Flying out to DC tomorrow to finalize casting for Leia’s Army, a film about a teenage girl who attend the Women’s March in DC without telling her born-again-Christian, Trump supporter Mom. Be sure to follow us to learn more and learn about screenings!
And since listicles are still all the rage, here we go:
If I ask for clips or reels, do not send me your headshot without a clip or reel.
I get it. Actors Access asks that you pay to put a clip up there. But this is your career, and I can tell you it IS a worthwhile investment. Probably more worthwhile than some of the classes you take. Because I NEED TO SEE AND HEAR YOU. And if you really can’t swing it, look up my email address and email it to me. Now, I don’t need to be added to a Constant Contact list, I don’t need updates from you, but I do need to see your video so that I can be convinced you may be right for the role I’m casting.
If I am looking for an 18-yr-old woman, and you are a 57-yr-old man, please do not submit for that role.
Chances are, I’m going to see your headshot and not — as you had planned — write a role for you. I just won’t do it. The bigger point is SUBMIT FOR ROLES FOR WHICH YOU ARE TRULY APPROPRIATE.
If you know I am casting or shooting in a certain city, and you live nowhere near that city, tell me that you are willing to travel and work as a local.
Let’s review what “working local” means in the film and TV industry. It means you are able and willing to pay for your own transportation and lodging. It means you will not require per diem. If this is not possible for you, or part of it isn’t, do me the courtesy of telling me that. Believe it or not, my producers need to know this. If you live in California and I’m shooting in New York, and you can’t pay to work as a local, please do not waste your time. It’s not that I don’t like you, it’s that movies have set budgets made way before the casting period that we have to adhere to. Unless you’re a celebrity, it’s just not gonna happen. That being said, many actors consider travel a business expense, and write it off on their taxes (smart).
If there is something that would make you stand out, like FOR REAL, for a particular role, use the note feature or include that information in your email.
I read notes. I love notes. It doesn’t take me long to read notes and sometimes I find useful information in there, such as the website where I can find your reel, or that you are able to work as a local. Again, don’t bombard my inbox, and I don’t need your life story, but leaving a note is a good tool for you. Here is a sample note that would work well:
“Hi, you can find my reel at http://www.myreelisgood.com. I can also work as a local and speak the foreign language required for the role fluently.”
Boom. That person is in. Here is a sample note that would not work so well:
“Hi, Thank you for considering me, I’m soooooo excited to audition for you!”
Huh? You don’t have the audition yet and you provided no information that helps me decide whether you should or not.
The bottom line
I think it helps to understand how the casting process works. There are a TON of submissions. Imagine a wall with 1,000 pictures that are the size of your nose. Yeah. That means we have to work quickly and decisively. I don’t have time to google search you, I don’t have time to watch an entire episode of ANYTHING, and I don’t have time (unless it’s a very hard-to-fill role) to personally write you and beg [again] for your video clips.
WE WANT TO HIRE YOU. We really, really do. Please just keep these tips in mind to make it easier for us to really see you and what you can bring to the project.
I first met Eleanor Coppola when I moderated a Q&A with her after a screening of her latest film, “Paris Can Wait” (opening in Chicago theaters May 19). Usually when I moderate these events, I meet the filmmakers, we have a blast during the panel, grab a beer afterward, and I wish them all the best on their next screening. But there was something about Eleanor that was different. When you have a conversation with her, she really listens to you. She takes your questions to heart and gives you genuine answers. I soon realized these are all qualities that go into her being a great filmmaker. She probably connects this way with everybody on set, and it shows in her work. As a film director, I’m always looking for people I want to emulate and write about, so I set up an interview with Eleanor. I hope it inspires you as much as it did me.
Oriana: As I had mentioned at the screening, I am the Director of Programming for Women in Film Chicago. And, of course, we always take a strong interest in women filmmakers and how they got where they’re at, what obstacles they face, and how they see women in filmmaking in the future. So, I first want to ask you, how did you see yourself, before making the film, as a woman in the industry?
Eleanor: Well, I have to say, I’m not the usual person who lives in Los Angeles and is focused on film. I’m an outlier, really, because I live in the Napa Valley and I mostly made documentaries. I’ve made like seven or eight documentaries. But before this film, I was always on location with Francis’ films, or Sophia’s, or our son Roman’s films, and I am looking forward to the day when we as women don’t have to identify as being a separate thing. We’re human beings and we make films. I think I may have mentioned this to you in Chicago, I loved having this strong team of women for my film.
O: Right, you talked about your crew and how many of the main positions were filled by women.
E: Yes, which I was very happy about. It made for a wonderful experience. We worked well together, so very cooperative.
