Why do 90% film students & fellow filmmakers from prestigious film schools worldwide remain unemployed?
The first prerequisite of a filmmaker, director or any film professional is, Communication & Soft Skills; reason being, it is the first attribute that is visible to a superstar or a producer or a studio-boss, that will bankroll or put on tracks your first big-budget film! Do you have the desired 'Comm & SoSk'?
A
workshop on developing the skills w.r.t. Cinema & Media Industry is
available in all contact classes of Film-Educator, Amit Agarwal,
worldwide. The topics covered are:
7 C's of Communication
Articulation
Non Verbal Communication
VIBES, BODY LANGUAGE – The Unconscious Communication
Mind Mapping
Voice Modulation
AIDA Model
Vocabulary
Writing an email to a producer for work
Interview & Group Discussion
Employers Expectations
Importance of Presentation Skills
Hiding emotions makes an Effective Communication?
Fake Accent
7 C's of Communication
Articulation
Non Verbal Communication
VIBES, BODY LANGUAGE – The Unconscious Communication
Mind Mapping
Voice Modulation
AIDA Model
Vocabulary
Writing an email to a producer for work
Interview & Group Discussion
Employers Expectations
Importance of Presentation Skills
Hiding emotions makes an Effective Communication?
Fake Accent
The author, Amit R Agarwal is sharing with the readers a Casting Note & the Audition process, it is the first job after the scripting, and 90% filmmakers are at fault at this stage itself, forget about them making a film!
Casting Note
Casting is the most important part of a film, once the director has locked the script. Internationally, castings are done through Casting Directors, however, with more and more filmmakers trying to cut production-costs, casting on social media or through your network is fast replacing the need for Casting Directors. The most vital tool to cast on Social Media is - The Casting Note.
The knowledge of "how to write a casting notice" for your project is important because it is the first impression of you, it gives to potential actors.
Many a times, since the Casting Note is out on Social Media, and is seen by a huge network - potential investors too get interested in investing in a project based on the professionalism mirrored by your casting note!
The knowledge of "how to write a casting notice" for your project is important because it is the first impression of you, it gives to potential actors.
Many a times, since the Casting Note is out on Social Media, and is seen by a huge network - potential investors too get interested in investing in a project based on the professionalism mirrored by your casting note!
So writing a strong casting note is all the more important. While writing a Casting Note, one should remember - Filmmaking is such a detailed process, that the details should run through each stage of production from pre-production to post production!
While, it is a fact that there are no set rules in film-making or in learning cinema - still experience teaches what not to do while making cinema or any form of filmed content. So let's begin with how not to write a casting notice with a dummy Casting Note - "We’re Looking for male and female actors playing age 25-30 years for a short film. We can't afford to pay you but you will get, credits and international exposure through film festivals. The story idea is very innovative & out-of-the-box and we’re looking for actors who can nail it with strong performances." Please send headshot and resume to ________
Chances are this Casting Note will only generate response from a handful of out-of-work actors, as it doesn’t outline any of the vital info, thereby creating a doubt amongst potential actors about the legitimacy of the project.
REMEMBER - a strong Casting Note should be such that actors should vie with each other to respond, even without meeting the film-makers in person, that's the power; it should accomplish the following:
1. Excite actors to want to get involved in your project
2. Communicate details like - shooting dates, production company, union vs. non union, etc.
3. What is in for the actors - (how is the casting lucrative to them)
4. Provide character information
5. OPTIONAL - Provide a short project synopsis
An ideal Casting Note would be something like this
(A sample note without any commercial implications):
Production title: 69 Opposites Attract
Union / Non-Union: Union
Production Type: Mainstream / Independent / Guerrilla
Project length: Feature Film (75 minutes)
Project format: Digital Full HD
Production location: New Delhi, INDIA
Production Company: Popcorn Flicks, India - Le Monde Pics, France - Obscura Ent, Brazil
Company website: Insert website here
Director: Amit R Agarwal
Primary Producer: Popcorn Flicks
Compensation: No
Auditions: May 24, 2016 1200hrs to 2100hrs.
Audition Location: Hall 1, Popcorn Studios, Noida
Call Backs: June 3rd, 2016 (Whatsapp message)
Filming begins: July 15, 2016
Filming concludes: July 30, 2016
Shooting Location: Delhi, Jim Corbett, Paris & Sao Paulo
Passport - Required
Email: __________________________
Principal Characters:
[Kaili] [GENDER: FEMALE] [AGE: 21-25] Kaili has just broken up with her boyfriend. She warms up to a guy, Sumit; everything goes fine till her ex comes back.
[Sumit] [GENDER: MALE] [AGE: 23-27] Sumit is a go-getter; he doesn't believe in love; however, once he falls in love, he is a changed man. He is very emotional about Kaili, he gets a jolt when Kaili wants to patch up with her ex.
