Acting in Columbus Newsletter | July 2011

UPCOMING AUDITIONS

2011-07-05T19:49:00.000-07:00

8-14 year old boys needed for “Magnus Rex” (The Dark Knight)

tentatively on July 23^rd and August 10^th. Ethnics are especially needed. Please create a free profile asap at www.mossercasting.com if interested. We will contact if you are chosen. Please do not call the office or email.

If you already have a profile created, make sure to update your pics and info. Remember, you do not need to pay to be on file with us. It is a free service. You will receive emails prompting you to activate/pay for your profile but you don’t have to do this. Thanks!

The Avengers - Open Casting Call for Extras Independence, OH

Source: Ohio Film Office

Open casting call for extras for the Marvel feature film The Avengers.

Saturday, July 16, 2001, 10 – 4 p.m. at the Holiday Inn Independence, Independence, OH

For details, go to http://www.ohiofilmoffice.com/JobsHotline.html

Open audition for the next KICKS movie!

Men and Women of any age that are of either Caucasian of African American ethnicity are welcome to audition. There are quite a few roles to fill that range everything from children to older folks. Some will be smaller parts, but no less important. The story includes several Caucasian families with children who help slaves escape as well as a couple of slave families.

People who would like to audition can visit www.kicksflicks.org and click on "Audition" and fill out the form there.
Tony Robinson

Executive Director

KICKS Ministries

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Direct Phone: 740-817-2378

Fax: 740-965-6257

Email: tony@kicksclub.org

FREAKY DEAKY starts shooting in Detroit

2011-07-03T13:37:00.000-07:00

Matt Dillon, Brendan Fraser, and Craig Robinson are in talks to star in Freaky Deaky, the Charlie Matthau-directed adaptation of the Elmore Leonard novel. Shooting starts June 27 in Detroit. The novel has caught the eye of numerous filmmakers over the years including Quentin Tarantino, but the premise -- about 60s radicals who try to use their bomb-making skills to become capitalists in the 70s -- was a bit of a problem because the book was set in the late 80s. Matthau wrote the script, and had a breakthrough when Leonard suggested setting it right at the time the bombers decided to turn their skills to make money, which meant putting the drama in 1974. Dillon plays Chris Mankowski, a Vietnam vet who is on the Detroit police bomb squad; Fraser plays Skip, the former 60s radical who becomes a Hollywood demolition guy; and Robinson plays a former Black Panther also looking to cash in.

"Gossip Girl" Katie Cassidy is in negotiations to play the female lead in Charlie Matthau's adaptation of Elmore Leonard's crime novel "Freaky Deaky."

Cassidy will play Robin Abbot, one of the ex-hippies who went to jail for blowing up a police car. After being released, she starts a career as an historical romance novelist and reconnects with Brendan Fraser's character in order to plot her revenge.

Acting for TV Commercials!

2011-07-01T10:33:00.000-07:00

Acting in Columbus student Kecia L.
currently appearing in a SAFE AUTO
commercial. Click on the video player
below to view.

Acting for TV Commercials

Sunday, August 13, 2011 1:00pm - 8:00pm $175

Learn how to audition for and break into the local commercial and industrial industry. You will learn how to make the first contact with the agents. By taking this class you have the opportunity to show the agents that you are serious about pursuing this type of work. This workshop will give you experience with the actual audition process:

You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason.

Script analysis skills: We have written our own textbook that breaks this process down and makes it simple.

Comfort in front of the camera: How do you stand? How do you hold the script? How do you deal with your partner and the camera at the same time? What is a slate? What do you do with your hands?

Practice at doing all types of commercials: Scene work, improv, one-liners, bite and smiles, handling products, etc. You'll also learn how to market to the casting directors, all about pictures and resumes, how the unions work, etc.

Click here to REGISTER

Casting Director Wendy O'Brien on What She's Looking For. By Jessica Gardner

2011-07-01T10:28:00.000-07:00

"It's Always Sunny in Philadelphia"

When Los Angeles casting director Wendy O'Brien was in college at the University of Washington, rowing was her passion, but she didn't know what she would do after graduation. Her father, who knew she also loved English and drama, suggested she consider casting. "What's casting?" she asked. "The casting people are the ones in charge of taking what's in a script and bringing it to life," he explained.

