Something I have been intrigued by lately is how do you up the ante' or you profile when it comes to getting cast. A classmate of mine made the very astute observation that although s/he had spend a lot of time in New York, they didn't do as much theater as they would have liked. In part, because they chose not to audition for the things they didn't want to do, they were very selective with their auditions. That being said, s/he also made the astute comment that, that's kind of dumb because it is a numbers game. And I think it is.
Pat McCorkle, a casting director for film, tv, and stage did an interview on NPR a few years back (in 2005 I think). I bring her up because Fran, our acting head, is bringing Pat in to work with us later this April. And based on what I heard from the interview I think in the end, the best way to approach auditioning, is less about booking a job (gasp. i know) but more as an opportunity to say hello and get to know a casting director.
Normally, the studio execs and the producers will attach a big-name movie star to a particular project. Once that occurs, the project is green-lit and THEN the casting director can get to work and filling in the rest of the picture. In regards to her casting for the remake of "Thomas Crowne Affair" with Pierce Brosnan, Pat says
"My job was to give them lists of people that I thought were--would be feasible with Pierce. John McTiernan did a brilliant job in directing that film, and it was very important to him that whoever played opposite him would be someone--a peer of his." [Nicole Kidman was originally going to play the Angelina Jolie role in Mr. and Mrs. Smith] Things change. People's popularity change, their availability changes, their profile changes, and it sometimes will change the film."
There are so many factors that go into casting, so many things that are sooooo far away from one's actual acting ability. It doesn't even really depend on you, but rather the right formula for whomever is already in the film. So perhaps the best thing is to just keep auditioning for the people who are in control as much as possible so that they can get a feel for you. They need to see the working you and the leisure/non-working you. THAT'S what they are going to think about with casting/pairing. The more times they see you, the more comfortable you get, the more they know you. It is a numbers game.
So just always show up and do what you do.
Now... what to do for work in the meantime? Make your own stuff?
Now... what to do for money in the meantime? Take an order? (oy vey)
Pat McCorkle, a casting director for film, tv, and stage did an interview on NPR a few years back (in 2005 I think). I bring her up because Fran, our acting head, is bringing Pat in to work with us later this April. And based on what I heard from the interview I think in the end, the best way to approach auditioning, is less about booking a job (gasp. i know) but more as an opportunity to say hello and get to know a casting director.
Normally, the studio execs and the producers will attach a big-name movie star to a particular project. Once that occurs, the project is green-lit and THEN the casting director can get to work and filling in the rest of the picture. In regards to her casting for the remake of "Thomas Crowne Affair" with Pierce Brosnan, Pat says
"My job was to give them lists of people that I thought were--would be feasible with Pierce. John McTiernan did a brilliant job in directing that film, and it was very important to him that whoever played opposite him would be someone--a peer of his." [Nicole Kidman was originally going to play the Angelina Jolie role in Mr. and Mrs. Smith] Things change. People's popularity change, their availability changes, their profile changes, and it sometimes will change the film."
There are so many factors that go into casting, so many things that are sooooo far away from one's actual acting ability. It doesn't even really depend on you, but rather the right formula for whomever is already in the film. So perhaps the best thing is to just keep auditioning for the people who are in control as much as possible so that they can get a feel for you. They need to see the working you and the leisure/non-working you. THAT'S what they are going to think about with casting/pairing. The more times they see you, the more comfortable you get, the more they know you. It is a numbers game.
So just always show up and do what you do.
Now... what to do for work in the meantime? Make your own stuff?
Now... what to do for money in the meantime? Take an order? (oy vey)