Professional Documents
Culture Documents
R EV E A LED
H E S T E R S C H E L L
M I C H A E L W I E S E P R O D U C T I O N S
CON T E N T S
Acknowledgments
Hester’s Perspective
Something About Her
Introduction
CHAPTER ONE:
SAVE MONEY — DO IT YOURSELF
INDEPENDENT MARKET SHARE
HOW THIS BOOK WILL SAVE YOU MONEY
Do it yourself.
Collaborate or die.
Anyone can make a movie.
Yes, but is it worth watching?
Why so many films don’t make the film festivals.
Raise your standards.
All about editing.
Inexperience costs more money.
The best actors are the right actors.
TECHNOLOGY HAS CHANGED EVERYTHING
Prescreening footage.
The headshot submission process has gone green.
SAVING MONEY RECAP
CHAPTER TWO:
YOUR DIRECTING CAREER
ETTER CASTING IMPACTS YOUR LONG-RANGE CAREER GOALS
B
SHORTS CAN BE YOUR STEPPING STONE
WHERE TO CONNECT WITH ACTORS
BREAKING BARRIERS: HOW TO TALK TO ACTORS
Blame the media.
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CHAPTER THREE:
AN OVERVIEW OF THE CASTING PROCESS
WHAT ARE YOU CASTING: Preliminary Considerations.
Families and lovers.
CASTING IS...
Principal, background casting.
TYPES OF AUDITIONS
Open calls.
Appointments: script readings, cold readings and improvisation.
Callbacks.
CASTING STANDARDS
Above all, keep it professional.
Never settle.
Actors are looking for you as well.
Agents are looking for projects for their clients.
A great script will open doors.
Casting centers in the U.S. are New York City and Los Angeles.
It’s a job interview.
CASTING IS NOT...
Casting is not a party.
Casting is not about your ego: Get over yourself.
TO UNION OR NOT
Thoroughly evaluate your decision.
One member makes a union shoot.
Experience gets more done.
The less experience, the longer your day.
Questions for homework.
WHEN TO START
Plan ahead to stay ahead.
WHAT YOU NEED TO START
You need a script.
You need “sides.”
Know the window of time you plan to shoot.
You’re going to need a place to hold your auditions.
You need your SAG paperwork done.
Reality check.
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CHAPTER FOUR:
INDUSTRY STANDARDS
ACTOR MARKETING MATERIALS
Headshots.
What makes a good headshot?
Headshot samples.
Resumes.
Reels.
WHY LOOK FOR THE STANDARDS?
CHAPTER FIVE:
ACTING — WHAT IS IT?
Acting defined.
The actor’s toolbox.
Script Analysis: If it ain’t on the page, it ain’t on the stage.
EXERCISE: Who do you like?
EXERCISE: Character types.
EXERCISE: Character type attributes.
ACTING 101 FOR DIRECTORS: How you feel is a result of what you do.
Understanding the craft: Where to go for help.
CHAPTER SIX:
TIMELINES — WHEN TO START AND WHAT
TO DO BEFORE JUMPING IN
Announcements, auditions, callbacks and contracts: AACC.
WHERE TO HOLD AUDITIONS
THE TIMELINE EXPLAINED
Two weeks from first shoot date: Rehearsals.
One month from first shoot date: Contracts.
Six weeks from first shoot date: Callbacks.
Two months from first shoot date: Auditions.
Ten weeks from first shoot date: Distributing audition information.
Three months from first shoot date: Preproduction breakdown.
TIMELINE RECAP
UNION PREPARATION RECAP
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CHAPTER SEVEN:
THE CASTING BREAKDOWN — SPREADING
THE WORD
BREAKDOWN ELEMENTS
HOMEWORK
SAMPLE BREAKDOWNS
BREAKDOWN DISTRIBUTION
National.
Local or regional.
Social networking.
FLYERS: OTHER PLACES TO PUT YOUR BREAKDOWN
Press releases.
CONTACTING AGENTS
Who represents whom.
CHAPTER EIGHT:
STAYING ORGANIZED
WORKFLOW
Who follows instructions.
Turn on your “Flake Radar.”
MANAGING FILES
Confirming auditions.
HANDLING REJECTIONS
OTHER FILES
Creating script sides from your screenplay.
Sign-in sheets.
MASTER SPREADSHEET
CHAPTER NINE:
THE FIRST ROUND — WHAT YOU NEED AND
WHERE YOU NEED IT
PREPARATIONS AND PROCEDURES
Provide scripts in advance.
Make a schedule.
Setting up.
Allow enough time for each actor.
Information form.
Keep secrets.
HOW MANY ACTORS DO I SEE FOR EACH ROLE?
