FINDING ACTORS
Luckily for filmmakers the number of actors in the world far outweighs the number of directors. There are enormous amounts of amateur and professional actors who are available for film work. The problem is finding the right ones for your film. It is often a good strategy to try as many avenues as you can find and search as widely as possible, before beginning to narrow the selection down.
Advertising
Advertising for roles in your film can be an effective method of finding actors. There are several different domains where you can advertise, all of which can be worthwhile. You or your producer will need to put an ad together giving the details of the film and the specifics of the roles. Try and make it seem both as interesting and worthwhile as you can, and there shouldn’t be any need to exaggerate the scale or style of production.
When placing an ad, you should provide the following information:
Synopsis of the film
Breakdown of the parts available
Description of the characteristics of the parts
Description of any special requirements for the role (nudity etc)
Approximate estimation of how long the shoot will take
Approximate estimation of when it will take place
Specify where the shoot will take place
State whether it is paid work
State whether the film is self-funded or who it is funded by
What you require for application for the role (CV, head shots etc)
Contact information
Acting schools
Acting schools are some of the best places to place ads. You will often get a positive response from students and find a range of talented and motivated individuals, looking to showcase their potential. Equally, visiting local theatre productions will potentially give you an opportunity to check out people’s ability and find talent for your film.
Internet message forums
Internet message forums vary greatly. Many of them are designed for amateur actors and agents, as well as directors and producers. These sites are two dimensional, so that they provide databases for actors to post their CVs and head shots, and also allow productions to post advertisements looking for cast. This means that you can post an ad and also spend time trawling through the database for potential possibilities. Many sites offer filtering so that you can narrow down your search by gender, age group etc. Some sites require a joining or subscription fee, but this is often for posting your acting credentials, rather than posting an ad for work.
Internet databases
There are many professional Internet databases for professional actors. Some of them are directly related to actors’ unions and are run for the theatre and film industries. Because of this many of them will have substantial joining fees or charge fees for contact information. This can be a worthwhile investment as the quality of the talent on these sites will be worth paying for (see www.spotlight.com and www.uk.castingcallpro.com).
Figure 16. castingcallpro.com
Casting agents
Casting agents deal solely with casting actors for film, television or theatre. They can be extremely useful, often opening up possibilities that you might not otherwise be aware of. Casting agents will generally liaise with the producer and director to find out exactly what kind of actor or actress you want for the roles, and then use a combination of techniques to find the right actors.
Rather than simply undertake any advertising and co-ordination on your behalf, the casting agent will rely on an in-depth knowledge of actors and already be familiar with their talent and range. In addition to access to professional databases, this will allow them to narrow your search down very quickly. They will then organise castings for you to attend, and once you have narrowed down your search, negotiate with actors and agents over contracts and fees.
Narrowing down the selection
From applicants’ résumé’s and head shots, you should be able to create a shortlist of people that will be suitable for given roles. The casting director (if you have one) or you will then contact them with dates for a live casting.
Holding a casting
Depending how many roles and applicants you get, you need to decide on a venue, such as a rehearsal space, and methodically work out a schedule for arrival times so that you don’t leave people waiting indefinitely. Castings can be as rigorous or easygoing as you want. You can potentially email actors the script and then hold read-throughs of specific scenes at the casting, or simply ask them to perform a set piece that they feel comfortable with. If you are new to directing this may well be your first opportunity to start practicing your own communication skills and develop a working method with actors.
Callbacks
It is common practice to record castings on video. Together with any notes you have made, this will allow you to spend time going over the options before making your final choices. Sometimes the decision process can take a long time and you may feel that you need to hold a callback for a couple of roles, either later the same day or on another occasion.
Hiring actors
If the actors you choose have an agent or agency, then all negotiation of fees will be done via them. If your actors don’t, then you can work out fees directly. Even if your actors agree to work for free, due to budget constraints, you should still draw up a contract containing dates and times, as well as the terms of the agreement.
