This is a follow up to my previous post on casting. We’re in the full swing of casting for our six-minute films and these are some notes I’ve made to myself based on assisting a casting session.

1. Choose a moderately difficult scene. Don’t choose the most emotional scene from your script for the first audition. Odds are, if you have anyone to act with the actor, they are probably not as skilled as the actor themselves. Also, actors take a while to warm up. They might not be comfortable with you, yet.
2. Don’t assume the actors have read your script. And don’t talk their heads off about it if they haven’t. Find a short, simple synopsis to give them. Think about having a second one that places their character in the forefront, or a short character bio.
3. Don’t ask them what they thought of the script. You are not there to be flattered, you are there to find out whether these people can play the role. If an actor comes to an audition, they are at least interested in the part. An actor will always tell you you’re brilliant in auditions, if only because they drove for a half hour and paid ten dollars for parking to be there. It makes them feel better. Ask about their character, but honestly most of these discussions can be reserved for the 1st callback.
4. Don’t argue with them on their interpretations of the script. Again in depth discussions are better for callbacks, and even better if you actually cast the person. It’s best discussed in a one on one or after the first read through.
5. Know what an improvisation is if you are using improvisation. An improvisation is not, “you’re in a parking lot and you’re really upset.” Improvisations, like dramatic characters in well written scripts, rely on goals. What does this person want? Is it an achievable goal? To end world hunger is not an achievable goal in an improv on a sound stage. To get someone to loan you their car is.
6. Keep it brief. Don’t go into endless conversations on the weather, political views, their personal history. Talk briefly to make them comfortable, give them a summary of the script if necessary, and get on with it. Respect the actor’s time. Major discussions are for rehearsals, minor ones for callbacks.
7. Complete your director’s notes before you start casting. The Director’s Notes are your golden understanding of the script you have in front of you. It tells you how you see characters, and gives you a blueprint on communicating that vision to the actors who you find promising enough to give extra direction to.
8. Don’t tell actors what you’re looking for in their performance. This will only get them into their head. “I want to see your vulnerability and your power” coming from a director prompts an actor to self-direct: “Am I being vulnerable enough?” or find you incompetent: “Who is this asshole?” DIRECT the actors to give the qualities you’re looking for in their performance. Then you can see if, given actable direction, an actor can produce a result you’re looking for.
9. Ask the few basic questions of yourself while they’re performing. What kind of character is this actor presenting? What kind of story is that character telling? Do I believe it? If I do, can they take direction?
10. Name all your characters. No one wants to play “drunken man” or “beautiful woman,” especially for no money. Make a role seem appealing. A name helps a lot for that.

Frank Hauser’s excellent Notes On Directing, far more sage and articulate than my humble self, offers excellent advice on casting. My favorites:

30. Don’t expect the character to walk in the door.

If he does, hesitate before casting him. It’s all too common to see the perfect audition lead to a performance that’s lacking.

Why is this? A walking, talking character is quite different from a trained, professional actor. A true professional will grow into a role, analyze the script and develop insights, anticipate and deal with problems, create the required illusion, and develop a relationship with the other characters and the audience that no amoung of “typing” can easily achieve. In short, a pro will know what to do. … An important distinction, then, to make at this early stage in the process is not, “Is he convincing as the character?” but “Can he play it?”

31. Put actors at ease, but don’t befriend them.

When auditioning, actors know they are being looked at, listened to, evaluated, and judged. Their livelihood and self-image may hang in the balance. Everything you do or say as the auditor can have enormous emotional impact, so put actors at ease by letting them know you know what you’re doing.

Be informal and polite. Be conversational. Be efficient.

You cannot expect the actor’s best work in an audition situation; it’s too early in the process and too stressful. To maximize the actor’s comfort and ensure the best possible work, be encouraging but keep complimentary remarks general – “That was fine.” “Nice reading.” -lest the actor misinterpret your praise as an indication of promised employment. Never be rude. Never make any promises. Don’t make final decisions while the actor is in the room; no matter how stellar his audition, the next actor is sure to reveal possibilities you never imagined.

Do thank the actors. And let them know how and when they’ll be contacted if there is interest.

As William Ball says in his equally biblical directing book A Sense of Direction; “The right person in the role represents eighty percent of the work done well.” He’s talking about theatre, but for film he’s not far off. No camera, be it the red one, or 70mm, will cover up a bad performance. And performance is one of the few areas that is the director’s sole responsibility.