Middleton Casting

Has it Really Been This Long? Apologies!

2011-01-31T20:54:00.000-08:00

A lot has happened in three months. Some things I can talk about and some not quite yet. The big news of the moment is that I relocated to New York for ten weeks. I'm in the city casting the movie "Another Bullshit Night in Suck City"

Paul Weitz is directing, with Focus Features producing. After having had a great Christmas break, it's been fun to get back to casting and to reading very different kinds of roles.(This movie is a bit different than those I usually work on——not a lot of young people but rather, more homeless, older types.)

I know it's hard out there but keep writing those scripts, making those videos, honing your craft, keeping the faith.

Do something good for yourselves. Be kind to yourselves. And I promise to be a more faithful blogger in the future.

All my best,
Joseph

You Deserve a Post

2010-11-16T21:56:00.000-08:00

Why have I not been motivated to post?

It dawned on me, when Jesse Woodrow (thanks for the push to blog, Jesse!) emailed me asking why I haven't written, that I am in funk. After working so hard on the OUTLAW series, it was canceled. When I finished up ABDUCTION, I was thinking I was going to be starting work on two movies, and then they didn't happen. Then a director I admire, one whose last movie I cast, went with another casting director without so much as a fight to get me on it instead. I guess disheartened is the word. Discouraged.

But we're the artists, and along with that comes the invariable ups and downs of leading a creative life. A part of me understands that without a doubt I'm one of the lucky ones: I'm working on a cool horror movie right now, THE COLLECTION, with a director and with producers who rock. I have several other movies in the works. But I just can't shake this cloud of anxiety.

So I'm sharing this really to say, "It seemed so important at the time." In other words, we have two great holidays ahead of us. Let's breathe, regroup, take advantage of the quiet time, revel in the existence of our family and friends.

In the meantime, I'm flying to Atlanta to hold casting sessions since THE COLLECTOR is filming there this January. So if you live near Atlanta do email me to see is there's a part for you.

Thanks for listening.

Finding the Time to Post, Among Other Things

2010-08-11T12:29:00.000-07:00

I realize it's been well over a month, almost several. I've said it before: finding the time to post is far and away my biggest problem, not enthusiasm for it. Apologies as usual.

I've been in production with Outlaw lately (for those of you who don't know, I'm casting a series with for NBC with Deanna Bridggi Stewart, starring Jimmy Smits.) I cast the pilot, and came away from that experience understanding that while I love working in movies, when I'm casting one I meet a lot of actors I like but have so few roles that I can actually put them in. I felt that doing the series would give me a way to funnel good actors into jobs. Every week is like casting a mini-movie.

I have to say I'm really enjoying the day-to-day casting of Outlaw. I may feel differently when I'm on two movies and also the series but for the moment it's great.

The only thing I wasn't prepared for is that I can't have actors fly in for the parts; casting on the series moves so quickly it's almost impossible to bring actors in from outside the Los Angeles area. We also shoot the series in Los Angeles.

For all you Los Angeles based actors, my suggestion is that you don't submit yourself unless you're truly right for the role. I'm beginning to notice that some agents and managers just throw all their actors on breakdown express, without really thinking about whether the client is the right fit for any given part. If I start seeing all the same pictures submitted for each and every role, you the actor starts to lose credibility. So be self-aware and objective, and really ask yourself if you're what the breakdown is asking for.

As always, I accept 15 second reels, which you can send to middletoncasting@gmail.com This should be your new way of sending postcards. And yes, the truth is I can't and don't look at everything, but I do look at a lot. Also remember to not send me something every week because then you become a pest. It's all a matter of balance, and we're all trying to do our best here.

I'll try to write again in a few weeks, but in the meantime, enjoy these last dog days of August. It goes by fast.

The Unfortunate Story of the Actress Who Did Everything Wrong

2010-06-13T19:35:00.000-07:00

I know. I promised to tell you the unfortunate story of the actress who did everything wrong during an audition a long time ago. I realized how critical the situation had become when an actor chased me down a Hollywood street last week yelling "Hey, where's the post about the actress who did everything wrong?"

There are reasons for my disappearance but I'll skip the excuses (travel, projects, travel, more travel, more projects,)and get straight to the story:

It wasn't a question of talent. This was an actress--think European--who was on the rise a few years ago, one who had worked on several big-budget action thrillers. That was part of the problem: I was calling her in for a TV pilot, and she not only felt that TV was beneath her, she didn't like the idea of having to audition. But I had to bring her in to read because she didn't strike me as a perfect fit for the role. I wasn't all that familiar with her work, either, and I didn't feel comfortable bringing her directly to the producers. I go by my gut, and my gut was telling me to read her. (Actually, in truth my gut was telling me it wasn't going to work out, but her manager had done everything right, in terms of pursuing this audition for her, and when that happens, I'm more inclined to say yes as a nod to professionalism and as reward for someone who's doing his or her job right.)

Well.

There was a communication breakdown that day and the actress didn't get my message that I had to reschedule her audition for later that afternoon. When she showed up, she had to read for my associate. The actress didn't like this, and she made it clear how much she didn't like it. She threw a hissy fit, she acted the diva, and in the process alienated my associate to the point where she'll never read this actress again. That right there is the sound of a door slamming shut.

Things degenerated from there.

Our diva insisted on sticking around to have me read her later in the day. And when she walked into the audition room, she wasn't alone: she brought a huge chip on her shoulder in with her. I'd heard what had happened earlier in the day, and I wanted to placate her, wanted to get our situation back on solid ground. My goal is to always use my time with actors productively, as an audition that runs off the rails is a waste of everyone's time.

But when she started to read, it was immediately clear she was heading in the wrong direction. I started to give her some notes, some ideas for some shortcuts, but she was intent on taking a broad approach, on building the character slowly. It wasn't appropriate, it wasn't what was called for, and she ignored my notes. Was I patient, was I gentle? No. It was a fast-paced pilot day, I had a lot of actors to see, and no one actor ever gets to be Queen For The Day. She was cutting off her own nose to spite her face. I brought the reading to an abrupt halt and just brought her in to the producers, who later commented, "Well, there's an actress who thinks a lot of herself."

Acting isn't therapy. A read for a casting director is never the place to work out your issues. Yes, you have to bring your full emotional range into every reading that you give, but don't make the mistake of conflating things and using the audition room as a substitute for a visit to your shrink. (The audition room isn't a room that comes equipped with a therapist's couch.) And even though I'm always intent on coaxing actors to do their best work, during an audition, I'm the buyer, you're the seller. Sound's harsh, but that's the way it breaks down. You've got to sell me on your performance. What you can't do, what you must never do, is walk through the door with an attitude. Be professional, and be gracious about the process. Every time.

The actress who did everything wrong blew it that day, and now has a team of people who would prefer to never work with her.

As buyers, none of us were interested in what she was had to sell.

An Experiment with Twitter

2010-06-12T20:54:00.000-07:00

Very quickly, I just wanted to tell you guys that I posted an audition on Twitter recently, and got an excellent response and result. So follow me there: "middletoncastin." (Yes, sad to say I wasn't able to nab the "g.")

