What’s a GrammyCam?” you ask? Let us enlighten you. The GrammyCam is a device in the base of the Grammy trophy itself that will be live-streaming audio and video footage throughout tonight’s telecast, leaving Grammys coverage literally in the hands of whoever is on stage. Yes, that’s right, this year you’ll be able to experience the Grammys from the POV of those small gold gramophones handed out to winning artists.
Maldives ☼ So expensive but one of these days I will go just to relax in the sun with the white beac… – http://pinterest.com/pin/Ax7xXAAQwAMEnxs4E9sAAAA/?s=3&m=wordpress
Hey, Chirl Girl, here! And you know my motto…“If it’s free, it’s for me!”
Getting An Agent – ‘No Comment’!!!
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It’s been almost a full year now since I signed with my agent, but the thing about querying is, if you did it for long enough, I’m not sure you ever forget what it was like.
Me? I did it on and off for four years.
I got something like ten rejections on my first ms before I stopped (not that I’d normally advise giving up after that low a number, it’s just that it was far more of a “market timing” thing – NA! – than anything else), fifty before shelving the second one (what, until my most recent ms, was “the book of my heart”), and then was very lucky to find my agent through The Writer’s Voice contest with my third, for which I only sent about five queries.
That adds up to a whole lotta two things: 1) Research 2) Rejections
When I queried the first…
View original post 2,138 more words
Instagram – Camera Action
Being Conned Out Of Big Bucks is no joke, and over in the UK, many would be Companies are literally dragging the Money out of the Pockets of Unsuspecting Actors and Actresses Up and Coming in the Entertainment Industry, and this issue will be address in a big way in the near future as Lovestaxs Entertainment and many other Companies in this field are working towards stamping out this sculldugery!
Don’t Trust One Source Talent
I am sorry to say I am one of the gullible people who got tricked into joining. I already had professional head shots but they told me they were not good enough and I needed to get better ones, of course for a small fee of 800 bucks plus the 49.99 it cost to start. I was a bit skeptical but looking at their website and the offices around the U.S made it look believable. They said they would send me good gigs that I can try for and that there data base was filled with different types of acting opportunities to choose from. Lets just say this was a fallacy the only type of jobs they sent me was to be an audience extra which was unpaid I might add. The only gigs they had available was musicals and I told them when I…
View original post 245 more words
WORKING WITH ACTORS: THE CASTING SESSION
THE DIRECTOR’S CHAIR
Free Monthly Ezine for Film and Television Directors
Scene 1 – Take 2
Published once a month – with special editions during the year.
Publisher: ACT NET
Web Site: http://www.actingnetworks.com
2. Quote of the Month
3. Feature Article – The Casting Session
4. Directing Tip – Directing Comedy
5. Links of Interest – Virtual Film Schools
6. Short Ends
7. Out Takes
8. Suggestions & Comments
9. Copyright Information
10. Subscribe & Unsubscribe Information
Welcome to Issue of The Director’s Chair
a) The Feature Article this month is on the Casting Session and
how you can quickly find out if an actor is right for a part.
b) Calling all Volunteers!
If you would like to contribute articles, tips, links of
interest, industry news, interviews, special event dates or other
resources to The Director’s Chair, please email me at:
Peter D. Marshall
2. QUOTE OF THE MONTH
FILM QUOTE: “You know, sometimes you do your best work when
you gotta gun at your head.”
Chili Palmer (John Travolta) – Get Shorty
3. FEATURE ARTICLE – THE CASTING SESSION
Working with Actors: Part 2 (The Casting Session)
Last issue we discussed the importance of knowing a “character’s”
personality traits and how you can use a “character personality
chart” to help you.
In this issue, we will discuss the casting session and how to
quickly find out if an actor is right for a part.
But first, here is a quick guide on the casting process.
When a director first gets a script, you read it through several
times to get a feel for what the story is about and who the
characters are. (NOTE: In future articles, we will discuss the
Director’s script breakdown in more detail.)
As you read the script, you will get an impression of the
characters. You then have a meeting with the Producer(s) and the
Casting Director to share your ideas of the characters.
(NOTE: This is an important meeting for the Director, because it
is where you find out what the Producer(s) are thinking and if
you are on the right track. Remember: television is a Producers
medium and they have the final say in everything – including
After the meeting, the Casting Director goes away and puts
together a list of actors that fit the character traits and
specific looks discussed in the meeting with the Producer(s).
The Casting Director then has her own casting session where she
videos a “short list” of actors for you and the Producer(s) to
view.(Sometimes you will only cast from these tapes – other times
you will make a short list from the tapes and then to go to a
Okay – you have now arrived at the casting session. You walk in
with the Producer (usually late because you had to get a
Starbuck’s latte) and you meet the cameraman (who puts the actors
on tape) the reader (who reads the script with the actors) and
the Casting Director.
You then get a piece of paper listing all the auditioning actors
and the roles they are portraying – then the actors enter and do
When the session is done, you have a headache, the Producer(s)
don’t agree with anyone you like, the casting Director is already
on the phone setting up another session, and there is a message
from the production office informing you that there is a complete
revision of the script waiting for you when you get back!
Okay, let’s back up a bit.
