Working With Actors: The Casting Conundrum

Working With Actors: The Casting Conundrum

Working With Actors: The Casting Conundrum

Mark W. Travis
Mark W. Travis
a year ago

Beginning a new relationship can be both exciting and challenging.

In the world of filmmaking, we directors initiate many relationships, the most vital and crucial being the ones we have with actors.

Director/actor relationships are like none other in life. Their goal is to create believable characters that exist in a fictional world. These relationships are, by design, temporary and short-lived, lasting only for the span of the production.

The curious thing is that these director/actor relationships begin in the world's most awkward speed-dating scenario, the Casting Process. The exchanges that occur, the sparks that fly (or don't fly) during this first 'date', set the tone for the rest of the relationship. Like on any first date, the director wonders, "Is this the one?" And then has about five minutes to determine whether or not there will be a second date. Talk about pressure!

WORKING WITH ACTORS The Casting Conundrum What are you looking for A great actor or a great character

For you, the director, casting is about selecting the best actor or actress for each role in your film. It is also about finding actors you can work well with, exploring and exposing the complex characters in your story. You can approach the casting process in a variety of ways. You can cast from tapes or interviews. Most directors rely heavily on the readings of the actors in a controlled environment. Yet, with all of these approaches, there still lingers the big question: How do you know what character is going to emerge from each actor?

As I said earlier, casting is about finding the best actor or actress for every role in your film. Wouldn't it be more accurate to say that casting is about finding the most appropriate and authentic characters for your film? If you are aiming for the best characters, then don't you need to see the characters in the raw, without a script?

Think about it. What would your casting process be like if you were actually auditioning your characters and not a bunch of actors? What if you were only meeting your characters and you could select those you want for your movie? What if the whole idea of the acting a character, did not play a part in your decision? Okay, truthfully, we need to hire actors. But we need to hire actors who can allow the acting to disappear so that we can see the characters.

WORKING WITH ACTORS The Casting Conundrum What are you looking for A great actor or a great character

Let's look at the traditional casting process.

An actor is called in to read a scene or two with a 'reader'. After that reading, the director, casting director, or producer will make a comment and give the actor some additional information, and ask for an adjustment in the performance. Then the actor will give another reading without the benefit of time to prepare for this adjustment. What we are really testing here is the actor's ability to make quick, significant adjustments in performance based on requests. After the second reading, the director will decide whether or not to call the actor back at some future date.

Now let's look at a casting process with the focus on the character, not the actor, and see what happens.

Let's say the actor's name is John and the character's name is George. The scene is an argument between George and his wife. George clearly loses the argument. John, the actor, just finished reading the scene. You're the director and John is waiting for your response. But instead of talking to John, you select to talk to the character, George*.* It might go something like this:

YOU: Well, George, that didn't go very well, did it?

At this moment you see a wonderful, magical small flicker in John's eyes as he absorbs what is happening. At first he thinks that you are commenting on his performance, but you clearly addressed him as 'George', so he realizes you are not talking to him as the actor, but as the character. Within seconds he shifts back into the character, where he feels most secure.

GEORGE: No, no, it didn't. She's impossible.

YOU: Are you going to keep letting her run your life like this?

GEORGE: Of course not.

YOU: You're a man, right?

GEORGE: Right.

YOU: You're independent.

GEORGE: Right!

YOU: Well, man up, George. Show some balls. I'm going to give you another chance.

GEORGE: Okay.

YOU: And this time I expect you to put her in her place and walk out of that room with some pride. Do you think you can do that?

GEORGE: I can do that.

YOU: Really?

GEORGE: Yes, I can.

YOU: Bullshit. I don't think you've got what it takes.

GEORGE: You're so wrong. You don't know me. You don't know what I can do. You think I'm some kind of wimp, but I'm not. I can stand up to her any time I want, and there is no way she's ever going to be able to...

YOU: READ!

Before this second reading begins, you have seen more of the character of George than you saw in the first reading. You have seen the George that is living inside John. You have seen George operating on his own, without scripted lines to deliver. You have seen a George that could be the George in your movie.

As you watch this next reading you will see George make adjustments that have not been requested by you, the director, the casting director, or the producer. You will see behavior that has been ignited from deep inside George. You will see George trying to hold his own. You will see George presenting himself as he wishes to be seen. You will see a George who is operating outside the control of John, the actor. You will see a George in the raw.

Next, you get to ask yourself the most important question. Not 'is this the actor I want?' but "is this the George I want?'

Now you are at the beginning of two new relationships; one with the actor and one with the character. Enjoy the journey.

Let's hear your thoughts in the comments below!