Haitus

2010-04-16T07:45:00.000-07:00

Hey everyone—
Apologies for the long gap between posts. I've been working like a fiend on several new projects (a book idea being among them, which I'll be looking to get your feedback on at some point) and I've had next to no time to sit down at my computer to write. Know that I appreciate your comments, wish I could reply to them all, and hope to find a consistent medium through which I can continue to share my insider observations about the casting process. I know that this blog is up and down, hit or miss, not as consistent as it could be.

I have a cautionary tale to tell you about a good actress who came in and did absolutely everything wrong in the audition room.

Thanks for your patience. I'm off to do a seminar on the east coast (sitting in an airport as I type this) where I've heard spring is in full bloom. Nice.

Some Post-Oscar Observations about some Pre-Oscar Parties

2010-03-10T12:42:00.000-08:00

In the last several days I've been asked a number of times how it felt to have an actor I cast in a role get nominated for an Academy Award. You know something? The way that it felt was amazing. I'm extremely proud that Colin Firth was my first nominee, and I'd like to thank Tom Ford for bringing me on to A SINGLE MAN, and also thank Chris and Paul Weitz for producing it. It goes without saying that I'm grateful to Colin for delivering a performance so extraordinary it exceeded everyone's expectations. It's gratifying for everyone involved when a performance gets recognized, and it's the sort of thing that can help me remember, when my work day is harried or difficult or plain crazy, why I do what I do for a living, and love what I do.

So you'd think I would have also loved attending some of the Oscar-related parties here in Hollywood, such as the InStyle party, or the Mercedes Benz party at the Soho House. But the truth of the matter is, those kinds of events stress me out and put me way outside of my comfort zone. I want to like them much more than I actually do. They make me feel like a deer caught in the headlights, they feel like work, and they bring out my insecurities. Let me explain:

When I walk into a room and have to be in a social situation with dozens of people who I've called in to read for me, I begin to panic. I'm not going to be able to remember all of their names, and I don't want to hurt anyone's feelings. When an actor or actress comes up to me at a party and I can't immediately place them, it causes me great stress, and I begin to shut down on some level. People tend to take it personally when you don't remember who they are, and I can appreciate that. But when I'm casting a project, I can see up to thirty people in a day. Multiply those days by weeks, and we're talking a lot of people here. (There are only so many names I can keep in my head.) Remember, there's only one of me——one casting director on a project——and sometimes hundreds of actors I might read for that project. It makes sense that in a social setting they might remember who I am more readily than I might remember who they are. So I walk into parties like these knowing I'm going to be put on the spot, and knowing I'm not going to feel at ease.

There's more to it to this, though. When I'm in the audition room, I have a job to do, and I have a purpose. Actors in that room with me are there to do a job also, and our connection is focused around doing the work that we most enjoy doing. It's a one-on-one dynamic that's both intimate and engaging, and one where our roles are clearly defined.

At a Hollywood party, things are no longer clearly defined, I don't have a specific job to do, and it can be awkward for all of us to figure out how to relate to one another out of context. But I suspect I'm shyer than most people, and have bigger social insecurities. Large gatherings have just never been my thing (I'm at my happiest when cooking at home for a handful of my closest friends) and I can't tell you how lovely it was to have my partner at my side at these Oscar parties, as he's from Latin America and one of the warmest and most socially gracious people I know. (A shout-out of appreciation for you here, Claudio!)

Please understand that I'm not complaining about the life I get to live, with it's excitements, rewards, and satisfactions. But I wrote this post because I wanted to tell you guys out there that there are a number of angles and facets involved with working in the movies, no matter what side of the camera you're on. It's unrealistic to think that you're going to like all of those facets equally. I know actresses who hate being scrutinized on the red carpet, but their job demands that they face their insecurities and do it. I have to master my social fears and show up at parties like this because it comes with the job. The key lies in pushing past your fears and doing whatever your job demands of you, while easing up on yourself emotionally while you do it. Shrug, acknowledge to yourself that you hate this stuff, maybe devote some energy into figuring out why, and then sail out there with a smile on your face, and, well, how did Nike put it?: just do it.

Workshops in L.A. and Elsewhere

2010-03-03T12:52:00.000-08:00

I'm often asked if I'd hold an acting workshop in Los Angeles, and the the truth of the matter is that I'd love to, but I'm conflicted about it because I think actors in L.A. shouldn't have to pay to see me. I feel differently about going out of town on my days off, however, to teach those who wouldn't have the opportunity to get in front of me if I didn't show up in their town and talk.

When I was browsing around online late at night recently (we got a new puppy,and he's the one calling the shots right now about our sleep schedule) I came across a nasty letter having to do with my having worked in conjunction with a school--a school that paid me very handsomely--to hold an open call that they set up for me. The school, in turn, would be able to show off their school and program to acting hopefuls, and offer them the opportunity to enroll if they could afford the tuition, and if I recommended them.

What it comes down to is this: the central requirement of my job as a casting director is that I find talent. Where I find this talent, via what means, or in what location is secondary to the fact that my job depends on my finding it. Between projects, or as a part of working on projects, I travel around the world searching for actors to cast in films. In addition to speaking at colleges and universities, I’ve periodically worked with private schools, in part because this is one way in which I can see hundreds of young actors who I would otherwise have no way of seeing.

Because I’m a casting director who works on major movies, I usually don’t read novice actors who aren’t yet represented by agents and managers. That said, I’ve also cast unknowns in lead roles. My reputation depends on my finding the best fit for a role, whether the actor in question is known or not known.

I’m not in a position to speak to how the actors’ training programs are structured or what the payment protocols for these programs might be, which was one of the criticisms leveled at the school in question. Whether I personally think this school might be expensive is secondary to the fact that I believe all parents of young actors (and actors themselves) are responsible for doing research on programs, schools, photographers, and all the other factors that come into play in the training of talent, and to make smart decisions about where to invest their money. As I said above, I'm paid a high fee to come and hold casting calls at this school, as are other top casting agents, and I always honor my commitment and see all the kids enrolled in the program. I keep notes and records on the kids I think are gifted, and try to dispense as much practical advice as I can within the given time frame.

Because the acting world is tied up with fame, fortune, and fantasy, it can be hard to remember that the business of making movies is in fact that: a business. I have to make a living just like everyone else. I've worked hard to reach my level of expertise, and I'm paid for that expertise. There is no way that someone at my level would be calling in inexperienced actors for free, and, to be clear, when I hold open call auditions for movies I’m working on, a studio is funding those open calls.

I’m sympathetic to any hard-working parent out there trying to help their children realize their dreams. And I’m cognizant of the fact that without actors I wouldn’t have a job. But I again want to stress how important it is to make informed decisions about how to best go about the business of acquiring the necessary training. Some sort of training is almost always called for, and fortunately there are lots of options out there, such as drama departments at high schools and colleges, community theaters, private acting lessons, and private schools. The key lies in investigating all your options and then making informed and responsible choices.

