4 Director (and actor!) Questions

1) How do you structure auditions? (and specifically, what works for you when meeting/testing an auditioner for the first time)
2) How much do you like to analyze a character... do you try to answer Uta Hagen's 9 questions, and think up a whole backstory, for example, or do you leave that all to the actor's domain? Do you instead just consider objectives, targets, tactics?
3) Question for the actor: how have your favorite directors worked with you, and are there any good acting forums out there I could check out? Thanks!
4) just kidding, there were only three.
 
If I don't have a lot of auditions I do a 30 minute block and talk to people. If there are 100+ people i would cut that down to 15 minutes each.

I don't analyze the character in any way that isn't relevant to his story. I don't need to know that he played scrabble with his parents as a child.
 
I don't analyze the character in any way that isn't relevant to his story. I don't need to know that he played scrabble with his parents as a child.

Why not? It would be useful to understand a character's attitude to risk/reward. There are those who treat a Z like a hot potato, and those who win by waiting for that triple-word opening... :)

For a contemporary character under the age of 30 or so, it probably also marks him out as someone who had an unusually close relationship with his parents, which is psychologically very significant.

Character is story, story is character...
 
Why not? It would be useful to understand a character's attitude to risk/reward. There are those who treat a Z like a hot potato, and those who win by waiting for that triple-word opening... :)

For a contemporary character under the age of 30 or so, it probably also marks him out as someone who had an unusually close relationship with his parents, which is psychologically very significant.

Character is story, story is character...


because it's not relevant to my story.
 
because it's not relevant to my story.

Obviously what I wrote was tongue-in-cheek, but anything to do with your characters is relevant to the story. Just because it doesn't make it onto the screen or even into the script, it's always useful to know your characters that well.
 
Agreed with Maz. It's particularly useful to go into those details with actors (though some have a similar approach to Sfoster - that's fine, whatever works for the individual), as it helps create more believable characters, and it also ensures you're on the same page.

If you understand your characters well, and you're confronted with an issue, in writing or even in production, you can consider how the character would react. If you and your actor read a different kind of character from your script, you may find that they're difficult to direct. E.g. an actor might say "I don't understand why my motivation, my character wouldn't do this" - if you have an indepth and shared understanding of character you can resolve that. If you have different understandings of the character, you're going to get a superficial and unconvincing performance from an actor if they don't feel they're in character - and that will be noticable to an audience.

From a writing perspective, it's useful to have that understanding because whilst you may want the story to go in one direction, you may realise that you're forcing your character to do things they wouldn't do. That might mean you need to find new motivating factors, or it might mean your story has to go in a new direction - but if you ignore the background stuff to the character, their actions won't translate as believable on screen.
 
1) How do you structure auditions? (and specifically, what works for you when meeting/testing an auditioner for the first time)
Depends on the production. Is this a project you hope to go SAG Low Budget or as non-union? If you go union, the rules change up since you need to give union actors and extras prior consideration, though it doesn't exclude non-union. For some student productions, they get special SAG student guidelines. Most indies go non-union.

What is the nature of your project? Do you have specific looks you're going for? Often CDs will group actors based on attributes pulled from the script. If you need a 20 yo African American, you can screen out the 40 yo. Caucasian to a different role. However, if you have a strong actor, it can sometimes lead to a script re-write.

If you are casting for a large number of roles, it is often best to have readings clustered. So if you have a guy and girl, you pair them up and watch them interact. You can then call back and match up the two or three guys and girls who performed best individually. This matching can often cut down casting time.

Some don't like to have readings from the actual script but invite actors to provide their own monologue. I don't like this because it doesn't give a good feel to me of how they interpret the character. (I'll touch on that in your next question.)

I usually like to have them improv from a description. Largely because it gives me a sense of how they do in creating an illusion. I will then make a couple changes. This allows me to see how well they can take direction. I've been on projects where we have viewed videos created by actors. I still prefer in person auditions or auditions over Skype.

2) How much do you like to analyze a character... do you try to answer Uta Hagen's 9 questions, and think up a whole backstory, for example, or do you leave that all to the actor's domain? Do you instead just consider objectives, targets, tactics?
I like to see how the actor interprets a character. Then I will sometimes change an element to see how the actor adapts to the change. It gives me a sense how they would respond in other situations. Often the actor works with the director and other actors to develop a character. I don't recommend giving the actor the whole script, but pull out a segment that highlights the character's range.

When you go to direct, you will want to sit down and develop the motivations for your character. I don't go into deep backstory. Your actors will do the same. At the reading (I always recommend a reading), you can go through with your actors and decide on motivations. I'm sometimes surprised and impressed out how an actor interprets a character and incorporate that. I might ask a character to read the dialogue as if they just came from a party or just learned a friend was in an accident to see their emotional range and expression. Does the actor have the look and deliver a believable performance for the role for which s/he is auditioning?

