RETURN TO FRONT PAGE

CONTACT US

SERVICES

SUBSCRIBE

RESOURCES

AUDITION DO'S & DON'T'S

CLASSES & WORKSHOPS

DIRECTORS' RETREAT

INFORMATION ABOUT
CLASSES AND CLINICS.

MORE NEWS

LINKS

Actor Reminders:
GET THE BOOK TOO.
--Arrive on time.
--Arrive ready to go.
--Do any vocal warm-ups in the car.
--Never sign a release at an audition.
--Never take your clothes off at an audition.
--Never do anything you're not completely comfortable with.
--Do not put your home address, or your social security number on your resume.
--Advance notice is required for nudity, and must be discussed before you agree to do a role.
--Be prepared: monologue (?), script prep., lines
-----
THE SCOOP ON RELEASE FROMS -
WHY WE DON'T SIGN AT AUDITIONS..
by Hester Schell

OK, this issue is really...really....burning me up...

Any filmmaker asking for a rights release for audition footage is not operating under standard professional practices.

Please folks, the only way to stop inexperienced and unknowing filmmakers from insisting you sign a release at the audition is not to sign them. IF YOU GET THE PART, yes, you will need to sign a release and that is standard. Filmmakers do not have any right to audition footage, which is usually low quality, poorly lit, and not usable in a final cut. Audition footage has one purpose: to further evaluate you, on camera, for suitability for a specific part. If an filmmaker wishes to include audition footage in the final cut, then IT IS NOT AUDITION FOOTAGE. It becomes performance footage and the audition is NOT an audition, but in fact, a SHOOT DATE. If it is a shoot date, then you would have your name in the credits, and be compensated with a payroll check, or in whatever manner has been previously negotiated, such as copy, credit, meals, parking, dry cleaning, bridge tolls, supplies, etc.

Since I've been on this story, I've been able to track down how this practice started. It is something like this: Back in the early days of Music Television (MTV), which was primarilay non-union, musicians and filmmakers were fleshing out a new entertainment form. They would have open calls. In most cases just about everyone who showed up would be in the audience for that particular band to help fill up the screen with happy, dedicated fans, to help sell the band to the record companies.."Look at all these loyal, screaming fans...who just LOVE this band." So, at the audition, they would take care of what would become necessary paperwork so they could move people right onto the set for the music video. So many music videos have been done over the years, that filmmakers - who come from a music video background - seem to think this is the way it is done. It is not and especially not in narrative fiction features.

Auditions are not final character preparations anyway. You haven't had the benefit of any rehearsals with the director to flesh out fully realized character choices. You haven't had the benefit of rehearsals with any of the actors you would be performing with.

Here's a suggestion on how to handle the situation:
Simply inform the individual in a pleasant manner that should you get the part you will be delighted to sign the rights release at that time, as required and customary.

Or, you might try this tack:
"Wow, I'm so flattered you think my audition is performance worthy. Thank you so much. Does that mean I have the part?"

Or try this one:
" Oh, I'm so sorry, I thought this was an audition. I didn't know this was the shoot date."   Maybe they'll mention a call back or when the casting will be complete. Then you can respond with, "Let me know when I'm cast, and I'll sign the release for the character's footage then. Thank you so much. I'm flattered."

The same goes for social security numbers. Do not give anyone your social security number. The ONLY place you need to be putting this number is on payroll forms for the IRS. If you are not receiving pay, then you don't need to fill out W-4 and will not receive a W-2 at tax time. Also, do not give out your home address. Use your email address and phone number. Watch your belongings and tell someone where you are going.

This letter from a BACN subscriber -
Thought you might get a kick out of this. I had an audition scheduled for today at 2:00. They just sent out this email yesterday afternoon. Thank GOODness I checked my email right before trekking to Berkeley on the Bart, I called and canceled my slot. No way is someone going to make a Mockumentary out of my audition, and I wouldn't trust them w/ or w/o a signed release that it wouldn't be used. All of that aside, what I'm really sending this for, is the 'release' the actors are requested to sign - it's pretty different!
Enjoy. And thanks for keeping me busy.