There. I feel better now, don't you?

Why One Actor Over Another?

2010-02-23T05:52:00.000-08:00

I just remembered that there was one more question I'd wanted to get around to answering in a post. A follower asked whether, all things being equal, there was a certain undefinable something that resulted in one actor getting cast in a part, as opposed to another equally talented and suitable actor getting the part. I realize it can be perplexing when you audition for something, feel the audition went really well, feel that you're perfect for the role, but then you still don't get it, and can't figure out what went wrong. You're left hanging. And also disappointed.

Sometimes it's true that there's only the smallest of distinctions between why one actor might get chosen over another. But remember that I'm not always the only person in the room. Directors are called in to readings, and other people associated with the project might be weighing in as well. There's a connection and kinship between actors who have worked with certain directors before--a working relationship is already in place--and sometimes there's an actor I haven't had the opportunity to work with before, but have always wanted to work with. If it's a romantic comedy, chemistry between the two leads is critical, so that's a huge factor in why someone might get chosen over someone else.

It's important for you to remember that you're looking at your part in the process through a rather narrow lens. When you walk into the audition room, you don't have all the information about all the variables that are in play, in getting that role cast. You have the sides, you saw who else was waiting in the room with you, and that's about it. I'm sure it must be frustrating in those situations when you feel you knocked it out of the park and never learned to your satisfaction why you didn't get cast.

It comes down to developing the ability to evaluate your own performance--to know when it felt right, when you feel like you nailed a read--and to be good with that. The other factors are factors that aren't within your control, so the key to maintaining your equilibrium and a positive outlook is to give yourself credit when you feel you auditioned to the best of your abilities, and to then put it behind you, and move forward to the next opportunity. Being psychologically agile and emotionally open is part of being an actor, or any kind of artist.

So stay positive, learn from and build on each audition, keep focused on what's ahead of you as opposed to what's behind you, and you're going to get there. In the meantime, don't forget to do good things for others, because that sort of thing always swings back around. Thanks for reading, and now go out there and have a great day.

Feedback, Flattery, and Keeping it Real

2010-02-18T10:16:00.000-08:00

A friend of mine on the east coast called me up the other day and said she'd come across a review of Tom Ford's THE SINGLE MAN in an old copy of New York magazine she found at the gym, in which my decision to cast Colin Firth in the lead role was praised. My friend was surprised when I told her I hadn't seen it, hadn't heard anything about it. "Good casting so rarely gets mentioned," she pointed out. "You generally only hear about casting decisions when they're disasters."

It got me to thinking about something I once mentioned in a post here, that most of us are more inclined to register our failures as opposed to our successes, and also about how nice it feels to get positive feedback, out of the blue, when you're least expecting it. There have been a few comments from readers on this site alluding to the fact that, while not wanting to seem like "arse-kissers," they appreciate my willingness to offer encouragement. The way I look at it is, if I like getting nice feedback, I assume each one of us out there does. As for comments about my keeping it real and down to earth? That's who I am. My childhood was real and down to earth. (Which is also my way of saying that it was loving, but also challenging.) I couldn't be another version of myself if I tried.

So, one of the questions that popped up recently in a comment was whether there's such a thing as over-training. Essentially, the way I feel is that it's important that every actor keeps his or her instrument tuned up to the best of their abilities. You call on every aspect of yourself as an actor--emotions, psychology, body, movement, voice--and there's almost always something that can stand to be developed further, whether it's accent work, singing, dance training, etc. That said, there are also practicalities. You alone have to decide what you want to devote your resources and energy towards. Keep an eye on whether you're obsessing on only one angle of things, such as getting your head shots taken over and over again in the hope that the perfect photo will land you the perfect role (it won't).

It's a central theme that you're going to hear again and again on this site: strike a balance. Find a balance between the business end of being an actor, and the creative end. Put as many tools as you can into the imaginary toolbox you carry into each audition so that you can call on those tools to do your best work, but don't go into debt to do so. To be an actor is to be an artist, and to be an artist is to live a dream. But the world is a practical place, and movie-making is a business. If you stay mindful of both angles of this equation, your chances of success increase exponentially. It also doesn't hurt to be a nice person. Just keeping it real, here. Have a great day.

We Love Actors

2010-02-14T11:46:00.000-08:00

I want to make it clear: casting directors love actors. We could not do what we do without you. I'm in the middle of casting a pilot right now (pilots being the first episode of a TV series that gets made to see if the studio wants to pick the show up and put it on the air). Casting a pilot is an intense amount of work squeezed into a narrow time frame. I was really stressed this week because I didn't have the luxury of letting actors read the scenes more than one time through. When I smiled and said thank you, it felt hollow, because I felt the pressure of getting to the next actor and then returning the 75 calls that went unanswered from the day before. So please remember that we love you. It's a crazy process, casting a pilot. Even if my smile is fleeting, it's my way of showing appreciation for the work that you did for me, and of reminding you to have a great day.

Questions, Answers, Finding my Footing

2010-02-07T06:13:00.001-08:00

Okay. I just want to write a quick post here to say that I'm still getting my bearings as to what my web presence can realistically be. While I was genuine in wanting to hear what questions you might have for me, when I started replying to comments (which became in and of themselves "mini-blogs") I realized I don't have the time to respond to individual comments. My apologies.

My ultimate goal is to be able to tape short videos that I can post on my web site, which, along with my blog posts, would address your questions and continue to fill you in on what my daily life as a casting agent is like. Writing is labor-intensive, and to be honest here, I barely have time to do my day job. One of my priorities this year is to figure out how to build the multi-dimensional web site I have in mind, but at the moment, I don't have the time I need to devote to it, and haven't yet gathered together the web design team I'll need. In the meantime, I pasted in below some of the questions that I answered as they cropped up in a recent post's comment section, and I'm sorry I wasn't able to get to them all. (I'll try to fold my answers into future posts.)

I'll figure it out. And I'm glad to have all of you along for the ride as I do. Thanks for reading.

Question: I have always wondered if a role ever goes to an actor that was found at an "open call" audition. The one for True Grit has been going on for a while and I think you held one for Little Fockers a while back. Did the kids that got those roles come from those open calls? Are open calls usually just a publicity thing for the movie or do the people that attend open calls actually have a chance in moving past being "seen" at that open call? Also, how important is experience as opposed to talent?

Answer: Kaleigh, those are both great questions. To answer your first one, strictly speaking, you don't need an agent to read for me. But the chances of your knowing what roles I'm casting increase dramatically when you have an agent, as that's how most of the information gets disseminated about all the roles. Also, if you don't have an agent, it's assumed you're an entry-level actor as opposed to a working one, so chances are you'd only be thought of for the entry-level roles. Complicating things these days is the economy. There are fewer productions, fewer roles, and less work to go around in general, so experienced actors are now willing to take the one-line roles, squeezing out opportunities for the novice. As to your other question about whether to go with a N.Z. agent or one in the states, what matters most is that you find an agent who connects with you, believes in you, and is passionate about promoting you. Agents in other parts of the world know how to reach me. The main thing is that you have a solid relationship with an agent who works hard for you. I'll address your question about experience vs. talent soon. It's a fantastic question, and I want to give it some thought.

