Tip #27: Effective auditions for both filmmakers and actors

By Dan Parkes (Director)

Some think auditions are intimidating. In my experience in both attending and holding auditions I have found that they can be quite the opposite. In fact auditions that are relaxed and fun are often more productive. Here are some great tips for both filmmakers and actors....

Filmmaker tips:

1. Take it seriously; auditions and casting can make or break a film.
2. Hold auditions in a large space with a waiting area outside if able.
3. Audition local actors to save on transportation costs, and assist with these if able.
4. If an actor is quite a distance, on-line or video auditions can save much time and money.
5. Narrow down the selection prior to the actual audition so you can focus on the strongest candidates.
6. Prepare well -have a well thought out schedule with breaks, and biographical information on each actor.
7. Provide glass of water for each actor.
8. Always film auditions -actors respond and look different through a lens and can be used for later reference.
9. Take notes during the actual audition on impressions or thoughts that you may forget later.
10. Leave at least five minutes between each audition to immediately discuss thoughts and reactions with the rest of your team.
11. Keep it as relaxed as possible; rather than an interrogation, have a conversation with the actor.
12. Do not spend a large amount of time selling the film concept or potential to an actor, unless the actor asks about it. Time is better spent seeing what the actor can do on camera.
13. If possible, give actors a short character description prior to the audition as this will help them prepare better.
14. Have an appropriate scene from the script that can be performed and if possible send it to the actor prior to the audition.
15. Provide some relevant furniture or props.
16. If able allow for improvisation so an actor can show their potential in the role.
17. Always use an experienced actor to play other parts (or as a reader), as this will impact on the quality of the audition.
18. If the role involves something extra (such as cutting their hair, or stunt work etc) this is the time to ask -not after they have been cast! Your decision could be greatly affected if they are unable or unwilling.
19. Never cast actors based on just personality or what they 'might be able to do'; the decision must be made based on what you have seen them do on camera and if this is right for the character.
20. Even if an actor is not right for the role, keep an open mind -are they right for another character not yet cast?
21. While rejection is part of being an actor, wherever possible give positive feedback and at the very least let them know when they have not got the part within a week or so.

Actor tips:

1. Be positive; see every audition as not only a chance to be cast, but an opportunity to be seen by those who may remember you later.
2. Always have some questions to ask the team (and not just about money or conditions) -you at least should show some interest in the production.
3. If you have not been cast for some time do not allow any bitterness to show; filmmakers do not want to cast a disgruntled actor.
4. If you do not get the role, remember that this is not a reflection on your acting abilities, but most likely that you were not right for the role.
5. If you communicate well in person and by mobile phone/e-mail, filmmakers will likely feel more confident to cast you.
6. If you have been given a scene from the script, bring a prop if possible to assist with your performance.
7. If you have an opportunity to be a reader for an audition -do it! This allows you to see what works and what doesn't from a safe position. And you may be cast in the film itself!
8. Finally, remember, the filmmakers are the ones who should be nervous, as they have the most difficult task, not you, so relax!

VIDEO BLOG: Episode 2

Brian Capron, most famous for his role as "Norman Bates with a briefcase" psychopath Richard Hillman in Coronation Street, reveals the best way to approach named actors to help raise the profile of a production, and what drew him to the role of the Mayor in the indie film Ambleton Delight.

With footage from their auditions, other cast members discuss how to ensure these are effective, and how casting as close to type can be a critical factor.

All of this and more, such as finding funding sources, is contained in episode two of 'How to Make a Next-to-Nothing Budget Feature Film' a seven part weekly series that explores 40 key factors involved in low budget film production by means of interviews with principle members of cast and crew, excerpts from the award winning film Ambleton Delight and behind-the-scenes footage and photographs.

To watch it in HD, right click on the player and select 'Watch on YouTube' and then select 720HD from the dropdown menu on the lower right of the player.

Tip# 24: Visually interpreting the characters

By Sinéad Ferguson (Producer/Production designer)

As a production designer you must create a breakdown of the characters, in the spirit of the screenwriter who created them focusing on how the aspects are translated visually. What we wear, where we work and where we live is a reflection of who we are. Therefore we must apply our understanding of the characters to order to create their environments. Each location is an environment that reveals the lives of the characters and provides an environment that surrounds and embraces the characters as the story unfolds.

There is a direct relationship between the environment and the characters. Every space has its own nature and character. One of the primary locations in the film is the restaurant and this is the environment that reflects John and Kate personalities. The “Amble Inn” while traditional and old, obviously steeped in history, also possesses subtle modern and contemporary touches that reflect and project that a younger couple lives and works there and has had a hand in the decor. The warm, inviting and comfortable atmosphere of the restaurant is also a direct contrast to the Kitchen John’s workspace ,which is almost clinical by comparison. Stainless steel abounds and it is very much a functional space, everything has its use and its place, it’s ordered and practical. The kitchen like John has a cool exterior however once you get to know them, you find that beneath that cool exterior, they are both warm and creative.

Another point worth mentioning is that not every character lives in a contemporary time frame some remain in the styles of an earlier era. As seen in Chris’ grandmothers house, in particular the living room where the colour scheme, furniture, soft furnishings, ornaments and plentiful doilies are quite dated and are reflective of the tastes of an older generation. Chris’ bedroom is also a reflection of Chris’ confusion over who he is.The room itself suggests it has remained relatively unchanged since he first moved in with his Gran as a young boy after his parents passed. We see their picture beside his bed, we see drawings he did as a teenager and a keyboard.Yet in the mix there are hints of what he aspires to be,via movie posters, a camcorder and filmmaking books.

The colour palette of the film and production design, is inspired by the village and Mother Nature herself in the surrounding landscapes. Colours abound in the English countryside. You see everything from, rich autumnal colours, piercing sky blues,stormy grey clouds, green rolling hills to the muted earthy tones of rustic lanes.

But how can you keep the design costs down to a minimum? In my final post on production design I will tell you how we did it.