The Casting session (actors call it “the audition”) can be a
terrifying place for any actor. It takes a lot of guts to walk
into a small, windowless room and have about 5 minutes to “show
your stuff” in front of complete strangers – some of whom could
make or break your career!
But it is just as tough for the Director as well! How can you
decide, in less than 10 minutes, who is right for a particular
part? Because you never have enough time to work with the actors
in a casting session, here are three qualities you should look
for in an actor when they audition for you:
1) do they look the part?
2) do they have range?
3) can they take direction?
Yes…I know there are many, many more, but these three can
usually give you a enough information about an actor – in under
1) Do they look the part?
I call this the “50%” rule – 50% of any role is cast when an
actor enters the room! He(or she) doesn’t have to say anything –
they just LOOK like the character (they ARE the character) when
they come in!
This is especially true of a TV series. You don’t have a lot of
time to build a character in Television, so if an actor looks
like the character, that is the first step in making them
believable to a TV audience.
2) Do they have range?
This is basically saying, “Can they act?” and you need to find
this out quickly. Can an actor give you both ends of the
spectrum. Are they believable when they are in a tense, dramatic
scene? Are they believable in a comedy?
3) Can they take direction?
Any good actor will make a choice when they enter the casting
room. They will decide who this character is and give you their
Many times, this is not what you had in mind, BUT…they were
great! So, what you need to do is give them some “direction” –
ask them to read the part again but do something totally opposite
from what they just did. This gives you an idea if they have
range, and if they can take direction.
Some actors have a problem getting through the audition. They are
very good actors but they are nervous and tend to blow their
audition. And other actors will always “give a great reading” but
they end up a dud on the set.
Remember – casting sessions are not perfect. You will never be
able to fully tell if an actor has the qualities you are looking
for in just 10 minutes. But these three tricks will help you to
see if an actor has range, and if they can take direction – in
less than 10 minutes.
TIP: If you are seriously interested in an actor, ask for a
“call-back” where you can work with this person one-on-one for a
longer period of time. This will help you decide if the actor is
right for the role.
A good performance happens when both the inner and outer self are
portrayed. So when dealing with any actor, remember these three
important words: Motive Determines Behavior!
Motive (what a character thinks-inner)
Behavior (what the character does-outer)
NEXT ISSUE – Director Prep: Breaking down your script.
4. DIRECTING TIP – COMEDY
Nothing can kill a comedy scene quicker than the lack of pace.
The pace of comedy needs to be faster than drama – but not so
frantic that there is no time for reactions.
And never over rehearse a comedy scene – use rehearsals to block
out actor movement, then turn on the camera and see what happens!
5. LINKS OF INTEREST – VIRTUAL FILM SCHOOLS
1) Cyber Film School – http://www.cyberfilmschool.com/
2) Film and TV Connection – http://www.tvconnection.com/
3) Lee Garmes Cinema Institute – http://home.mecfilms.com/lgci/
6. SHORT ENDS – “THE WEST WING”
One of the best old TV shows that’s been on the air is “The West Wing”
Wednesday’s at 9:00 (NBC)
Why? The dialogue, acting and directing are superb! And it is one
of the few programs you can enjoy – even if you have no idea of
what they are talking about!
7. OUT TAKES!
MOVIE CLICHES – HEROES
If the hero has a psychological/physical problem which has
prevented him from effectively dealing with problems, you can
rest assured that this problem will disappear at an opportune time.
The hero always misses the villain leaving the scene by seconds.
Stripping to the waist makes the hero invulnerable.
The hero will always be paired off with a female character. The
sidekick never will.
The hero’s best friend/partner will usually be killed by the bad
guys three days before retirement.
The hero’s new wife will be mowed down by 80 machine guns right
after the wedding or during the honeymoon.
Heroes can go without food or sleep, with no measurable drop in
physical or mental faculties, for at least 72 hours.
The hero will always have a small trickle of blood in the right
corner of his mouth after a fight. His lip will never be split in
the middle, and his upper lip will always be invulnerable. He
will wipe the blood from the corner of his mouth with the back of
his hand, then look at it. If his face displays any other injury,
it will usually be a small abrasion on his right cheekbone. He
will wear a band-aid on this for one day, after which it will be
The hero will always refuse the assistance of friends or medical
personnel after a fight.
If the hero gets into a second fight, his most injured body part
will always be punched or kicked.
A hero will show no pain even during the most terrific beating,
yet he will wince if a women attempts to clean a facial wound.
When a hero is paired with a weak sidekick, that sidekick will
invariably save the hero’s life at a crucial moment, or show
remarkable proficiency with weapons in a key scene.
If the hero is a white male and has an assistant/sidekick who is
either not white or not male the assistant/sidekick will die,
preferably in an act of heroic sacrifice.
If the movie hero has a sidekick and he mentions his family in
the first two minutes of the film, the sidekick will surely be killed.
The movie hero is (almost) always divorced, but he still has some
contact with his ex-wife who tells him that she could not stay
married to him because she loves him too much.
8. SUGGESTIONS & COMMENTS
Send any comments, suggestions, questions or advice to:
9. COPYRIGHT INFORMATION
All Rights Reserved
Share this Ezine by email – forward it to your associates.
This Ezine may be reprinted with permission.
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Act Net / All Rights Reserved