O: Is there something about being a woman, or is there some quality of womanhood, that makes you good at working on set with a bunch of people? You know, it’s a really complex process, and somehow women are able to do it pretty seamlessly.
E: I think women are, by nature, collaborators and peacemakers. I have three kids, and they’re always fighting and scrabbling, and you’re constantly trying to negotiate and make the peace and make it all right between them. You’re fixing things all the time between members of your family and really trying to make the peace. And when there are so many people on a crew trying to get their own department to shine, you’re constantly trying to balance and make the peace and collaborate. I think women are a little more effective at that than men.
O: It’s interesting you say that because as I’m sure you’ve seen in the media recently, there’s been some attention paid to how women are called “bossy.” You know, as soon as they have any sort of authority, they’re like, “Oh, well, she’s bossy” or even worse, “She’s a bitch.” But men rarely get that, even though they’re in that director position very frequently.
E: Yes, I mean, very occasionally they will be called a tyrant, or something, but, it’s kind of said affectionately. Or they’ll say, “He’s a genius, he just does things that way.” They direct from a position of authority, I think, and women direct more from the collaborative perspective, with exceptions, of course.
O: Do you think, given the attention some actresses have put on the studios to demand equal pay, that we’re moving in the right direction?
E: Yes, it’s just inevitable that people will, whatever their background, be judged on their ability. Regardless of ethnicity, or gender, or sexual orientation, ultimately, we’re human beings, and I think that realization is moving that way. It’s slower than we want. There are a lot of snags. Especially right now, we’re having a moment of confusion –going backward before we go forward. But I think inevitably, we’re going to go forward.
O: I wanted to ask you about the investment part of this because you mentioned it took six years to get the finances for your film. And from my vantage point, financing is definitely one of the major barriers to more women entering the industry. It’s just hard to get the investments. What is your take on why men are able to get the money faster than women?
E: Well, when you look around, most of the people who control the money, the people, the banks, the different financing companies, they’re still predominantly run by men. And they have a different perspective on what’s going to make money. It’s an investment, after all. They want to invest their clients’ money in what they think will have the best return. A film of my type, which has no car chases and no guns and no knives and no special effects and no robots and nobody dies of cancer, it may not seem like a good investment for them. So, I think I was walking upstream in that regard.
O: Yeah, it’s interesting. I think I mentioned this to you, but the film that I’m trying to shoot in Sicily, is in a way, very similar to yours. It deals with the inner woman, her conflicts and some of the things that go on inside of her emotionally. My films are not always car crashes and apocalyptic situations. And it seems that perhaps investors still don’t believe that women’s stories, and more importantly a woman’s inner story, can be just as important –and lucrative— as a car crash. Which, if you’ve asked a woman who’s had an emotional breakdown what it’s like, I’m sure “car crash” comes to mind. So, for your next project, would you still go down this route of true, emotional stories, or would you go with something that was maybe a little bit easier to finance, but also a little bit more car crashy?
E: I financed for myself two short films — I’m just finishing the second one now — that involve a 50-plus-year-old couple, but in two separate stories. And I just made them because I didn’t want to wait on others to finance them. You know, I may not have another six years ahead of me to wait to push something through, so I’m taking a sideways out and just making these short stories myself. I think everybody has to make up their way forward because it’s not a nice clear path for women. Everyone does it a different way. I mean, there’s Hurt Locker, which is very much a “man-style” film, and that worked for Kathryn Bigelow. I think Sophia [Coppola] took a different route, she told a story that was personal to her, and that film was well-regarded. I think women are trying to find their own ways to go forward in this business.
O: What would you say to the youngest group of women who have an interest in film?
E: I think the main thing is just to do it, to not sit back, but to go forward, whatever it is. If you want to be a filmmaker, get your iPhone out and just do it. Just keep moving because if you hesitate and wait for that perfect offer, it might take forever. Find your talent, find your passion, and just go in that direction any way you can.
She was breathtaking. How did she get into your head and embody the character you’ve so carefully birthed in a cold read? Jesus knows, but she’s the one. And of *course* she feels the same way you do. Of course she has identified your film as her breakthrough moment. She has been thinking of nothing but your screenplay for the last four days since the callback. She’s been awake at night, staring at the ceiling, sweating with anticipation for your film. So you decide to send her the email she’s been dreaming of and you just know it will be the answer to all her fragile prayers. And so you write:
Dear Fragile Actress,
It is with great honor that I bestow upon you the answer to your prayers: I would like to cast you in the role of “Moira.” I’ve decided to give you this opportunity to grow as a performer, to spread your wings and embrace the space that I create for you. In terms of payment, you will receive a copy of your scenes, bagels on set, and because you are SAG, we have decided to apply for the SAG contract (you’re welcome). Because of this, we will also defer your payment. I would also like to work with you in a safe environment in the form of three days of rehearsals, which are also deferred, in which I will make sure you know your lines and that you say them exactly as I say them in my head, and make you do the scene a million times even though we all know that the fleeting moments that happen in front of the camera are all that really matter, but I have worked exclusively in the theater world and I’m not really familiar with the differences between film and theater, but none of this matters because I am brilliant. I am thrilled to be directing you and look forward to your acceptance of these terms.