Now O'Brien owns her own company, Wendy O'Brien Casting. She currently handles "It's Always Sunny in Philadelphia," "Sons of Anarchy," "Men of a Certain Age," and "Teen Wolf," as well as slew of pilots—and she loves her job.

Northern Casting Exposure

I didn't know much about casting. My college English advisor had previously worked for NBC, so she gave me one of those industry books and said, "There's a section on casting. Call them." I really liked Patti Kalles in Seattle, who was working on the show "Northern Exposure" at the time. So, my senior year I did an internship with her. Then I stayed on for the full summer. I was there about six months and thought it was fascinating. I just loved it.

After that, I moved to Vancouver and got to work on "The X-Files"—first as an assistant, then as an associate. "The X-Files" was just beginning and it was really cool to watch that series explode. Then I went out on my own and started a casting business with a partner, Corrine Clark, who is still there in Vancouver. I was happy there for two years, but I wanted to work on bigger projects and cast bigger roles. I was often casting the supporting roles and I was really jonesing to do a bit more. Then I had an opportunity to move to Los Angeles and I thought, "Well, why not? Let's see how it works."

I think casting is a rewarding career. When you get creative license, that's when it's fantastic. The brainstorming when you get to actually have fun and think outside the box, that's when it's the most fulfilling.

Finding Actors

We pre-read all the time on every project. My associates Jeff [Gafner], Chris [Gehrt], and I always look through the postcards for interesting faces. We keep a pile of people we want to see on the desk. Postcards are great because you can flip through them easily without having to open envelopes. At the beginning of every project, I go through them. If I think they're appropriate, I'll bring them in to pre-read.

In casting, we're trying to find the right people who have the right tone for each show. For "Sunny," we try to find people who comedically get it. It's a certain type of comedy. It's very grounded, very real. The guest cast are more like "the straight man," and the "Sunny" series regulars are the goofs. You have to have the timing without pushing it or trying to one-up the joke.

"Sons of Anarchy" guest actors need to have such a specific face. Almost everybody there has to have a sort of levity to them or gravitas. You've got to be real and have a "real" face. We can never feel like we're watching an actor. Nothing should pull us out of that moment—where we are, what we're watching, and sometimes the severity of the situation.

In the Casting Office

I think we're a pretty "chill" office. We try to make it really fun. We're always joking around with people. We try to put the actors at ease before they go in to read. It's such a stressful process anyway, so the more we can relax you, the better you'll do. That's only a benefit for us as well. We actively try and make it a really pleasant, relaxed, inviting audition. Especially with "It's Always Sunny in Philadelphia." No producers come to those auditions, so we can do more takes. We usually do it a few times and play around, and so that's really fun.

Be grounded. Bring a part of yourself into the audition so it's real. I find that newer actors are so busy trying to do a version of what they think they should be doing or a version of what they think the role is instead of making it organic. It never feels true. It feels forced.

The Most Important Things

You must have a great photograph that looks like you. I feel like everybody says that, but it's true and it's the most important thing. All you need is one great shot. I don't think it's the same expense that it used to be. Because everything is digital, you need fewer hard copies, therefore printing is cheaper. Plus, because of digital photography, there are some great amateur photographers out there. There's so many pictures that I think are great and actors are like, "Oh yeah, my buddy took that." It doesn't necessarily need to be taken by a fancy professional photographer.

You must be training. If you can't afford class, then get in with a theater group or find a buddy, get material, and work on different things just to keep yourself going. It's surprising how many actors come in and they say, "There's not much going on. I haven't been out on an audition in forever." And I say, "Well, are you taking classes?" "No, I haven't found a class," and there's 100 excuses. Participate in your career. You have to be actively involved. Don't give up. It's tough right now to get an agent and there aren't as many roles to audition for. If it's your passion and something that you truly believe in, keep at it. And really, don't give up.

ASK AN AGENT By Frank Nestor

2011-07-01T10:21:00.000-07:00

What Schools or Coaches Catch Your Attention?