Answer: Now to the question about the open calls. First of all, open calls have very little to do with a movie's publicity. The movie hasn't been made yet, and it can be years before it's released. When I hold an open call, I'm doing due diligence, going full circle, genuinely looking for the most talented actors that exist for any given roles. My policy as a casting director is to look in every and all directions, high and low. So you should never pass up an opportunity to go to an open call. Even, as is often the case, the role goes to a more known or experienced actor, or the studio decides they want to head in a different direction, it's always good to get in front of me. I have a great memory, and I make it a point to remember talent. I've definitely called in actors for other projects that I remembered from past open calls. Your job is to come prepared to an open call, be on top of your game, and make an impression.

Question: I am so glad i read your blog today as i have a question/thought- as a casting director your aim is to find the perfect actor for the job, so besides talent what else are you looking for?? I am sure you see hundreds of people for any one role, and i am sure most of them are talented and fit the brief, so what else will get them a call back or even better, the job?? Thank you!

Answer: It's interesting that you asked about this right now. I've been thinking a lot about the question Kaleigh posed about talent vs. experience, and decided I'd like to dedicate a post to it. I just returned today from Washington D.C., where I was giving a seminar about talent, so when I get a chance to write a post, I'll address this issue at the same time. Thanks for reading.

Question: I have both an agent and a manager but when I find a project that I am passionate about I will submit "direct" if they failed putting me in front of the Casting Director. How do you feel about actors being proactive and what are your thoughts regarding "outside the box casting"?

Question: Ok, so not being a kiss ass or anything, I have to say you have the most valuable feedback I have ever come across. I'm sure you get thanks all the time but thanks again. You seem to make the time for actors even though you are probably so short of time! Looking forward to your post about talent vs experience. Also should you have any more of that precious time, I believe actors should always train to master their craft but wondering how much training is too much training? Basically, can you overtrain?

Question: Joseph, thank you! It is a privilege being able to ask for your advice and opinion! I was looking up a reputable agency here, and they only represent actors with more than a year's experience. Catch 22 situation?

Answer: I didn't have the chance to write a comment to this question, but it's a good one and I'll try to get to it soon.
Question:

Question: Hi Joseph,I was wondering if you are interested in an actor (who has read for you in the past) sending you clips of their work in films. In other words, do you take the time to view clips of an actor's work for future reference so that if they were not right for a particular role for one reason or another (experience vs. talent, etc...), you can see how that actor continues to develop his craft?

Answer: I'll get to this too, as soon as I can.

The Talent vs. Experience Conundrum

2010-01-30T11:28:00.000-08:00

I travel around the country looking for talent. Two weekends ago I went to the Youth Film Academy in Washington D.C. I was amazed that families came out in the crazy weather. But because they were willing to trek through the snow, I have actors who I'll remember for a long time to come, and will audition in the future.

What struck me in the process of reading the actors was the abundance of raw talent. So many of you have it, and it's talent that needs to get developed. I think of it like sports. You may be a good soccer player at home in your back yard, but without practice and training and coaches, you're not going to take the ball much further than that back yard.

The last boy I saw that day in D.C. had this fantastic quality. He had an emotional intelligence that just shown through as he read. But he didn't know what to do with the camera. He didn't know how the technical aspects of it worked, and it was clear he wasn't comfortable with the camera, that he didn't know how to interact and play with it. Its presence shut him down and made him self-conscious, when in fact the presence of a camera should do the opposite. Skillful camera work combined with talent can result in star performances. It's a collaboration, the same way that a model has to be in tune with her photographer to be able to take great pictures and become a supermodel (don't lie: plenty of you have watched "America's Next Top Model").

When I was thinking about the question a follower asked in a comment——"what's more important, talent or experience?"——the first thing that came to my mind was "don't make me choose." Like so much in life, it comes down to finding a balance. I couldn't cast the talented young actor in Washington because he didn't have enough training yet. At the same time, if he hadn't possessed the raw material, he wouldn't have made such an impact on me. Both things are necessary. You need the discipline and the structure to develop your talent, and you need to have core talent in the first place. It's almost as if you need to keep your creativity in shape, the way you need to work out at the gym to keep your body in shape. If you neglected to tune up your car, what good would it be to you if you went into the garage and it didn't start?

Sure, there are untalented actors who work. There are also some actors so brilliantly gifted their talent can't be denied, no matter what kind of mistakes or bad choices they make in their private lives. But most of the time, the balance between talent and experience somehow gets itself sorted out. Most of you will do it at your own pace, and in your own way. I feel confident about saying so, because I see evidence of it every day of the week.

Easy Come, Not so Easy Go

2010-01-28T11:43:00.000-08:00

So, I didn't get that pilot.

When I found out that I didn't get it, I was stuck in traffic on the 405 freeway, thinking about what I was going to pick up at the store to make for dinner, and mentally going over what my schedule was going to look and feel like in the upcoming few weeks. Then the call from the production company came, telling me they'd gone with someone else. This was the same day I'd published my last post here, the one where I announced that I'd soon be filling you in on what it's like to cast a pilot.

What we're going to talk about instead is how it feels to get rejected.

The bottom line? It doesn't feel good, no matter how thoroughly we understand the whys and the wherefores and the explanations. We all want to be chosen, want to be said yes to, want to get the green light, the rose, the book contract, the movie deal, the part, the guy, the girl. It's human nature to prefer hearing the word yes as opposed to the word no. I was surprised when I got that call. I was bummed. And I immediately thought about what you guys go through out there, how much work it is to prepare for each audition, what it must feel like to see walk into a room and see twenty other people going over the same lines you're about to deliver, and then not get called back.

It's really tough. With every rejection a tiny part of ourselves just wants to pack it up and stop trying. There's no use pretending that being said no to is nothing. It's a small hurt every time. It makes us question our value and doubt our talent. The key here is to acknowledge the pain of rejection--to feel what we feel, fold it into what we know about ourselves, and then fold it into our work--without becoming bitter. We've all got to strike a balance between remaining human (vulnerable), and practical (we chose to work in a creative field and this comes with the territory). The trick is to absorb the blow in a way that doesn't stop forward momentum.

When it came down to it, I wasn't even sure I wanted this pilot. Working in TV is a different animal. Things move quickly, require a different tempo, a different set of variables, and I was on the fence as to whether I wanted to even bother. I rarely do pilots, I already had a film project lined up--THE GARDENER, directed by Chris Weitz--but because I'm such a hard worker, I have a tendency to pile as much on my plate as is possible. I understood why the production company in question went with the other casting agent, who specializes in TV work. It's a young company, and they needed someone who knew the landscape and who would show them the ropes. I'm much more familiar with how movies get made, not pilots, so their decision was sensible and not personal.