3) Question for the actor: how have your favorite directors worked with you, and are there any good acting forums out there I could check out? Thanks!
I look for feedback on delivery. While actors work on developing a body sense, it's still hard to see what the camera is seeing. Actor's directors are fun to work with, as they've been in front of the camera. Writer/directors tend to be harder to work with since they tend to think their scripts are gifts from God. They're picky about lines. Usually the ones that want you to say the stupidest drivel. Most have never acted so they don't appreciate that nine lines of dialogue isn't appropriate for a casual scene. Acting and directing has influenced my writing style. There are acting divas who give all actors a bad reputation. There is a difference between suggesting something based on the character you've developed as an actor from "Well, this is the way I want to do it." Most actors respect the director's final say. Directors who are indecisive are equally problematic. More so for the behind-the-scenes crew who need to make multiple shots. This can also affect the actors. Having bright lights on you and repeating the same lines and actions multiple times comes with the territory. However, about take 18 of almost identical content you start to fade a bit. They also tend to run behind. 'Actor directors' - actors who are directing while acting-can be interesting. They constantly are running back and forth to the camera to see if they captured what they wanted. This is a case where the director needs to turn over responsibility for that scene totally to the the DP after having gone over the shots. The visual director is all about cameras, angles, movement and lighting. While they work with the actors, they tend to choose professional actors who always deliver solid performances. I like working with them too as an actor. As crew, they can be very demanding though you master your skills.
 
Thank you everyone, really quality advice. :)
Fantasyscifi, I like your approach to working with actors. I posted this a little back:
http://www.indietalk.com/showthread.php?p=399785#post399785 wondering about how different directors approach rehearsals.

How much time do you usually spend running through beats/scenes, versus time spent doing improv or non-scene stuff? (I know this depends on the instance and actors, but what does it usually end up being for you?)
 
I would make a suggestion for audition process. I've done a bunch of these for shorts, and then a couple of features.

First, put out a very good call notice. Look through the submissions you get from it and make sure to check out any reels they might have.

Next: Send the actors you are interested in, the best sides for their character you can from the script and have them record themselves doing the sides and submit it to you.

From those self submissions, you should get a good idea of the people you actually want to call in for a face to face audition.

This process saves you a TON of time.

For the auditions, Fantasyscifi gives you great advice here. I don't have much to add.

One more thing, when you put out your call notice, if you have roles that are you open to all ethnicities make sure to specifically mention that in your call notice for each of those roles.
 
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Thanks a lot FSF and ahennessey.

I usually like to have them improv from a description. Largely because it gives me a sense of how they do in creating an illusion. I will then make a couple changes. This allows me to see how well they can take direction.

What's an example of "improv from a description" and have you made in the past?
 
I would make a suggestion for audition process. I've done a bunch of these for shorts, and then a couple of features.

First, put out a very good call notice. Look through the submissions you get from it and make sure to check out any reels they might have.

Next: Send the actors you are interested in, the best sides for their character you can from the script and have them record themselves doing the sides and submit it to you.

From those self submissions, you should get a good idea of the people you actually want to call in for a face to face audition.

This process saves you a TON of time.

For the auditions, Fantasyscifi gives you great advice here. I don't have much to add.

One more thing, when you put out your call notice, if you have roles that are you open to all ethnicities make sure to specifically mention that in your call notice for each of those roles.

I personally would not dismiss an actor/actress just based on their headshot ..

Barbara stanwyck looked very plain but is my favorite actress of all time.
 
1) How do you structure auditions? (and specifically, what works for you when meeting/testing an auditioner for the first time)

A. I've only really been involved with two auditions, both for only one of my films. But even with only those two experiences, I think the audition process ought to be uniquely different for each film that you do, unless each of your films have a generally similar genre, style, or premise.

Sometimes you can get all that you need out of an audition just conversing with an actor about themselves. And sometimes you can get just what you need from having them simply read a few sides and that's all. Other times, like in my case, it might be wise to give your actors a set-up where they must improvise a scene based on parameters that you give them, and then see how much energy or emotion they can express and exude during that scene that they create.

Just like how people say "choose the style that best fits the story," I think one should also "design an audition that best fits the style."

2) How much do you like to analyze a character... do you try to answer Uta Hagen's 9 questions, and think up a whole backstory, for example, or do you leave that all to the actor's domain? Do you instead just consider objectives, targets, tactics?

A. I think a big factor with this question is whether you're dealing with a short film or a feature film.

Short films are usually one offs, and they can be incredibly short. So developing a character back-story is really unnecessary in this case unless a character must work off of emotions caused by past events, especially if those past events are hinted at in the film itself.

If a short film is intended to have further installments and/or sequels, then you can either develop a back-story initially, or work on one later to be ready for the following installments.

But with a feature film, there is much more material to be worked through, much more dialogue, and much more of a reason to create a back-story and history for (at least) your main characters so that your characters will have a more deeply rooted motivation for their actions during the story.

I think it has also been noted by certain directors and certain actors that some actors will ask for a character's back-story while others will not. Some back-stories can admittedly be very straight forward and cliche, in which case many actors may already be pretty familiar with the basics. But in other cases, even if an actors doesn't ask for the back-story at first, if they are not reaching that emotional level or that particular personality that you're looking for in your characters actions and reactions, then it might be good to then introduce the back-story elements to your actor(s), as that may allow you both to reach that plateau where you both want to be.

So it all really depends on the demands of your film, and whether or not your story or your performances will come across if you have that back-story written out or not. If the production calls for it, then you write one, and write it early on, don't try to write it during the rehearsal period unless you absolutely have to. But if it doesn't seem like you need one, and your actors have been chosen well, then go with your gut and just deal with the objectives and the emotions of each scene. Allow your actors to interpret the character how they see it, and hopefully that will be what you need to bring your story to life.
 
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