This Casting Note (second one) is stronger and provides substantial info, and though both Notes mention to actors about NO PAY, chances are even experienced actors will be interested to audition for the Casting Note that details the second project!
Try the two Casting Notes yourself; it will be a great learning experience as aspiring film-makers.
Auditioning Actors
An audition is a sample performance by an actor, singer, musician, dancer or other performing artist. It is a very intricate process and helps a director determine and decide whether to cast the actors for a part or a role or not.
Internationally, there are audition experts to coach actors over-and-above the acting coaches or acting teachers as taking an audition is an art where it is not necessary that even if you are a terrific actor, you will do it well. Many a times average or below average actors are cast for a role, while supposedly genius actors are chucked! Most of the thinking actors today, get into the director's mindset to get cast, and it work wonders for them, putting them on the course of a successful film career.
So, what is a director actually thinking while auditioning actors -
GETTING INTO THE MIND OF A DIRECTOR
Most Directors are very passionate about their film, and since script is the first component of any film - script is the first love of a director. In fact, a lot of actors complain to me that the director is not letting them change the lines of the script or improvise on the scene written in the script.
So, when a director gets final-draft of a script, the script is already read by him/her like 100 times; he/she not only knows all the characters but have visualized them as well.
The Director, with the script and complete with character breakdown list meets the producer and if they are hiring - the casting director. In this vital meeting details of casting are discussed. Meticulous directors, give the casting director, character traits and specific looks of the characters as well.
The Casting Director then shortlists the actors that fit the profile of the character (using previous bank or doing video-clips of new actors) and send the shortlist to director together with photographs. On the audition date, the actors arrive at the venue and a part of the script is given to the actors to audition!
Now, great directors are those who put their actors at ease, because even the best of actors suffer nervous pangs, as actors are mostly moody people. Putting an actor at ease , relaxes the actor, helps the actor focus and helps the actor see director's positivity and want the actor to work with the director - result actor puts in an extra, sincere effort, in the performance.
If a few aspiring directors out there don't agree with me, try putting yourself in actor's shoes, the audition, can be a terrifying exercise for any actor. It takes a lot of guts to walk into the audition room after like waiting for the entire day or if the actor is first on the call, as soon as the actor arrives - mug-up the dialogues in 5 minutes and to perform, act or simply, show your stuff - in front of total strangers - who have the power to make or break your career. So be patient with actors!
At the same time, any audition is tough for a director - there are so many bad actors masquerading as 'ACTORS', wasting your precious time. The bigger catch however, for a director is - to decide, in less than 5 minutes, right actors for a particular character. Tough job, ain't it - here are three qualities a director should look in an actor while auditioning, explained -
1. The look of an actor
Experience says that almost forty percent job of an actor is done, as the actor walks in the room, the look, the gait, makes first impression on any director. The actor doesn’t have to say anything – if they look even 40% of the character, they should be shortlisted.
2. The range of an actor
Range as in their range as an actor - are they good in emoting, comedy, drama, rom,ane, action - can they act, at all? How believable are they, when they are in a tense, tragic scene? Understanding the range of an actor is of utmost importance
3. The ability to take direction of an actor
A good director always give directions to actor, while auditioning - how receptive was the actor in taking directions; because if an actor can't take directions in a 5 minute audition, how can the actor take directions for 8 to 10 hours for 30 days!
GETTING INTO THE MIND OF A DIRECTOR
Most Directors are very passionate about their film, and since script is the first component of any film - script is the first love of a director. In fact, a lot of actors complain to me that the director is not letting them change the lines of the script or improvise on the scene written in the script.
So, when a director gets final-draft of a script, the script is already read by him/her like 100 times; he/she not only knows all the characters but have visualized them as well.
The Director, with the script and complete with character breakdown list meets the producer and if they are hiring - the casting director. In this vital meeting details of casting are discussed. Meticulous directors, give the casting director, character traits and specific looks of the characters as well.
The Casting Director then shortlists the actors that fit the profile of the character (using previous bank or doing video-clips of new actors) and send the shortlist to director together with photographs. On the audition date, the actors arrive at the venue and a part of the script is given to the actors to audition!
Now, great directors are those who put their actors at ease, because even the best of actors suffer nervous pangs, as actors are mostly moody people. Putting an actor at ease , relaxes the actor, helps the actor focus and helps the actor see director's positivity and want the actor to work with the director - result actor puts in an extra, sincere effort, in the performance.
If a few aspiring directors out there don't agree with me, try putting yourself in actor's shoes, the audition, can be a terrifying exercise for any actor. It takes a lot of guts to walk into the audition room after like waiting for the entire day or if the actor is first on the call, as soon as the actor arrives - mug-up the dialogues in 5 minutes and to perform, act or simply, show your stuff - in front of total strangers - who have the power to make or break your career. So be patient with actors!
