2003

MAY

Don't Rely on Charlie

Your past experience with an actor doesn't necessarily determine whether or not they are perfect for your new material.

You may be thinking, "Charlie was great in the last video. Why don't we use him again?" But just because he was good for one role doesn't mean he can do all roles.

Charlie may be a great narrator, but can he play a serious role that requires strong acting? Or a comedic role that requires a certain timing? Charlie may have gained a lot of weight since you worked with him last, or shaved his head or grown a professorial beard (that he must keep for a commercial he's shooting after your job).

And do you really want Charlie in every one of your videos?

If you want to reuse an actor:
1. Audition the actor again (You don't need a casting session for that.). It's important to hear them doing the new material.
2. Conduct the audition in person, without a camera. Then you'll really know if Charlie is right for this role. If not, you gave him a shot and you'll bring him in again when the role is right. If yes, you can feel confident and there will be no surprises.

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JUNE

Find me a Host For A Live Event

Remember Dear Charlie?

He was a great host for that video on teen violence.

But put him before a live audience and the poor man has no stage presence.

Ralph, on the other hand, has a lot of charisma on stage but can't tone it down for a video.

There is no such thing as the perfect "Host." What is perfect in one venue may not work in another. That's why it's important to define the role and duties of your Host before you start your search.

1. If you need a host to introduce the speakers, relax the audience and make them laugh,don't even think of hiring a stand up comedian. They're fine with their own material, but if you give them a script written by someone else, they are rarely funny. It's better to hire an actor with humor, who understands the rhythm of the piece or hire the stand up to write his own act and perform it.

2. If you need a host to interview people, read the teleprompter and basically do what they do on "Good Morning America," then don't hire an actor. Many actors can read lines like a newscaster, but you know they are reading lines. They are "acting" as a Host, but that's not "being" a Host. It's better to hire a host with some real broadcast experience.

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JULY

Casting Chemistry

What is that special ingredient in actors that you can't see, but know is there?

It  can make  the dullest script seem interesting.

It can make a funny script sparkle.

It's chemistry, it's alchemical, it's impossible to create,and difficult to cast.

But you can find it. Here's how:

1. Ask an actor, "Is there anyone special you like to work with?"
2. When people come to an audition, note who they go over and say "hi" to.
3. Bring in a husband and wife. This may not always create chemistry, but if they met through acting, chances are it's there. If not, they will tell you.
4. If an actor belongs to an improv group, find out who they enjoy doing improv with.
5. Keep a  personal list of people who have worked well together in the past.

All good actors can work together and make it happen, but that special something is rare.  When you see it, note it.  And pay attention to all divorces.

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AUGUST

Casting Tip:   Stunts

As Action films dominate the big screens, the same is happening in corporate presentations and industrials, particularly in the area of General Session openers for major sales meetings. You need to create a splash..something extremely memorable.

For that you may need actors to perform stunts.

Here are a few suggestions to help you cast stunt performers.

1. Define the stunt. If it's juggling, you won't need a stunt coordinator, but you will need an actor who really juggles (3 lemons is not juggling).(It's amazing how many actors list stunts among special skills an when questioned about them admit their limitations.). If it's a fight or blowing up a building, you will need a stunt coordinator.
2. Check with SAG for their list of stunt coordinators and the actors they work with. Whether the actors are physically right for your project and can act the role is another question (This is where a casting director can help.)
3. Make sure the stunt performer understands the nature of the stunt. If it's a skill like riding a motorcycle, ask if they can do wheelies or run the tires. These are feats that show a real expert.
4. Have the actual motorcycle (or other prop) at the audition and see if they can really do it. That's the surest way to find out if they're for real.

Here's a link for more info: www.stuntplayers.com

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SEPTEMBER

Celebrity-look-a-likes

Although the question of using a real celebrity doesn't come up that often in a corporate video, the need for a celebrity-look-a-like is quite common, particularly when I cast for training videos and live hosts for sales meetings.

The companies that specialize in real celebrity-look-a-likes represent people who are not in show business. They just happen to look just like a particular celebrity or television personality, and they are perfect if you need them for a photo shoot or to enter the room and shake hands, or even to give out an award.

But don't ask them to act or to host a show. They're lawyers and plumbers -- not actors.

They are also very expensive. 

Not only must you pay their fee (which is high), but you usually have to fly them in (with a spouse!) and pay for all of their expenses.

Here's an alternative: cast an actor who understands the rhythm and mannerisms of the celebrity you need and who, with a little creative tweaking, can actually look like the person.

To see what I mean, go see the film, American Splendor.  An actor named Jeff Peters is playing David Letterman.