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CHAPTER TEN:
THE SECOND ROUND — CALLBACKS
CONFIRMING YOUR CHOICES
CALLBACK FOR SURE
CALLBACK MAYBE
PROCEDURES
Set callback appointments.
Test your communication and directing approach.
Put on your “poker face.”
Sleep on your decisions.
CHAPTER ELEVEN:
OFFERS AND CONTR ACTS
UNION CONTRACTS
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CHAPTER TWELVE:
DON’T TAKE MY WORD FOR IT — FRIENDS
CHIME IN
FAST, CHEAP, GOOD — PICK TWO.
A LITTLE HELP FROM OUR FRIENDS
Actors do a shout out.
Directors do a shout out.
CHAPTER THIRTEEN:
CASTING DIRECTORS — DO YOU NEED ONE?
The job defined.
Job tasks and responsibilities: What will they do for you?
What’s it going to cost?
Other resources.
CHAPTER FOURTEEN:
SO YOU WANT TO BE A CASTING DIRECTOR
LOVING ACTORS
OUTREACH AND MARKETING
Industry connections.
Getting started.
INDEX
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C H A P T E R 1
SAV E MONEY –
DO IT YOUR SELF
a
digm where
ely new para
“It’s an entir st as a
n co-exi
r $15,000 ca
film made fo e
e one mad
ure alongsid
theatrical feat avid Wor
th
million.” — D
for over $300
d Avatar
al Activity an
on Paranorm
“I let the actors work out their ideas
before shooting, then tell them what
attitudes I want. If a scene isn’t honest,
it stands out like a sore thumb.”
— David Lynch
”
“ Being ‘right for the role’ is how you get the part. Always. And that doesn’t
just mean looking and sounding like an archetype for the character you’d be
playing. It means that all of the factors a director considers, even the super-
ficial ones, work in your favor — in the subjective opinion of the director.
That is what makes you ‘right’ for the role, and that is why you would land
it. Casting is 90% of a director’s work, and if you have the right cast, most
of your job is done. If the director has cast people who are right for each
role, the production will be successful, and the majority of people will agree
with the casting. Casting your brother’s nephew because he is your brother’s
nephew is obviously one of those factors a director should not be considering,
for if your brother’s nephew is right for the role because of his familial ties,
most people will probably see that, and it will come back to haunt you.
”
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S av e M o n e y — D o I t Yo u r s e l f
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C a s t i n g R e v e a l e d < S c h e l l
Collaborate or die.
Moviemaking is truly a collaborative process. To save money,
it is essential to get more done in less time and get it done
right. You will spend much more time in preproduction, yet
only weeks in production shooting. Avoiding reshoots requires
professionals to be onboard in every aspect of the collabora-
tion. Directors spend a lot of time pondering shot lists and
filters and forget to spend sufficient time looking for qualified,
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S av e M o n e y — D o I t Yo u r s e l f
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S av e M o n e y — D o I t Yo u r s e l f
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S av e M o n e y — D o I t Yo u r s e l f
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C H A P T E R T WO
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Yo u r D i r e c t i n g C a r e e r
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are drawn to cities with great theatre because for many actors,
theatre is their first love due to the live aspect of the audi-
ence feedback. Many actors tend to do movies and television
to support their low-paying theatre work. Actors often build
credibility in theatre by gaining experience and dabbling a bit
in local film projects before making the decision to move to
Los Angeles to pursue television and movie acting.
Los Angeles has a lot of theater because when actors aren’t
on a movie or television set making money, they enjoy work-
ing in front of a live audience. For you, the early career
director, it’s time to start going to the theatre. While you’re at
it, check out the comedy clubs and the improvisational theatre
groups in your community. If you are looking for an afford-
able unknown great comic actor, where else to look but in
the comedy and improv clubs? These are the places agents
look for new talent. It works for agents and talent managers.
Why not you?
BREAKING BARRIERS:
HOW TO TALK TO ACTORS
Actors are not the insecure egomaniacs the media would like
you to believe. They are also not “a dime a dozen.” It’s true
there are many people flocking into auditions because they
believe they can act. It’s your job to distinguish between
talent and ego, between artist and personality, between craft
and crap. Hopefully you’ll get better at sorting headshots and
reviewing online footage, and you’ll be able to audition only
the best and brightest.
To better comprehend just what constitutes great acting,
watch it live onstage, in the moment. Make it a new habit:
go to the theatre. Build your own new appreciation for how
actors do what they do.
The good actors are worth their weight in gold, and you’d
be lucky to have the privilege of casting one in your movie. It
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all starts with respect. If you abuse actors, speak ill of them,
treat them with the attitude that they aren’t worth much, then
that is what you’re going to get at your auditions: the bottom
of the barrel. It’s time to recognize that without good actors,
you may as well power down the lens and go home.
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