At the same time, any audition is tough for a director - there are so many bad actors masquerading as 'ACTORS', wasting your precious time. The bigger catch however, for a director is - to decide, in less than 5 minutes, right actors for a particular character. Tough job, ain't it - here are three qualities a director should look in an actor while auditioning, explained -
1. The look of an actor
Experience says that almost forty percent job of an actor is done, as the actor walks in the room, the look, the gait, makes first impression on any director. The actor doesn’t have to say anything – if they look even 40% of the character, they should be shortlisted.
2. The range of an actor
Range as in their range as an actor - are they good in emoting, comedy, drama, rom,ane, action - can they act, at all? How believable are they, when they are in a tense, tragic scene? Understanding the range of an actor is of utmost importance
3. The ability to take direction of an actor
A good director always give directions to actor, while auditioning - how receptive was the actor in taking directions; because if an actor can't take directions in a 5 minute audition, how can the actor take directions for 8 to 10 hours for 30 days!
The purists have always said, "A good performance by an actor happens when both the inner and outer self are portrayed. So when dealing with any actor, remember these three important words: Motive (what a character thinks-inner) Determines Behavior (what the character does-outer)
These are the basic rules for a director while auditioning actors.
Rehearsing with Actors
1. While rehearsing with actors, the directors who are good at directing are mostly well-prepared. They know their characters motivations, their ins & outs, their objectives. The setting of the film, the production-design, the budget - all these things determine the aspects for a director to rehearse with actors.
2. A good director always give a free hand to the actor to interpret the character the way actor wants during rehearsals, it is only when the actor goes astray that the director steps in and reins in the actor, to put him/her back on to the right path. The skill here is to let them show you what they have understood from your direction. Slowly meld your vision with theirs so it becomes something you are both excited by and ultimately the act stays true to your visualization.
3. Most directors think that pre-production is all about ironing out possible bottle-necks with technical departments; however intelligent directors spend an equal amount of time during pre-production with the cast. Their logic, the objective of pre-production is to ensure a smooth shoot when the cameras are rolling; actors are one of the most vital part in any filmed content; spending time with them, exchanging ideas go a long way during the shoot for a pitch-perfect shot, and actually saves time.
4. An extension to earlier point; spend time working on the script - this gives an actor a chance to pay attention to the meaning of the dialogue; in simple terms, of what is intended by the character that is speaking, the very intent of the character - experience have taught directors that each actor will bring in their unique intent to the same dialogue - this exercise is to bring in the intent of the character that the DIRECTOR wants.
5. Good directors spend hours with actors pouring through the words, to try and get the scene ‘off the page’ as soon as possible. In simple terms, it means infusing life into the scene with the help of the actor. The best way of course is to improvise the scene without the script in hand, many times not even focusing on the exact dialogue - this adds fluidity to the scene and makes the scene spontaneous.
6. Time is a scarce commodity today and has a cost attribute to it. Top directors plan rehearsal well and have a goal for each session. Two to three hours with each character is more than enough and gives the optimal productivity while rehearsing with actors
7. Never overdo the rehearsals with actors, as it kills the novelty value for actors to perform in front of the camera. Result - an actor might nail the scene during the rehearsals, but fail in front of the camera, because the scene by then has become mechanical. This happens many times in case of comedy films.
2. A good director always give a free hand to the actor to interpret the character the way actor wants during rehearsals, it is only when the actor goes astray that the director steps in and reins in the actor, to put him/her back on to the right path. The skill here is to let them show you what they have understood from your direction. Slowly meld your vision with theirs so it becomes something you are both excited by and ultimately the act stays true to your visualization.
3. Most directors think that pre-production is all about ironing out possible bottle-necks with technical departments; however intelligent directors spend an equal amount of time during pre-production with the cast. Their logic, the objective of pre-production is to ensure a smooth shoot when the cameras are rolling; actors are one of the most vital part in any filmed content; spending time with them, exchanging ideas go a long way during the shoot for a pitch-perfect shot, and actually saves time.
4. An extension to earlier point; spend time working on the script - this gives an actor a chance to pay attention to the meaning of the dialogue; in simple terms, of what is intended by the character that is speaking, the very intent of the character - experience have taught directors that each actor will bring in their unique intent to the same dialogue - this exercise is to bring in the intent of the character that the DIRECTOR wants.
5. Good directors spend hours with actors pouring through the words, to try and get the scene ‘off the page’ as soon as possible. In simple terms, it means infusing life into the scene with the help of the actor. The best way of course is to improvise the scene without the script in hand, many times not even focusing on the exact dialogue - this adds fluidity to the scene and makes the scene spontaneous.
6. Time is a scarce commodity today and has a cost attribute to it. Top directors plan rehearsal well and have a goal for each session. Two to three hours with each character is more than enough and gives the optimal productivity while rehearsing with actors
7. Never overdo the rehearsals with actors, as it kills the novelty value for actors to perform in front of the camera. Result - an actor might nail the scene during the rehearsals, but fail in front of the camera, because the scene by then has become mechanical. This happens many times in case of comedy films.