The only one of my graduating class, no, ALL graduating classes that will make it as a big-time director, you have no other possible job prospects, so clearly you’re going to immediately respond yes to all these fantastic offers Smith
No. Do not write this to your actor. In fact, if this is even close to what you were going to write your actor STOP. Let’s take a step back, take a breath, tell our ego to STFU, and re-assess.
“But I’m the most up-and-coming, ’emerging,’ out-of-the-box 22-year-old director in the world!” you think to yourself.
You sent it. Five minutes go by. No response from your actress. A day goes by, nothing. She must be dead, right? Finally she gets back to you with this response:
Dear Phenom Director,
Thank you very much for offering me the role. I am very excited to work with you. In terms of pay rate and schedule, my agent will be reaching out to you shortly. Looking forward to making the film with you.
Hardworking, professional actor Jones
Holy. Sh*t. No f&*king way. Who does this priss think she is? She should be thankful you offered her the role, even if you’re the one who desperately wants her to be in the film, and out of all the actors you auditioned, you chose her. She should be kissing your feet.
Thirty minutes go by, and you get this email from her agent.
Dear Phenom Director,
Glad you’ve chosen Hardworking professional actor Jones for your film. We would like to clarify her day rate, which is the SAG minimum $125/day + 10%, and the day rate for rehearsals. When you have production dates set, please let me know and we’ll schedule her. Looking forward to working with you.
Totally reputable and reasonable talent agent Myers
At this point, you explode. Physically explode. Like guts and brains everywhere explode. Here you thought you were going to have an artist-to-artist mutual love for your script, that this woman would be so enamored with your masterpiece that she would give up weeks of her life for you, and she refers you to her agent!?!?!?! What a heartless bitch. What an ego maniac. Doesn’t she realize that you have the upper hand because you are doing her a favor by giving her this role, and it is not the case that negotiations are reasonable here because there was never any intention of bringing any business elements into this project, and that the clips she was going to get from this project — not to mention THE BAGELS — are worth more than fair pay standards, and that she was going to take those clips and get discovered by Hollywood and become a star, and then she would come crying back to you one day, dropping to her knees, thanking you for giving her the chance to be in your film? Did she not realize all that?!?!?!
Dear director (and if you don’t have a producer, or your producer somehow thinks the way you do, get a legitimate producer, or fire that awful producer), this actor has every right and responsibility to discuss project hiring details with her agent.
For one, if she is signed exclusively to her agent, any work that she gets — even if it is an audition she got by herself and not through her agent — she has to pay her agent commission. The agent’s responsibility to the actor is to negotiate the best possible deal for the actor. If you really want to work with this actor, then the negotiated deal will be a win-win. She will be paid fairly, and you will pay what you deem her to be worth. If you deem her to be worth bagels, then chances are your production is not mature enough to shoot. If you at all think you are doing an actor a favor, and that you are being generous in hire said actor, then you need to go back to the casting phase, and find the actor worth paying.
Secondly, understand that the further up your career goes, the more you will be talking with agents. And I’m not talking just actors here. I’m talking screenwriter agents, DP agents, composer agents… pretty much everyone. Hell, you’ll probably want an agent at some point as a director. In any case, understand that this actor has chosen this field as a career, and as such should ensure that her work is properly compensated.
Thirdly, don’t get all squirmy when it comes to negotiations. I know you got into this for the art, but there is a VERY strong business component in film, and you better get used to it now or you’ll never survive.
Finally, don’t take it personally. Don’t let your ego tell you that she’s trying to take advantage of you. Don’t ask “who does she think she is?” Remember that she, too, probably wants distance from the business aspect of this — that’s why she hired an agent. Just get the numbers locked up so you can work on the art. And rest easy that if she didn’t like the project, she just would have said no thank you.
And for crying out loud, stop putting “food” anywhere near the word “compensation.”
I get it. You’re making a movie with – like – *no* budget. My god, what a crazy thing to do. No one has ever done this before. What are you going to do? OH, here’s a great idea. Don’t pay the people who are going to make or break your ability to tell your story. After all, actors are the most desperate people in the biz. They’ll do anything, right? And they don’t have any equipment to bring in, and most of the time they’re just sitting on set not doing anything, while the rest of us are moving machines around and wearing carpenter pants, why should they get paid? They should be HONORED to be in my movie.
