Notes from Marco and Robb's Visit / Week 4 Updates

A few reminders:

-Production notebooks are due next week for Group A only! Please get in touch with me ASAP if you have questions or concerns about the notebook or your production!

-The following link is a location agreement that can be used in your notebooks! Thanks, Lacie, for providing this to the class!
Location Agreement Form

-NEXT WEEK: Read the rehearsal reading, found in Changing Directions AND please bring a current copy of your script to class next week. We will be doing an activity that requires everyone to have a physical copy of their script to work with.




NOTES ON REHEARSAL - From guest speakers Marco and Robb of Truthful Acting Studios:

CALLBACKS:

-Give actors a side from your script OR two contrasting sides from the script

-take out action and scene descriptions

-do not send the entire script, but give them the context of their side

-Improv: choose scenarios and “as if”s that are close to your project

-If you can’t decided who they should read for, give them two roles to prepare

-Callbacks are a time to push them, test them, see if they are someone you want to work with - not just someone who is right for the character.

REHEARSALS:

• “open mode,” a discovery period - this is a time to play and be open to suggestions
• There is no such thing as too much rehearsal, but actors can get stuck in a rut of doing lines and movements the same way over and over again. If this happens:
• open it back up to play mode
• (esp. for dramatic scenes) get them to push passed the target performance and get as over-the-top as they can (think soap opera acting). Then bring them back  down.
• DON’T FOGET TO PLAY! 

-The Process:

1. After they are cast - send them the full script IMMEDIATELY - give them at least a week with it.
2. Tell them to come the first rehearsal off-book
3. WORKING READ - actors sit down and read through the script together a few times. 
1. Do not direct/do no let them act! - this is about the actors really talking and really listening to each other. 
2. Do not let them look down at their scripts unless it’s their turn to speak and need a reference. 
3. The goal is make sure they aren’t thinking about what or how to say their lines, they are just listening to one another and talking. They should be becoming familiar with their scene partner and connecting with them.
4. LINE REHEARSAL - lines should be instinct, not memory recall for the actors. This activity will help strengthen that.
1. Have actors toss a ball back and forth, as fast as they can
2. While tossing the ball, actors should go through their lines as fast as they can
1. No emotion, just flat, inhuman line readings, as fast as they can
2. Make it hard! Focusing on the ball should consume all of their mental energy. Add extra balls or difficulty if it’s too easy for them
3. The goal is to help them exercise their line recall, so that is instinctual on set - they never have to think about what their lines are, they can be present in the moment.
4. Do this exercise at the beginning of rehearsals and on-set, as an actors’ warm up
5. The stress on the ball toss, imitates the physiological stress of a film set, where a nervous actor can easily forget their lines. So this exercise is also a way to condition them to handle on-set stress better.
5. After lots of working reads - give the actors to opportunity to stand, if they wish
1. Do not rush the rehearsal process! Go slow
6. Remember that rehearsal is an open-mode process, but principle photography is a closed-mode process. DO NOT LEAVE ANY REHEARSAL TO BE DONE ON-SET. WORK IT OUT AHEAD OF TIME.

ON SET:

-Actors = emotional athletes

-Remember that good actors must be very vulnerable and sensitive to their surroundings in order to perform well. Find tactful ways to give constructive feedback!

-negative feedback will shut an actor down

-build trust on set, reassure them that you know what you are doing (even if you have to fake it!) - tell them you will make them look good!

-Always give some kind of feedback - never say nothing to them! even if it’s just “we got what we need, let’s move on.”

-If time, do a play take - have fun with the scene

WORKING WITH CHILDREN:

• Schedule lots of time for on-set prep and things to go wrong!!
• Take rehearsals in smaller chunks, don’t over work them
• Have parent of guardian at all rehearsals AND on set
• Keep it fun for them! Acting should be fun for all actors, but especially children
• Use theater games in rehearsal and for on-set warm ups. There are tons of books out there with game ideas.

STUNTS:

-Rehearse A LOT - if possible, get a stunt coordinator!!

-Establish very clear safety boundaries

-STORYBOARD EVERYTHING!

Character Descriptions Homework

I just wanted to quickly clarify what is due this Wednesday, in terms of character descriptions.

What is due:
A typed copy of the character descriptions for each major speaking role (this should be 4 or less for most of you) in the project.

Character descriptions are different from character breakdowns - they are short, concise descriptions to be used to in your casting call notices. The reading on casting discusses some do's and don't's for these descriptions, but the best way to see what they look like is to do some research!