Good thing I work in the town that I do. Because after losing out on this pilot, I took a meeting on another pilot that I felt was really suited to me; one I'm working on now. I wouldn't have been available for it I had gotten the other one. There's one thing I can say for certain: in Hollywood, every day can be like Christmas.

Some Quick Thoughts in a New Year (a Little Late)

2010-01-06T08:36:00.000-08:00

I recently read somewhat that a doctor at a university in England came up with a formula that found January 24th to be the most depressing day of the year. It had something to do with its distance from the holidays, lousy weather, and the fact that most people's resolutions are beginning to fade right around now. I'm smart enough and old enough to not bother with resolutions, the weather here in L.A. is in fact lousy right now, and even though I don't find this time of year particularly depressing, I do regret that here we are a few weeks into a new year and I haven't gotten around to writing a post.

What can I say? Some people galvanize themselves at the very beginning of a new year, I take three or four weeks.

So, before I left to travel to Brazil for Christmas (my partner and I had an amazing time), I had some thoughts about the direction I might want this blog to take. I was talking to one of my assistants and found myself saying "you know, I'd like actors to let me know what questions THEY have for a casting director." I'm so on my own end of the process that I can lose track of what the concerns might be on the actor's end. While I was away, one of my friends in New York put the question to a young actor she knew, who I've brought in for a number of roles. The question he had for me was how did I feel about agents calling me up after auditions to get feedback on their clients? He wanted to know whether that was a hassle for me.

In a word, yes. While I'm sympathetic to actors wanting to improve their auditioning skills, you're going to KNOW how you did after you audition for me. Also, if I'm auditioning you, I expect you to come in, do a great job, leave. We're both in that room to get a job done, and hand-holding isn't a part of either one of our job descriptions. The issue isn't whether you're talented or not. That's a given if you're reading for me. It's whether you're right for a role, whether all the variables that go into a casting choice line up correctly. We work at top speed in my office, with all of us juggling several different things at once at any given time in our work day. It comes down to my really not having the time to pause and offer feedback to agents. That's not to say that if an agent needs to hear how a particularly young or new actor did, that I'm unwilling to take their call. (I've maintained all along that casting is a collaborative process.) It's just that the feedback issue is not at the top of my list of priorities.

In any event, it IS a new year, and every year brings with it its own challenges and surprises, accomplishments and defeats (plus a few additional pounds, right?). Speaking of surprises, it looks like I'm going to be casting a TV pilot next. I'll tell you all about it in my next post.

Better Late Than Never: Thoughts on the NEW MOON Premiere

2009-12-02T11:52:00.000-08:00

Okay, so I think it's high time I wrote about the big deal that was the NEW MOON premiere. But first I feel a need to explain that my not having brought it up before now had less to do with my having been in Australia than it did with my wanting to give the subject some thought while some of the hype surrounding it settled down. What I decided is that it's a moment in my career that should neither be overemphasized or ignored. And what I also realized is that, like most people, I tend to fixate on the mistakes I've made in my life rather than on the successes. It can be tricky, knowing how to gracefully glory in the...well, in the glory. So I want to start off by thanking all the people—the producers, directors, actors, friends and family—who have gone out of their way to acknowledge the work I did on the film. I loved being a part of this project, not because it's ended up being such a phenomenon, but really because it was an interesting situation for me, work-wise, and interesting situations are always stimulating.

Here's what made this project so interesting: first of all, contrary to what many people assume, I didn't cast TWILIGHT. Deborah Aquila and Trisha Wood did. Because Chris Wietz came on as the director for NEW MOON, and I've always worked with Chris, I was brought on to cast this second part of the series. And this meant that I had to work with the "bones" that had already been put into place when TWILIGHT was cast. So it was interesting to take a phenomenon, build on it, contribute my own creative twists, and have it work out so beautifully. It's a slightly different way of collaborating, which required me to flex slightly different muscles while casting. I'm proud of the additions to the cast, such as Dakota Fanning, Michael Sheen, and Graham Green. I also feel that with the help of Canadian casting directors Sean Cossey and Stuart Aikins, and Rene Haynes, Native American casting director, the casting of all the smaller supporting roles and day players contributed to the success of the final product. Working with them helped make this movie what it is, and I couldn't have done it without them.

Another thing that made working on this project particularly interesting is the fact that the movies are based on really popular books, so that extra level of awareness had to be factored in. There were a lot of layers that everyone involved with the movie had to remain creatively sensitive to, and I like that kind of challenge. I'd love to see Chris direct the fourth movie so that I could build on the series even more.

So, the premiere. Absolute hysteria. What it reminded me of were those grainy black and white clips I used to see of The Beatles stepping out of an airplane and waving, and then all hell breaking loose. At the NEW MOON premiere it was just like that: fans screaming, losing their minds, crying, possibly fainting. The best part about it for me was that I'd flown in two of my nieces from Georgia, and gave them a night they will never forget. And, for the record, the rest of my nieces and aunts will never forget that I DIDN'T get them tickets. Sigh. But that's Hollywood.

A Typical Day in My Atypical Life

2009-11-17T12:49:00.001-08:00

I flew to New York on a quick turnaround this past weekend, even though production on GOD OF WARS had kicked off and the premiere of NEW MOON back here in Hollywood was looming on the horizon. Why? I had to recast a small role in FAIR GAME, the Doug Liman-directed movie starring Naomi Watts and Sean Penn that I cast last spring

So here's a situation that sometimes comes up, which I feel is something worth dedicating a post to: I'll search in every and all directions to cast the perfect actor in a role (in this case, I traveled halfway across the globe to India to do so) and then, as the movie evolves through the process of getting made, it shape-shifts in such a way that something else is required from the role that the director couldn't have anticipated in the beginning of production.

It happens to be the case that Doug Liman is a director who enjoys demystifies stereotypes. He likes to cast against type, opting instead for the unexpected and the subtle, which is one of the reasons I love working with him. For the role in question, which was a small one, I cast a wonderfully talented young actor who showed up and did excellent work when the movie was getting shot in Kuala Lumpur. But it turned out that ultimately the needs of the movie demanded that the actor in this role had to communicate "danger" and "creepy" in a way that was immediate, not implied. The onscreen moment was small and fleeting. There wasn't time, in other words, for nuance in the scene; the actor in question had to simply embody "threat." Unfortunately, when the movie tested in the Midwest (I'll be posting soon about what this process is all about) the audience felt the actor played too young. The actor did everything right but sadly we need someone different. Or is there a chance it has something to do with the scene and not the actor?? I won't go there because it really doesn't matter. What matters is I deliver another version of that role via another actor.

Because I'm the casting Director from beginning to end on every project, it was my job to go back to the drawing board and search for someone new. (Interesting, isn't it, that after originally finding someone all the way over in India, I've now got my eye on a great actor right here in L.A.?) It's a shame when an actor gets cut from a film after having experienced the excitement of landing a role, and it can get logistically crazy for me when I've moved deep into other projects and suddenly get yanked back into one I thought was wrapped up. (Thank God for the red eye, for wifi on flights.) But all of this comes with the territory of working in the movies.

Welcome to my life. I love every minute of it.