Merritt Blake, The Blake Agency, Malibu, Calif.; clients have recently booked roles in the Old Globe production of 'Dividing the Estate' and the upcoming Broadway revival of 'Master Class'

When we are looking for potential clients, we try to find actors who are very well versed in the theater. We like it when they have made the effort to book jobs in Equity waiver theater productions as well as traditional stage productions. We also prefer it when actors have studied or have worked earlier in their careers with recognized coaches. We've had good experiences with people who have studied in Los Angeles with Kate McGregor-Stewart, as well as at the American Film Institute and at the University of Southern California.

Albert Bramante, Emerging Talent, Linden, N.J.; clients have booked roles on TBS's 'Are We There Yet?' and HBO's 'The Sopranos' and commercials for L'Oréal, American Express, and Pepsi

I tend to look at the entire package when it comes to representation. That does not mean that I overlook schools or coaches, as they are vital. I'm interested in actors who have a theatrical training background, regardless if they decide to pursue theater or just film and television exclusively. In my experience, casting directors favor theatrically trained actors even for just film/TV roles.

I also am more drawn to actors with an MFA from an established school. Two that I can think of are the New School program in New York and the National Theatre Conservatory in Denver. Those have been consistent, but that alone is not enough for me to recommend one over another. It is not a deal breaker automatically, however, if the actor does not have an MFA. I have seen talented actors without the MFA, and also those with an MFA with subpar talent. It really boils down to the total package: personality, business sense, particular look, and training.

A sometimes overlooked aspect of training is the business side of the industry. This refers to marketing and even conduct. In my tenure as an agent, I have witnessed several actors who have shot themselves in the foot before even walking in the door of an agent's or casting director's office. Being too pushy, not knowing their type, or having poorly organized marketing materials are among the biggest offenses. I'm sure this is covered in other forums, but I do expect schools and coaches to provide training in this.

As for acting coaches, I look for someone who has a Method acting or serious technique background to be a coach. Coaches are not as regulated as acting schools, therefore I would really advise a serious actor to pursue a conservatory or MFA training program rather than a coach.

Sue Winik, Sheplin-Winik Artists, New York; clients have recently booked roles on '30 Rock,' 'Boardwalk Empire,' and 'Royal Pains' and in the national tour of 'Wicked'

It first depends on what type of client I'm looking for. If I'm searching for someone for a musical theater role, then I would look for something different from when I'm looking for people to do film or television work. Even though the preparation is all the same, there are different techniques that actors need to be aware of and accomplished at.

When I'm looking for musical theater people, there are a couple of schools that are good, but I've had particularly great experiences with people who come from the Hartt School in Connecticut and Otterbein University in Ohio. I go to a lot of showcases in the spring, and I'm always sure to go to those schools' shows. If I'm looking for people to do legit theater work, I happen to like SUNY Purchase, Rutgers, Juilliard, and North Carolina School of the Arts.

If I'm looking for someone for commercials or for some film and television work, Weist-Barron is a school that I look for on résumés. Its commercial department not only teaches you how to do the commercials, but also how to do the business of the business, which is lacking in many actors. I really appreciate that in actors, when they come to me and say, "These are the things I've been doing. These are the people I'm meeting. This is how I'm going about being in classes. This is how I'm finding things to do." The New York Conservatory for Dramatic Arts (formerly the School for Film and Television) also does a very good job. I like schools that teach the technique of what the actor needs to know. There are so many schools that really teach the actor how to prepare, but not very many schools instruct the actor what to do once he or she is out in the world. There only a couple that touch on that.

In terms of coaches, there are a few I like. For musical theater, Robert Marks in New York City is an excellent coach. I think he knows every piece of music in existence. I'm not kidding. Not only does he know music, but he is also able to find music for people that really fits who they are and what they should show. When it comes to film and television, I recommend two coaches. For film, I like Neal Lerner, who works out of the New York Conservatory for Dramatic Arts. Then there's Bob Luke, who is a wonderful coach that everyone seems to like. He's really great with young and new people. He was originally coach for the kids on "The Cosby Show," and he also does a lot of coaching on film sets. For film and television teachers, Jeffrey Zeiner and Bill Hopkins are great.