Check out posts on casting call sites to get an idea of what generally goes into these descriptions. I've linked some of these kinds of sites on the right-hand side of the blog. Bear in mind that not every casting notice you see is written well or effectively. You'll see plenty of examples of what not to do! It'll take some critical comparison between what you've read and what you see to make that call for yourself. Try to sample a large group of casting notices to get a better feel for the best kinds of descriptions (i.e. don't just copy the first one you find!).

If you are continuing to struggle with what goes into your character descriptions, check out this article, which has some examples at the bottom under "Character BIOS."
"How to Write a Casting Call"

In general, your character descriptions should follow the basic format of:

Character Name, Gender, Age range or looks like  -
A brief description of some facts about the character that are essential to what you'll be looking for in the casting call. Give a brief (one sentence) description of the character's context in the story (if needed). Physical description - only if it's crucial to the story. Character attitude - helpful, but keep in mind that most actors will feel they can "play depressed, upbeat, etc," so it might cast a wider net, which means more work on your end, narrowing down the potentials choices. List any special skills that might be essential or preferred. List any special production requirements of the role, such as stunts, nudity, special makeup, etc.

If you haven't written your descriptions yet, try to reflect on what you saw last Saturday and how you might be able to target those actors with specific talents.

Your actual casting call notices must include information about actor compensation, shoot dates, and a further description of the project itself. HOWEVER, for your homework, I am just looking to see that you have the character descriptions worked out. Just turn in the character descriptions, with your name, the project name, and Producer, DP names, if you have them.

As always, email me with questions!

See you Wednesday!

Casting Notes!

For those who missed class yesterday or have already misplaced the handout :)  - here is a copy of what I covered in Wednesdays class.

Unfortunately, I had to blaze through this material at the end of class and could not spend as much time on it as I wanted to. At the casting session tomorrow, be sure to make note of any questions you have about the casting process. I'd like to spend some time talking about it next week.

Email or stop by my office with questions or concerns! Stay tuned for a post/email with the full info on the Casting Call tomorrow. In the meantime, here are some links to the info:

Page on Operations Portal

Facebook Event Page

Below is my notes about casting from class. For additional info, check out Jesse Wolfe's slides on the topic here: Wolfe on Casting

CASTING HANDOUT

September 4, 2013 - Casting Strategies and Procedures

Changing Direction pg. 75-99

BEFORE THE CASTING CALL 

1. Understand what you need/want
•  Your vision v. Collaboration - be open to happy surprises!
1. -what’s essential to the role?
2. -what’s essential for your director-actor relationship?
•  CHARACTER DESCRIPTIONS (Homework)
1.  Specific facts > descriptive prose
2.  Beware broad age categories
2. Understand the stakes - no time to recast!
• Consider casting backups/ have a plan B
3. Casting Resources
• Casting agencies/Talent agencies
• Casting Call websites

 AT THE CASTING CALL

1. Casting Mindset
• Unnatural process - empathize with actors
• Hyper-awareness 
1. Details about each actor
2. Sensitivity about your own behavior 
2.  Reading Headshots
•  Picture v. Reality
• Union member? Training? (Meisner, Strasberg)
• Special Skills (these can indicate special instincts)
• Look up/talk to people they’ve worked - training, references > experience, credits
3. What to Observe (as much as possible!!)
• Body language, eye contact
• Choices they make about the cold reading
•  Do they seem present? In the moment? ADJUSTMENTS:
1. What new choices did they make? Is it different? Counterpoint?
2. Did they listen? 
3. If you are interested in them, try to adjust them!

• Ask revealing questions - ex. What was the last film that you really enjoyed working on? why?
• What questions do they ask?

 CALL BACKS

1. Give actors the scripts ahead of time (see what they bring to your script!)
2. Introduce them, set a comfortable environment
3. Group actors to read scenes togethe
•  Do they have chemistry?
• Give chairs, what actions do they choose?
4. Schedule to minimize wait time
5. Camera test? 

DON’T LOOK FOR: “They’re perfect.”

DO LOOK FOR: “They have the skills, resources, craft to collaborate.”

CASTING CHILDREN

1. Creativity/Are they having fun? (acting games > readings, sometimes)
2. Response to authority
3. Attention span! 
4. Cast the parents

MONOLOGUES vs. COLD READINGS

Monologues	Cold Readings
Mostly theatre	Mostly film
Presence, projection	Choices made
Height of capability	Adjustable
Not adjustable (in theory)	How do they work with others?