Basics to bring to the casting session:
- Pens
- Clipboard with notepad for actors to sign in
- Beverage for yourself
- Sides (extra scripts for the actors to read from)
- Video Camera, DV tape (or whatever you’re using) and tripod (optional)
- Signs directing auditioners to the proper room & Scotch Tape
- A sign that says “Audition area: Please be Quiet”
- Folder for each roll (to hold headshots)
- Notepad
- An assistant (another actor friend works well)
- The Director (sometimes)
Most of the items up there are self explanatory, but a few are not.
When you arrive at the casting location, scope out the place. If you get lost heading to the right room, be sure to tape signs up (check to make sure it’s ok with the building) in those spots where you made a wrong turn because I’m sure others will do the same.
Leave the Sign-In clipboard and extra sides (except for one set of sides for yourself) outside in the waiting area by the door to the audition room. The sign-in clipboard should have blank piece of paper. Write at the top line “Name” followed by “phone” “email” “Time in” and “Time of Audition”. Tape the “please be quiet” sign on the audition room door.
By this point in the producing process, things are moving fast and you will be given 800 headshots of blond, pretty 20-something females with long hair and similar names. You will want to know the order in which they came in, because often you’ll say at the end of the session, “I really liked the one from Florida who did that piece about the ex-boyfriend. I think she was the 6th or 7th person to come in.”
Also, you will be able to see who came early and who came late to the audition. Someone might have given a great performance, but if they are two hours late for their scheduled time, are you sure you want to risk the same thing happening on the day of the shoot?
Of course there are other ways to remember whom you liked. I make notes on the headshot “Good British accent. Monologue about grandmother. Good comedy,” on the notepad I keep in the room with me. Each folder should be labeled with the roll from the script and each headshot should go in the proper folder. This is my system for staying organized, and I like to do it this way because after the project is over, I can just slip that folder into my filing cabinet and the next time I need that type of character, I can simply pull actors from that folder, even if it’s 3 years later.
Call people into the room in the order they arrive, based on the sign in list.
Chit-chat and make small talk with the actor when they first come in to make sure they’re friendly and sane. This is very important because you only want friendly, sane people on your set. I will work with a bad actor that is friendly, sane and responsible, than a brilliant actor that is an irresponsible, insane jerk. Other producers sometimes disagree with me (especially if the brilliant actor is famous), but I’d rather get the project made and have fun with it, even if it’s not as good, than have a great performance that cost me pleasure, money, time, and other important production values.
Focus the camera in a medium shot of the actor (head and shoulders). Tell the actor his/her frame. Turn on the camera.
The actor will slate (say their name and phone number). If they don’t slate, request a slate (another way of finding the actor after you’ve seen 800). The actor will start to read the roll from the sides. Have your assistant read the other roll(s) with the auditioner. You could read the opposite roll yourself, but I find this takes my attention away from the audition (and usually shifts it to my own performance.) If you do have to read, you will be able to watch the audition tape again later with more focus on the auditioner’s performance.
Of course, if you’re doing the opposite roll in your movie, you’re going to want to do a second read-through with the auditioner to see how you two play off of each other. Chemistry is important. This is a good reason to have the director in the room because she will be able to observe the interaction between you two more objectively than either of the actors doing the scene (though both observations are important).
If you like what you see so far from the auditioner, you may want to ask the actor to perform a monologue. All actors should have at least two monologues ready to go, so this should be a relatively easy request for them. This will give you a chance to see how they do with material they know forward, backwards and upside-down. If the monologue is not good, that could be a good reason to say no to casting them. Some people are excellent on-the-fly auditioners but not so good once they get on set or at really going deep with the material.
Other things to look out for: Did they stay in frame (on camera)? Did they use the frame properly (too big/too small/too animated in the face)? Did they vocalize properly (this isn’t theater so there is no reason to project across the room)? Did they react to the other character’s dialogue (acting, as they say, is reacting)? Were they able to follow direction if any was given?
Before they leave, thank them for coming in and confirm that they are available for all the dates you posted. They probably would not have taken the time to come to the audition if they were unavailable (though auditioning for anything does get them in front of people who can cast them of other projects), but it’s a good idea to confirm their schedule and write on the headshot that they are available.
Be aware, they are not fully confirmed until you tell them they have the roll. I have lost a few of my first choice actors because I waited an extra day to call them and they had already booked another job. I have learned my lesson well when it comes to this.