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About the Author

Mark W. Travis

Mark W. Travis

Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director

The director's director. Mark Travis is regaled by Hollywood’s top brass and international film professionals to be the world’s leading authority on the art and craft of film directing. All of his techniques stem from the pursuit of organic authentic performances that are deeply felt by audiences.H...

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9 Comments on Mark W.'s Article

Doug Kayne
Actor, Comedian, Director, Screenwriter, Studio Teacher
Very cool!
a year ago
Doug Kayne
Actor, Comedian, Director, Screenwriter, Studio Teacher
Cool.  Will have to check it out at a later point.  Thanks!
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Doug, Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: thttps://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
I love this understanding of the process - absolutely brilliant speed dating analogy! I always aim to act like I’m not acting by finding the core of the character somewhere inside me and pulling her out - even if she’s kicking and screaming as she comes into the spotlight !! It’s what I love most and hate most about acting - there’s nowhere to hide and it’s nothing to do with pretending!
a year ago
Hi Mark I was hooked! It’s 10 to 1 in the morning and I couldn’t leave it - my phone wouldn’t play the last 10mins - it kept freezing - hopefully I can see it tomorrow . But the performances from at the beginning  to towards the end were like night and day . So much more believable and gripping to watch . I loved the spontaneity, authenticity and rawness that naturally revealed itself through the process. That flow you release that can carry a scene and make it mean something different to the last one is fascinating. Your confrontational approach gives the actors permission to be human - the bond between them became more believable and more watchable and so intriguing. it’s actually something we don’t see so much nowadays - performances although good tend to be polished and perfect and it’s rare I will watch a full Netflix film these days. When I was training (method) I said to my mentor “I realise now why actors are so well paid - because it’s like rent a mind body and soul!”   Your direction connects with the soul of acting . Closest I have seen to what you do is how Mike Leigh  works. Keep up the great work . What films have you directed ? I would like to watch them I’m inspired !! 
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Amberli. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Thank you, Mark W.
a year ago
Thank you!
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Wendy. You are most welcome. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Sherri ZImmerman
Art Director, Author, Craft Services, Graphic Designer, Screenwriter, Songwriter, Translator
Thank you Mark! When my feature film SUCCESS AFTER INSANITY (which will be in motion not too far off), I will remember this...
a year ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
You are very welcome, Sherri. Stay in touch. There is more information coming.
4 months ago
Sherri ZImmerman
Art Director, Author, Craft Services, Graphic Designer, Screenwriter, Songwriter, Translator
That is brilliant! Never would have gone that deep with choosing the "right' person for the job if I was a casting director.... Such great info to keep in my pocket... Though I don't ever see myself as a director, producer, etc. but the logic & intuitiveness with this kind of thinking is a clear way to see what you most likely will get... In performance. A more natural approach to the selection process. Again. Brilliant.
a year ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Sherri. Thank you. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Love this! Submitting a self-tape, I have the time to study the sides and develop the character that I feel best represents a combination of me and the role. So don't give ME a call-back, give my character the in-person audition. My characters improv is much more interesting than me!
a year ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Scott. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Scott. I love your take on this. Give the Character the call-back and you are so right about your character's improvisation being so much more insightful and revealing than yours. That's what we're looking for Characters!
4 months ago
Suzanne Bronson
Actor, Crafty, Production Assistant, Stage Manager, Voice Artist, Host/Presenter
That's a lot like how plays are cast. callbacks are usually improv exercises as the characters. This is great. I would love an audition where I could bring more than just the words on the page. This is similar to a post in the acting lounge where we discussed that an audition is not about getting a job, an audition is about showing what you can do.
a year ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Suzanne. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
You are so right, Suzanne. My background is directing theatre (Yale School of Drama) so I bring all my theatre techniques and exercises to my TV and film directing ... and to my teaching and coaching. And I would add one more line to you thoughts on the audition process. It is also about letting us see and experience the character that lives inside you.
4 months ago
Suzana Norberg
Actor, Producer, Screenwriter
Brilliant. Thank you so much.
a year ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Suzana. Here’s a special treat for you. A few years ago my wife (producer) and I made a documentary about The Interrogation Process, REHEARSAL: Scene 22. Here’s a link to the film embedded in our website: https://tifi.us/films/. Now you’ll get to witness the internal workings of the process; you’ll see how the interrogation works to stimulate and form the characters, and you’ll get to hear from the actors as they share their experiences. I look forward to your thoughts and continued conversation about Working with Actors. My website: https://tifi.us/. Email: markwtravis@gmail.com.
4 months ago
Mark W. Travis
Director, Dramaturge, Screenwriter, Script Consultant, Theatre Director
Thank you Suzana. Stay in touch. I'll be posting more soon.
4 months ago
Maurice Vaughan
Screenwriter
That's a great, unique approach to the casting process, Mark! I'm sharing this blog with my network!
a year ago
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