I met Jeff when I was asked to find a David Letterman look-a-like to host a live corporate event in New York.   At that time I couldn't guarantee that there was such a person, but I told my client I would do my best to try to find one.

I placed an ad for an open call in Back Stage and a gal came by with a picture of a friend of hers who was on jury duty and didn't think he could make the audition.  I wasn't impressed. His picture hardly looked like Letterman.  But at the 11th hour, Jeff was able to make the call. He sat down, we talked and......

Well, just go see American Splendor. 

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OCTOBER

Voice Over Casting……..Technology Worth Noting…

When casting a voiceover, I’m often asked to gather existing tapes and CD’s of the talent to simplify the process.
 
But this only works if the producer or director already knows the talent and wants his/her client to hear them.
 
Otherwise I highly recommend hearing the talent read the actual material. In other words, hold a casting session. Why go to all that trouble just for a voiceover?

1. You can compare several voices reading the same material 
2.  You can hear the actual voice and not a finished piece already produced and edited
3. You will be introduced to new talent, which is always important in case your favorite narrator is not available.
 
While casting a voiceover session recently, I found an excellent resource called “VoiceBank” www.voicebank.net. Their service allows you to post your completed session or edited choices online so that your client(s) can immediately download the session to their PC .
 
No more FedEx-ing of CD’s and audio tapes. Plus, if several people in various locations are in on the decision, they all have access, simultaneously.
 
For this to work, you need to cast in a studio that has an account with VoiceBank or, if you do a lot of voiceovers and cast them yourself, you can open up your own account.

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NOVEMBER

Casting Children

I've been casting a lot of children for projects like “How I Grow,” an educational film sponsored by Pampers showing a child’s developmental growth from 0-24 months; “Glaxo Kids,” an improvisational video asking kids from 6-15 questions about medicine; and the dubbing of a French feature “Michael Valliant."

Here are a couple of things that came up in the process that I wanted to pass along, in case you find yourself casting children.

Casting children is like casting adults except:

1. If the child is of school age, auditions must be held after 3:00pm.
2. Children come with parents, siblings, and grandparents. So you need a facility with a large enough waiting room (My prescreening of talent can help to minimize the flow of traffic.).
3. The parents’ attitude can be as important as the child’s. I always have my assistant observe behavior in the waiting room.
4. Children change rapidly so if a child you met 6 months ago was perfect, better meet them again to be on the safe side.
5. Union Rates for kids are the same as adults. However, there are additional guidelines depending upon the age of the child. These conditions are not available online, but if you are interested, I’m happy to snail mail them to you.

March 28, there will be new State legislation concerning child performers and I will keep you informed.
http://www.actorsequity.org/TheatreNews/pass_child_act_06-24-2003.html

There’s so much more to be said about auditioning young performers, but I’ll keep that for a later tip. If you have any questions, comments or horror stories concerning child performers, please email them to me.

Just a reminder: As of November 1st, union rates for actors have gone up slightly . Go to www.selectivecasting.com and scroll down to Rates and Fees for the latest union rates. Remember that SAG and AFTRA have the same rates.

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DECEMBER

More About Casting Children

I had such an enthusiastic response to my Casting Tip on children, I thought I would give a little more insight on the process.

Ideally when casting a child you are looking for
A child who begged his/her parents to act..
A child who follows directions well.
A child who is not afraid to go with strangers (a tall order given the present climate, but these children exist).

Breaking it down to age groupings:
1. Casting infants is about look and a comfort in going to strangers.
2. Casting toddlers is about look, comfort in going to strangers and following directions.
3. Casting older children is about all of the above and making lines sound real.

Acting training for a child is not important and can damage a child’s natural instinct

I recall an adorable actress who was 7 years old and really wanted to act. She was wonderful. Two years later I met her again. She had studied acting and was now into gestures and saying the words a certain way. Her natural instinct had been destroyed.

Most children, if not shy, can be wonderful actors, at least for a while. And when they grow up if they can keep their child like wonder and learn some good technique, they can become artists.
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An example of natural talent
I met Liam Aiken when he was 4 years old. He was too young for the project that I was casting at that time, but to me he was an extraordinary little actor.

Two years later, I was casting an indie short “I Remember” by David Chartier and Avi Weider, I was given the challenge to cast one character at the age of six, fifteen and twenty-five, as well as to cast his father and grandfather. To see the result, go to www.selectivecasting.com under Producers click “Our Unique Methods”. Then scroll down to the bottom...

Now go to www.google.com and type in: “Liam Aiken” and see what a little star he has become. When they have it and want it and are left alone to be themselves, it can happen.

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