(Did I mention that I'm posting this from my hotel room in Sydney? That's right, I'm working in Australia right now. I'll tell you all about it in a post, after I post about the NEW MOON premiere, which was fantastic.)

Some Thoughts Following Savannah

2009-10-29T08:39:00.000-07:00

I just returned to Hollywood last Sunday after having been invited, all expenses paid (how cool is that?) to the Savannah Film Festival. I grew up in Georgia, so it was wonderful to get the chance to go back home, while also getting the chance to celebrate the film industry. I sat on a panel that included Marci Liroff (Mean Girls) and Bonnie Timmerman (The Last of the Mohicans, The Insider). It was a privilege to sit next to these casting directors, who have both done such great work on a wide range of projects.

As we took questions from the audience about the casting process, I was struck by how different our approaches were. There we were, three esteemed casting directors, each of whom does things very much his or her own way. The three of us are different people, with different sensibilities, so it makes sense that we'd have idiosyncratic ways of working. In other words, there is no one way to cast, just as there is no one way to act. As casting directors, we bring our instincts, originality, backgrounds, and personalities to our work, while also, of course, relying on our connections and relationships with actors and directors. When working in a creative field, the whole of who one is tends to come into play. And although casting does has a number of business angles to it, knowing which actor fits what role, and making that choice, is essentially a creative act.

So, my point here is that it doesn't matter, as actors, what school you trained at, what technique you studied, who your mentors and role models are. The goal is to figure out how to "get there," how to show up for a role or an audition prepared to do your best work, according to who you you most deeply are. Imitating someone else's style or way of working will end up being just that, imitative. I've said it so much it's almost become a mantra: get to know who you are, and stay true to who that is.

LITTLE FOCKERS is finished; GOD OF WARS begins.

2009-10-29T08:29:00.000-07:00

Every project has a ending, and then along comes a new project. The one heading my way now is from the producer of "Law Abiding Citizen." Its working title is WAR OF GODS. I'll keep you posted, since the deal hasn't closed quite yet.

Just like well-established actors, I negotiate what roles I'll be casting and what fees my office will charge. This varies from project to project, depending on a number of variables (i.e., is this someone I want to work with, or have worked with in the past? Do I want to maintain the relationship?) If it's a project I can live without doing, the money aspect becomes more important.

I weigh all the variables, and then decide if it's going to work out. Once the deal is made, however, every project gets the same intense care and commitment. So when I'm in the process of making a deal, I have to remember that this will mean I won't be available for other projects, and that the movie is going to be my life for the next three months.

What WAR OF GODS has is a director who may very well be the Fellini of our time. (If you don't know who Fellini is, do a search on him. It's important for actors to familiarize themselves with foreign films and with classic American films. Know your history.)

Tarsem Singh directed THE CELL and THE FALL. His eye and visual style are impressive and original. There is nobody else like him, and he's a genuine artist. I do hope that this works out.

New Moon New Moon New Moon

2009-10-14T12:25:00.000-07:00

NEW MOON is big. Big like World Series big, like putting-men-on-the-moon big. I get asked about it all the time by my family, my friends, and by every young female actor I read. How do I get a part in it, when do I get to see it, how can I get more information about it, how did it feel to work on it? The questions are nonstop.

My response is that I feel extremely lucky to have been the casting director on NEW MOON. I'm grateful that Chris Wietz believed in me and that Studio Summit also supported my casting the film. I took the responsibility of this job very seriously (in truth, I take all my jobs seriously) but I had fun being part of something so big. And this is what I want to talk about.

When you're an actor sitting at home by yourself, fantasizing about your goals, the big picture can come to feel overwhelming. Faraway, huge, impossible, and just plain too big. My advice is that you not focus on the big picture, as you're often told to do in life, but that you instead move toward your dreams incrementally, in small, practical, day-to-day steps. Stay focused on the task at hand. Work hard, but keep your feet planted on the ground and your head out of the clouds. That's the way I did things, in my life in general and on this project in particular. On NEW MOON, everyone in my office buckled down and simply did what needed to get done. We didn't get caught up in the glamour. Instead, we did what was expected of us, every day, without getting sidetracked by the hype, resulting in what I believe was a job well done.

The Need for Discipline Behind the Dream

2009-10-06T14:28:00.000-07:00

I was excited by the response I got when I was reading talent in Dallas. The energy of the kids was great, and I came home feeling as if the six-week acting program had been a total success. Having told everyone who participated that if they sent me a videotape of their kid's acting, I'd put it in my database and send an email alert when I'd be casting a role they might be right for, I sat back and waited for the deluge of tapes to arrive.

At this point in time, I've only received a few tapes, and I admit that this comes as a surprise. Over two hundred people attending the seminar and only ten tapes have found made their way to my desk? Something isn't quite right here.

I understand that it's one of the jobs of parents to encourage their kids to explore different paths and pursuits--music lessons, sports teams, dance, painting, acting--with the hope that this will help them develop as people, learn who they are and what they love, and possibly provide them with a career path down the line. Nevertheless, the lack of follow-through here perplexes me. This is a prestigious school that charges top dollar to bring in established industry people to evaluate their children's work.

For those of you who are reading this blog, and who have sent in tapes, I applaud your effort, and the fact that you followed through. This kind of focus and consistency is exactly what's called for in order to make acting dreams become a reality. As I mentioned in a previous post, timing matters in Hollywood. Things move quickly, and there's never a shortage of actors trying to get seen by casting directors and agents. It goes without saying that talent matters. But without dedication, discipline, consistency, and an ongoing effort to make and maintain contacts, success in this business is rare. I know that some of the kids I saw in Dallas will go on to pursue dreams and goals that aren't related to acting. Some of them, though, probably are destined to be actors, and to them I want to say this: It takes some luck to become a star, but mostly it take a great deal of hard work. Show up, follow through, and don't miss any opportunities.

Dallas Talent

2009-09-26T19:00:00.000-07:00

Had a great day in Dallas. I will post more about it soon . I have a lot to say so it will take me a few days to gather my thoughts.

Knowing When it's Your Moment

2009-09-24T13:28:00.000-07:00

When I was at the Toronto Film festival a couple of weekends ago, trying to sweet talk and elbow my way into some of the screenings (and getting my ego bruised in the process) it occurred to me that talking about the politics of power and timing in the movie making process would make a good post. I had every intention of blogging about it as soon as I was back here in Hollywood but then, daily life intervened, the way that daily life keeps doing. There was the crush of final production work on Little Fockers, a trip to Dallas to search out new talent, and here it is, October already. But I still find myself thinking about the strange time continuum that movies get made along, and what this can mean for everyone in the business. And so I’m going to try to recapture some of what I was feeling and thinking on that flight home from Toronto.

