cast her in CHERRY and she has been seen on UNITED STATES OF TARA and is currently recurring on MAD MEN. A total professional, a lovely person, Zosia has a huge career ahead of her.

« Previous Page — Next Page »