If you don't have any of these schools or coaches on your résumé, it's not necessarily a deal breaker for me. It is my personal preference to work with people who have a sense of humor. I represent several standup comics who have studied acting elsewhere. I work with people who do sketch comedy who have studied at places like Upright Citizens Brigade Theatre, Second City, and the Peoples Improv Theater. If actors have any of those on their résumé, then I am personally interested in those people. If you have been to these places and been through their courses, then I know that you have some spark of something special. I can start from there.

CRAFT NOTES by Ed Hooks

2011-07-01T10:12:00.000-07:00

“Advanced Pretend”

Jeff Bridges was recently being interviewed on The Charlie Rose Show in connection with his latest film Crazy Heart when the conversation turned to his opinion about the art and craft of acting. “Basically,” he explained with a grin, “acting is advanced pretend.” I really like that description because it is so uncomplicated and is correct. There is a library full of books and DVDs that will tell you how tough it is to be an actor. A newcomer takes a look at the list of techniques to be mastered, including sense memory, emotional recall, substitution, staying in the moment, voice projection, diction, repetition exercises, active listening, how not to indicate, and on and on. First thing you know, acting is not so much fun any more. It is not at all like it was in the high school production where everybody just had a good time. Now you have to “do the work” and “prepare the instrument." When you didn’t know much about it, you simply jumped into the pool and splashed around. Now you dare not get wet until you are absolutely certain that you can do five laps with alternating strokes.

When my daughter, Dagny, was five or six years old, she would occasionally see me on television. If my role called for violence or tears, the performance was disturbing to her. I remember explaining to her that I was pretending, that nobody really hit me, and that I was actually having a good time when I cried. She thought about that for a very long moment. In her 5-year-old mind, pretending was what she and her friends did when trying on clothes and shoes from her mom’s closet. Pretending was what she did when she played tea-time and served her doll a cookie. She therefore concluded that there must be a distinction between her kind of pretend and the kind of pretend I was doing on television. “So that is not pretend-pretend? It is for-real pretend?” Exactly, it is for-real pretend. Or, as Jeff Bridges put it, “advanced pretend.”

Fade Out/Fade In, Present-day Ed Hooks acting class: A new student enrolls, an attractive woman in her early thirties who has been chasing an acting career for twelve years. I can tell when she walks into the studio that she is gut-level unhappy and frustrated but that, by God, she is ready to work. She is determined to lick this career monster yet! I sit her down and ask when was the last time she had fun acting, and she doesn’t have an answer. She wants to tell me about her Meisner training or whatever. I ask her why she came into acting in the first place, and she has to reach far back into her memory before replying. “I don’t know. I was maybe nineteen when I started….” “Was it fun back then?” She smiles, “Yes, it was.” I tell her that she must recapture that feeling of pretend, of playing. She has enough technique already. What she is lacking is perspective, confidence and optimism. I tell her that, for the first couple of months in my workshop, I want her to simply get up on stage and make mistakes and learn how to laugh at her silly self. “Acting is not neat and pretty,” I explain. “You are never ever going to get it ‘right’. It is all pure process. And part of that process is the audience recognizing that you are having fun being on stage.”

BOOK OF THE MONTH

2011-07-01T09:56:00.001-07:00

Actions: The Actors' Thesaurus

Marina Caldarone and Maggie Lloyd-Williams

Actors need actions. Actors cannot ‘act’ adjectives, they need verbs. Verbs are an aim to achieve, an action to perform.

ACTIONS: The Actors' Thesaurus is a vital companion for actors in rehearsal—a thesaurus of action words to revitalize performance.
‘Actions’ are active verbs. ‘I tempt you.’ ‘You taunt me.’ In order to perform an action truthfully--and therefore convincingly-- an actor needs to find exactly the right action to suit that particular situation and that particular line. That is where this book comes in….

ACTIONS is a thesaurus of active verbs that the actor can use to refine performance until s/he hits exactly the right one to help make the action come alive. ACTIONS: The Actors’ Thesaurus by Marina Caldarone & Maggie Lloyd-Williams has gathered together the (formerly) dogged-eared photocopied lists of action verbs from greenrooms and rehearsal rooms and put them together in this pocket-sized thesaurus. All with a view to helping actors get to the heart of meaning and to a great performance. This thesaurus of action words is indispensable in developing mood, line readings, and acting choices for each and every line.