For me, attending festivals serves as a kind of reality check. It’s helpful to me if I can look at my having to scramble to get in to see films—even those I’ve cast sometimes--as a gentle corrective for the central role I play in the beginning, when a film is just getting off the ground and is in the process of being cast. This is when other people need to get my attention. It’s MY moment, in other words. A year and a half later, when the movie comes out and is being shopped around in festivals, well, this is not my moment. My work on the project was wrapped up a long while back, while the producers and directors, on the other hand, are actively engaged in the work of selling their movie. Festivals are THEIR moment. I’m on the sidelines, at this point in the game. And lots of times, that’s the way I’m treated, as I get lost in the crowds getting herded into theaters like cattle into boxcars.

I’m human, so I like it better when I’m given reserved seating. No matter how successful we humans are, almost all of us have insecurities—did I do a good enough job? Is my work appreciated? Am I loved? Will I ever work again?—which getting special treatment helps alleviate. But I understand that my value is front-loaded to the beginning of a movie’s incarnation, and that by the time it hits the festival circuit, it’s in another one. So I do my best to be philosophical about the weird time frame that defines the industry I work in.

This is one of the main reasons that I try to offer as much emotional support as I can when actors are in the audition room with me. I know that getting to be in a movie is a long haul and sometimes a very long shot, and that encouragement early on can help sustain actors over this long haul, whether they get cast in a particular project or have their moment somewhere down the line. Being gracious and civil goes a long way, and it has staying power.

Tom Ford was very gracious to me when I attended the screening of "A Single Man" My main title credit was beautifully done, and this meant a lot to me. So there you have it. We all want to be appreciated. Remember to say thank you, while working hard and staying focused on your goals.

Creativity and Collaboration

2009-09-02T00:01:00.000-07:00

The other night I went to see the movie "Julie and Julia" with a friend, and as we left the theater, she said, "So, Joseph, what's the story with YOUR blog? I've been following it, and my only criticism is that there aren't enough posts." (If you haven't seen this movie yet, the plot involves a blog.)

After making the usual excuses—not enough hours in the day, too much on plate, overextended in every direction—I blurted out, "I just don't know what to write!" My friend pointed out that I'd just made a number of subtle observations about the movie we'd seen, any one of which would have made a interesting post. She suggested that I was perhaps so close to my own job that I forgot how compelling even my most ordinary work day might be to those outside the business. She wondered if I should take a moment to consider why I started blogging in the first place. "I mean, you're too self-assured to feel a need to brag about how cool your job is," she laughed. "And truthfully? That's just not who you are. You're not the Hollywood player type. More a hard worker than anything else. (This friend and I go a long way back.)

So I did take that moment to think about why I started my blog. And here's what I came up with:

When you do something year after year after year for a living, and it's a high-intensity, high-pressure job, there IS a danger that you'll lose yourself in the daily pile-up of logistics and orbit away from the heart of the enterprise. You'll forget what you love most about what you do. In a way, writing about my job has provided me with a fresh way to engage with my job. It makes me have to be more thoughtful about what I'm doing, which in turn makes me appreciate what I'm doing more. So that's one reason.

Another is that I want to counteract some of the mystique that surrounds the casting world, want to pull a corner of the "insider" curtain back a bit so that people both related to the business and not can get a glimpse into the process. Casting agents—and agents in general—are perceived as having a lot of power, but in fact casting is a process of deep collaboration. (Without talented actors, I wouldn't have a job, period.) So at bottom it's really not about my power to say "yes" or "no." What it is about is my setting actors at ease and creating an environment of trust in the audition room that coaxes the best work from them. Because when that door closes, and the tape starts rolling, the power equation becomes neutralized. Power is beside the point. I can't speak for all casting directors, but I have been moved to tears in a reading when an actor fully inhabits a role and becomes emotionally connected with it. I consider it an honor to be present at moments like those.

I have profound respect for actors, for what they put themselves through to do what they love. Being in a position to impart real information about what happens in the casting room is a way that I can give actors additional tools toward success. I want to provide encouragement, instruction, and a dash of realism to the young actors out there, and it's my hope that those who aren't yet connected to the business via agents, Equity, SAG, casting directors, etc., will be able to find inspiration and practical advice here on my blog, and at Middletoncasting.com.

But you know what? The blogging process can also be a collaborative act, and I encourage you to write in with questions and subjects that you'd to see me blog about. Let's turn this into a conversation and make this a two-way street.'Cause I can't keep up with this alone.

2009-08-30T10:27:00.001-07:00

I'm looking forward to going to the Toronto Film Festival to see a screening of THE SINGLE MAN, a movie I cast that was directed by Tom Ford. Tom was a wonderful guy to work with, and what was especially compelling to me about the project was how fine-tuned his eye was, from his being part of the fashion world. He knew exactly what he was looking for, visually, and my job was to make sure that the inner life of the characters was equal to his excellent surface vision. I can't wait to see the movie and to see Tom again.

2009-08-26T13:24:00.000-07:00

We're in the sleepy last days of August and things here in Hollywood are definitely quiet. While almost everyone I know seems to be making plans to head out of town for Labor Day, I've got more director's sessions ahead of me, and a few additional roles to cast, so I'll be right here in L.A., working. We're also going to be having a read through of LITTLE FOCKERS, which, for those of you not familiar with the term, is a reading of the movie so that the writers, directors, producers and actors can hear the entire piece aloud. Since movies are rarely shot in sequence (sometimes the ending of the movie is shot on the first day of filming, followed by a scene in the middle, etc.) this is a valuable exercise for everyone involved, and it's always exciting to see and hear how the thing has come together. When good actors give three-dimensional life to something that has previously only resided on a page, there are all kinds of interesting surprises. It's a part of my job that I really like.

In other FOCKERS news, some of the Russian models who sent in tapes from overseas are now coming in to read live, which is a lot of fun--who doesn't like to hang around with Russian models?—and I'm having to dig deep to cast the role of Mr. Androsky (the overweight diabetic). We'll get it, I'll find the right guy, and the more actors I bring before Paul, the closer I get to understanding what he's after. It's all a part of the process, like searching for some of those elusive corner pieces in a complicated jigsaw puzzle.

Here's hoping that all of you out there had restorative summers and that, like me, you look forward to the focus and back-to-schoolish energy the month of September always brings with it.

Reading scripts, making decisions

2009-08-19T00:00:00.000-07:00

It's inevitable that a project comes to an end, and when I see the end coming, I start thinking about what my next project might be. Sometimes when I'm in the middle of a project and I get sent a script, it's hard for me to stop and read it and think about doing something other than what I'm working on. But as a independent casting director, I'm responsible not only for my own well-being but for the well-being of those who work for me.

Alas, I can only do so many projects at one time. Yes, I know we are in a very depressed climate and that the number of jobs out there is limited. I'm not boasting about the fact that I get so many offers I can't do them all. What I am venting about is the amount of energy, emotion, and thought that goes into making these decisions, and the degree to which timing and just plain luck affect them.

I'm sure every person who works for themselves understands what I'm talking about. I'm about to read three scripts in the span of week and I hope I make the right choice, and that the right choice hires me.