Release forms
Getting any cast members that appear in your film to sign release forms is mandatory. Whether a professional actor or not, they have to give written consent for the film to be publicly screened. Although this is often not an issue for screening at film festivals, any television broadcast will generally require copies of release forms signed by participating cast. (A release form template can be downloaded from http://www.kamerabooks.co.uk/downloads/.)
INTERVIEW WITH ROSALIE CLAYTON (CASTING AGENT)
Rosalie Clayton spent several years working for Nina Gold as a casting agent, before setting up her own casting agency. She has cast everything from theatre productions to feature films, and of course short films.
How did you become a casting director?
I first got into casting when I was working as an assistant director at a theatre. They had no casting system, they would see 30 people per role and as I already had a good knowledge of actors I just seemed to take over the casting process. Before I knew it I was no longer their assistant director I was their casting director. I really enjoyed casting and when a musical I cast called ‘Pageant’ transferred to the West End I decided to really go in that direction and worked for people in TV & film as a casting assistant before setting up my own company.
When a director or producer contacts you with a script, how do you proceed from there?
It is hard to put into words and I guess everyone has their own system but for me I read the script at least two times so that I can really make up a mental picture of the characters, their settings, etc. I suppose I put my own vision onto the script and characters completely – their mannerisms, their look, weight, everything, and then I talk with the producer and director to hear how they see the characters. If their vision is totally different I have to rethink the character completely. If their idea of the character is slightly different, I will bring in actors that both fit their idea and some who fit my vision. But many times I am able to bring in whoever I feel is right as long as they fit into the general age, etc. described and then through the audition process things may change.
How do you go about finding the right kind of actors for a role?
After years of going to the theatre three times a week I have a pretty good knowledge of actors out there so I will usually have a good list of who I would like to see for the role straight away. I also brief out to agents because they can really come up with some interesting ideas and remind me of people I haven’t seen before. If the part is really hard to cast I will hold auditions by myself of actors that have been recommended before pu
tting the good ones before the director and producer.
How does a casting normally unfold and how long do they take?
Sometimes a job you think will be a breeze will go on forever and sometimes what looks like the hardest job can be cast in a couple of sessions. It all depends on actors’ availability and how people work.
Once the director has chosen actors for the various roles, what is the next step?
I call the agent, check they are available and if so I book them. Once money and dates have been agreed I send a casting advice note to the production company, which outlines the payment and special stipulations, so that they can send out a contract.
Is there a standard rate for actors?
Not any more. It depends on the nature of the project. But things have changed so much in the last few years re fees that you can never tell which actors will do what for what money. I think for short films it is always good to pay something if you can – even if it is only £50 per day it makes a big difference. Like all things, the more money you can pay the better but most actors know that short films are made on little money and are happy with expenses.
What about the hours you might expect them to be on set, is there a standard limit?
It depends. Ten-hour days is a good limit if people are doing you a favour.
Do you do the negotiation over fees with actors’ agents or is this up to the producer?
I usually do the deals – it is easier most of the time because I will have a relationship with the agent and it is my job to know what the actor has done before and therefore what we are negotiating on.
Is there a standard contract as far as hiring actors for short films is concerned, and what kind of information is normally included?
Equity have a sample short film contract but as long as there is something in writing outlining the fee, usage, travel arrangement and accommodation if needed, it works.
What happens if an actor doesn’t have an agent?
The same process happens but directly with the actor.
Do you ever go on set during a production and why?
Yes, if I have time, it is good to follow through on things and make sure everybody is okay and happy with each other.
What can the producer and director do to make your life easier?
It is a massive help when the producer and director know what they want. If they direct an actor in auditions to get what they want rather than expecting their vision just to walk through the door then it’s a godsend for both myself and the actor. Actors are not mind readers and they need pointing in the right direction sometimes to play the role the way the director wants. The reason I will have brought them in is because I think they can do that but it may need a little work.
What advice do you have for directors and producers who are trying to cast for a short film?
Get help with casting if you can, put breakdowns in publications, audition actors to find the right person for the job, and if you feel the need to go with a ‘name’ aim high but be realistic. You can get some lovely actors to work on your project but it takes a while to put all that into place.