Only now you’ve “hired” unprofessional actors, and/or you’ve belittled your actors by not treating them as professionals, and you’ve enabled them to lose a piece of their integrity, and you’ve assumed they are plug-and-play robots that will just show up and grovel at your feet, and… oh crap. Why aren’t they behaving professionally on your set? Why do they have a glint of “if I just get through this crappy movie, I’ll get something on my reel and finally get to do REAL movies” behind their eyes? Your movie shows that you didn’t work with professionals. It shows that you didn’t value the craft they brought to the set enough to give them a few bucks. And before you say, what craft? They’re beginners, they’re just lucky to have been chosen — THINK. You held an audition session, and you CHOSE THEM. So they must hold some value, right?
Now obviously, I’m not talking about situations where you and your friends decide to make a flick, and everyone pitches in a few bucks for beer, and you run the camera and do your thang. That’s a fun, creative, social experience. I’m not talking about student films, because that’s a learning experience, and the actors you’re using are learning their craft as well. I’m talking about when you are producing a movie that you intend to showcase with the goal of furthering your career as a filmmaker. I’m talking about when you have a producer (even if it’s you) going to vendors (even if they’re people you happen to be friends with) and creating a budget (even if it’s minuscule). In that budget should be pay for your hired actors.
Now some of you may be thinking — wait a second. My actors weren’t paid and they did an amazing job. Or — wait a second. I’m an unpaid actor and I acted my heart and soul out on that flick. Fine. But then make honest people of yourselves. Dear filmmaker, you are past the stage of student films. You are making films to display your vision publicly. You are making films to get on a bigger, better stage every time. Eventually, you will have to pay your actors, so just get used to that budget line now. The business aspect of this is inevitable. Accept it. You need to put money out there to see more of it in the future.
My favorite is when I see castings listed as “Paid” but it’s really deferred pay. Let me put this right out there. “Deferred pay” means the actor is going to see zero dollars. Because we all know your seven-minute movie isn’t going to make money. At least be honest about what that really means.
Many people will look at the SAG-AFTRA rates and say, “Gee, if SAG-AFTRA allows deferred pay under these contracts, then that must mean I should defer pay.” WRONG. SAG-AFTRA puts that in there to encourage filmmakers to use Union actors, but it doesn’t mean it’s a wise decision that will make your film better.
So what to pay? Well, the minimum daily rate for Union contracts that require pay is $100. Think about that. One Hundred Measly Dollars to make sure the Face that will Tell Your Story feels respected enough to Tell Your Story Right.
How to find that money? Guys, seriously? We have so many crowdfunding opportunities nowadays. IndieGoGo, Kickstarter, RocketHub, Peerbackers… Pick one and hustle.
Take care of your actors. Feed them. Pay them. Help them with transport. Bring your pride down. If you chose them, then you consider them an integral and invaluable part of your project. It means you cannot make your film without them. It mean they are just as important as any piece of equipment, any crew member, any pizza you order. For crying out loud, show them that you know that. The magic they will make for you is priceless.
And yes, this goes both ways. Actors need to learn to keep their integrity and resist doing every non-paying gig out there. Such a level of desperation will just bring everyone down. But that’s for another post…
You did your job. You booked a studio, got a video camera with a tripod. You settled yourself into your seat for 2 hours of auditions. And then she walks in. She’s exactly what you had pictured. Button nose, butterfly eyes, and wait… what’s that… her monologue was recited with the pointed, timed precision of someone who just finished conservatory? BINGO! You just cast your female lead! Only you forgot to have her do a cold read of your work or something similar, nor did you do a chemistry read with your leading man, and now you’re on set shooting your movie after you slaved and struggled to raise as much money as you possibly could, and you have an entire crew assembled, and all eyes on her — SHE SUCKS.
What happened? You forgot that, these days, monologues don’t matter for your film/webseries/pilot etc. You need to throw the material at your auditionees and see if they embody the character pretty much off the bat. Ever see an audition for network TV? It’s efficient. They don’t want to see a girl recite something she memorized for her 1st year conservatory showcase. They don’t care about that story or those characters. Those TV show creators want to see their characters brought to life here and now. That’s it. And to throw the actors a bone, I have yet to meet an actor who is elated when they have to do a monologue for an audition.* Why? Actors want to play as much as they possibly can. They too want to bring new characters to life. It excites them. They want to connect with YOU, the casting director. They want to please. And because doing a monologue doesn’t give them that opportunity, you will not see all that they can do for you.
And frankly, every time I see a film/webseries/pilot is seeing monologues, my confidence that production knows what they’re doing decreases substantially. It suggests production is out of touch, and good actors don’t bother with those productions.
*Theater aside, of course. That’s a whole other beast I don’t deal with here.