Timing, practicality, preparation

2009-08-18T14:46:00.000-07:00

A reader posted a comment a while back wondering what happened with the role for the Indian doctor and the physician in New York who got excited about the idea of auditioning for it, and the question struck me as a great jumping-off point to write about the balance between reality and the dream, between what's practical and what isn't, where it comes to casting.

I ended up casting that role in the first director’s session with an Indian actor who was well-trained, who had a number of stage credits to his name, who showed up prepared, and for whom getting cast in a movie--even to deliver one line--is an important career move. My reader in New York told me that her internist loved giving the submerged actor in himself a bit of play, if only for an afternoon, and that holding an actual script in his hand had brightened his day.

I meant it when I said that I sometimes search for talent in unexpected places, and it's fun for me to give people the opportunity to explore different angles of themselves. That said, I was casting in Hollywood, the real doctor who wanted to have a shot at the role was in New York. If he had turned an audition tape around within twenty-four hours, had been willing to jump on a plane to come read for me, had knocked that one line out of the park, or was seriously considering switching careers, it might have panned out. But that wasn't the reality of the situation. He was a trained physician working in his field on one coast, while here on this one, there were plenty of trained actors needing the opportunity to work in theirs.

Occasionally, things unfold in such a way that my making a quirky cast is possible, but my job is framed by timetables so tight that sometimes agents don't even have the chance to submit clients before a role is cast, by budget concerns, and by practicalities both simple and complex.

Which brings me to my closing point: Hollywood really is a place where dreams can get realized, but making and casting movies is a business, and working actors work as hard as other professionals to be just that, working actors. Always be prepared.

Notes from LITTLE FOCKERS first director's session

2009-08-13T13:13:00.000-07:00

It crossed my mind yesterday that it would be better if there were two Josephs: one who actually shows up and and works my crazy work day, and one who sits here and tells you what that day looks like. (That's the general idea behind this blog, and hopefully I'll get the balance down soon so that I post every day.)

So yesterday was the first of what will be many director sessions. It was an joyful hour and a half where 18 of the actors I've pre-read for specific roles came in and read live for Paul Weitz. Paul happens to be the nicest guy in the world, and I mean that. Trust me that I'll tell you when a director is not an "actor's" director. And because Paul is such a cool guy, it's a pleasure putting actors in front of him. He's gracious and warm and always gives the actor a second read. For me, it's like sitting alongside a great professor. I learn so much. I'll be sitting there thinking "how could that be funnier?" and he suggests how in two words and just throws an idea out there in this easy-going way, and boom. You see the scene in a completely different way. So I guess the message here is that an actor should always be prepared and should really listen when a director makes a note. You're getting invaluable advice.

Reading live for a director is always a great thing for an actor to do. Even though some of the roles that were read yesterday were just one-line roles, the wrong actor delivering that one line in the wrong way would have an impact on the final movie. (My job is all about finding the perfect match, and the perfect pitch, down to the last detail.) There's no such thing, in other words, as a minor role, from a casting point of view.

Director sessions tend to be all business—-the actors come in, they do their thing, they leave—-but both the director and I are paying close attention on a number of levels, and even if the actor doesn't land this particular role (there are so many variables, aside from talent, as to who gets cast why and when that I couldn't list them here) it's likely they'll be remembered for future projects. I always made notes on new actors, which go into my own file, and all auditions are kept in a video bank.

So, just as there are now minor roles for a casting director, there's no such thing as an audition that doesn't count, for an actor.

It's all part of the work that goes into realizing the dream.

2009-08-11T19:43:00.000-07:00

It's been a blast reading beautiful Russian and Eastern European woman. They're gorgeous and funny and sweet, and, I have to say, good-spirited about the experience. I even get kissed on the cheek in one scene. Oh, to be the lucky Owen Wilson! I also heard from one of my blog fans that her Indian physician in New York is driving his staff crazy, making them run lines with him for his upcoming audition. (Never mind that it's only ONE line. That's what the prospect of getting a chance to act can do to otherwise reasonable people.)

That's Part One of the day. Part Two is helping out--for zero money--a respected independent director, Chris Munch, with his movie. It's a real labor of love that will shoot in three weeks, on ultra low-budget scale, and will be seen on the festival circuit.

The benefit of helping out on LETTERS FROM THE BIG MAN is that I get to have such a strong voice when it comes to the cast. I've been very excited about Lily Rabe, a New York actress I first saw in an episode of "Medium." Believe me when I tell you that this girl has got the goods. So cut to after everyone is on the same page as to her landing the role. I then have to jump into the details of making the deal: billing, transportation, photo-likenesses, etc.

I was on the phone with a United Talent Agent, Sarah Clossey, and Lily's manager, the classy Peg Donegan (FrameWorks) negotiating on Lily's behalf. The discussion concerned accommodations. Were there going to be tents or cabins? (The film is set in Bedford, Oregon.) Sleeping bags or beds? And what exactly was the bathroom situation? The response was that in the park there would be high-class watering holes (this translates into non-flushable outhouses). But when we get closer to civilization, they get actual flushable toilets. Ah, the indie life. (Every once and a while.)

FRIDAY!!

2009-08-07T16:09:00.000-07:00

I've been crazy busy with the business of mixing and matching, so posts had to take a back seat. I meant to post over the weekend, but here it is, Monday already.

FYI, the kids were awesome last week.

There will be a real post, soon. It's a promise.

New roles released on LITTLE FOCKERS

2009-08-03T16:25:00.000-07:00

Two bullies, a Russian model, an Indian doctor, an overweight diabetic patient.

These are a few of the roles I'm looking to cast right now. I'm talking to agents, thinking about different actors, asking people in the office whether they've seen anyone in a play, movie, or workshop who might be right. The way I work is that I start thinking about what it is that I'm looking for--I just get a generalized idea in my head, which I then begin to expand and riff on--but until I show the director, Paul Weitz, the first bunch of choices I won't know if I'm heading in the right direction. I look for talent in unexpected places. For the part of the Russian model, for instance, I started exploring tennis players. When I was at the Hollywood Bowl the other night, there were a couple of big guys in "Guys and Dolls" who I'm going to call in. Earlier this afternoon I talked to a friend in New York who had just gone to see her doctor--a handsome guy from India who always dreamed of becoming an actor--and I told her to have him send in a tape.

Here's to the importance of having dreams.

It's down to the final choices in LITTLE FOCKERS*

2009-07-30T17:20:00.000-07:00

So, I've seen over 3,000 kids, and we're now down to 14, including a set of twins and a set of triplets. I want to thank every one of you who got out their cameras, posted their videos, and gave this a shot. I really enjoyed viewing the submissions--they were entertaining, original, and moving--and I hope to give consideration to all the great kids who sent in videos when I get to work on my next project. I hope you had as much fun in this process as I did. Blogging is new to me (this is my very first entry on my very first blog, and let me give a shout-out and thank you here to Jeanne Benedict for encouraging me to do it) but I'll try to keep you posted as often as I can.

Here's to the importance of having dreams.

*Fun factoid--The convention in Hollywood, when referring to the title of a movie in production, is to us all caps. It's not exactly grammatically correct, but it's the way it's done here.