How would you go about finding a casting agent for a short film?
It never hurts to approach casting directors whose work you have seen and liked. If they don’t want to cast your project they may have an assistant who would love to or they may recommend someone. Ask other producers who they have used.
9. WHERE TO SHOOT YOUR FILM
LOCATIONS
Finding the right locations to shoot your short film can be as straightforward as using your own home, or as complicated as hiring a whole street.
The first step in finding the locations you need for your film is to look at your script and your storyboard and work out the type of environment you think suits the story. Then begin scouting for those types of locations. The earlier you start this process the more likely you are to find what you are looking for. The perfect location, however simple, can make a huge difference to your finished film, reflecting the mood of the material and emphasising characters’ actions.
SCOUTING
There are two ways to scout for locations, either through databases or out on foot. Which you choose will depend on the needs of the film and the budget you are working with.
Location databases
Location databases come in all shapes and sizes. Depending on the region you are planning to shoot in, there will probably be a range of location services including catalogues of potential film locations either at their offices or online. These are often run as businesses or will be a facility of the local film commission for that area. A location database that runs as a business willoften charge substantial fees for securing a location through their outfit. This is extra to the daily rate of hiring the location from the owners. This means that you might not have a chance to strike a deal with the location owners, as it will be brokered by the agency. Unless you are on a substantial budget, it is much more practical to do your own research.
Figure 17. Online location database at www.locations-uk.com
Local film commissions can be very knowledgeable about locations you might be interested in. They will also have extensive databases of locations that have been used for filming and a good idea of how much they will cost to hire. Based on both the needs of your film and your budget, they should be able to point you in the right direction.
If you are shooting within your local area, then you may well be familiar with the locations you want to use. If you are shooting in another area then it’s a good idea to ask advice from people who are familiar with it.
Local councils will have knowledge of places available for filming and can also put you in touch with the relevant departments. City councils will have their own film officer who will be able to advise you on protocol for securing a licence to shoot on council locations.
If you opt for privately owned buildings you can secure permission and negotiate fees with the owners, while public places or buildings will require you to contact the governing authority.
RECCE
However good a location may appear in a photo or sound from a description, it may well not suit the needs of your film. Every location in which you want to shoot needs to be visited by at least yourself and your DP. Before you get to the stage of securing permission or paying a hire fee, you will need to evaluate whether it is possible to shoot the desired scenes there. Many locations may be aesthetically perfect for your film, but implausible on a practical level. These are the factors that you should consider when you recce potential locations:
Light
Does the location have enough available light to film in, taking into account the time of day you will want to shoot there as well as the dates?
If not, is it possible to light it artificially, bearing in mind that large locations need large amounts of lighting to light them? This is a crucial factor that your DP will have to consider.
Sound
What are the acoustics like? Is there background noise? Will there be any other noise at the time you want to shoot? Locations with bad acoustics can make sound recording difficult or impossible. Your sound recordist should be consulted and potentially recce any locations that you are unsure about.
Traffic
Busy public places are an extremely difficult place to shoot in. The variables that can occur while shooting multiply as soon as you add a crowd, traffic or busy street to the scenario, and quiet areas can easily have their own rush hour periods.
Power
You can run a camera from a battery, but any serious lighting is going to require a dedicated power supply. If you’re shooting exteriors, you need to see if you can draw power from anywhere indoors, or run from a generator. If you’re shooting interiors then the same applies (see lighting).
Space
Is there really enough to get your crew and cast in the same location along with your gear? You will need to set up some kind of unit base and access to conveniences etc. Is there p
arking for your cast and crew? Does this need to be arranged? Is it possible to get your equipment to the location if not? Remember that cramped working environments make a difficult job harder.
Short of using your own place or borrowing a location from a friend, most private locations, whether you have hired them for a fee or not, will need you to provide accurate information about the nature of your film as well as provide proof of insurance for the location.
Licences
Filming in public locations requires you by law to liaise with the local authority and the local police department. Many local types of council will require you to apply for a licence that will then permit you to film in a specific area.
Short Films Page 6