NAME WITHHELD

-----------------------------

Release-

I, the undersigned, hereby irrevocably grant to (WHICHEVER) Productions, the right (but not the obligation), in perpetuity throughout the world, in all media, now or hereafter known, to use (in any manner it deems appropriate, and without limitation) in and in connection with the motion picture entitled, WHATEVER TITLE, by whatever means exhibited, advertised or exploited: my appearance in the motion picture, still photographs of me, recordings of my voice taken or made of me by it, and my actual or fictitious name. On my own behalf, and on behalf of my heirs, next of kin, executors, administrators, successors and assigns, I hereby release You-Know-Who-You-Look-Like Productions, from any and all claims, liabilities and damages arising out of the rights granted hereunder, or the exercise thereof.
------------

I hope you can see the problem here. They know you don't have an agent to negotiate for you and they know the law. Once you sign, you've given away the right to your own image to whoever these jokers are...for ever!

REMEMBER: IT'S A MOVIE.
IT SUPPOSED TO BE FUN.
LIGHTEN UP. It is a sceenPLAY, afterall.

PROSPERITY BEGINS NOW. WHERE YOU GO WITH YOUR CAREER IS IN YOUR OWN HANDS.

AVOID WAITING FOR AUDITIONS BY GENERATING YOUR OWN PROJECTS. AUDITION FOR WHAT IS RIGHT FOR YOUR CASTING OR CHARACTER TYPE.    

KNOW YOUR TYPE - YOU ARE A CHARACTER IN A STORY AND THE AUDIENCE MUST RECOGNIZE YOU.   GO TO CLASS.  READ.  EAT WELL.


ACTORS–DO NOT SIGN RELEASE FORMS AT AUDITIONS.
THINK ABOUT IT!
Do not sign away your rights to a filmmaker
to use audition footage.

TRY A FEW LOTTO TICKETS.
GOOD LUCK.

Please review the information in the article to the left. THE SCOOP ON RELEASE FROMS -
WHY WE DON'T SIGN AT AUDITIONS.
Actors want to know you are professional. They need to know they can trust you. They need to know the footage you will be "paying them" will be usable, and therefore shot well, lit well, with perfect sound and great editing.

So, please conduct your auditions with accepted industry standards. If you don't know what the industry standards are, contact me. I teach a short inexpensive course in how to do it properly and professionally.

Good luck on your project. Let us know how we might assist you.

Hester Sc hell
CEO, Bay Area Casting News

SOME STANDARD PROCEDURES
and a few OPERATING SUGGESTIONS

Be polite and considerate of performers' time.

Be professional -
Auditions are held in studios, hotel conference rooms, rehearsal halls, etc. They are not held in private homes, the backyard, your garage, or in private hotel rooms. These are red flags and actors will avoid coming to you and you'll wind up casting whatever friends you have left. If you want a better movie, work with better actors. Better actors stay busy and can be choosey when it comes to working on low budget shorts and features.

Be clear with what you are looking for.

Stay on time by not overbooking your schedule -
If you need 10 minutes with each actor, then that is 6 actors per hour. Do the math.

Give clear directions to your audition location.

Confirm auditions 24 hours in advance. Anything less and you can't guarantee folks get your email.

Email scripts in PDF format, in advance if you want actors to do their best.

Consider requiring a short monologue.

Give actors specific directions. Vague directions lead to vague results and wasted time and you won't see what you need to see to make the best casting decisions.
75% of good directing is perfect casting. The rest is communication.
ACTING 101 FOR DIRECTORS
-Actors respond to DOING THINGS. (feeling comes from doing)
How you FEEL (emotional content/connection) is a RESULT of what you DO (action).
Avoid giving directions that include telling actors how they're supposed to feel. Feeling is a result, a reaction.
A good actor is DOING the right action for the desired emotional outcome. Don't tell them HOW to feel. Don't tell them WHAT to feel. Tell them what to DO. It is their job to give you an action that produces the desired emotional result! You wouldn't tell your DP how to run his equipment. Don't do it with actors. If none of this makes sense to you, then you're not ready to direct professional actors. Directing is a fine art and requires skill, leadership, communication and finesse.

Remember that auditioning is nerve wracking: let it be OKAY for an actor to start over.

When you're not paying actors money: COPY, CREDIT MEALS also includes SUPPLIES, GAS AND BRIDGE TOLLS and PARKING. If you want a better movie, work with the best actors you can convince to work with you for free.

Remember your manners: Thank people for their time and efforts.

AND... REMEMBER:
IT'S A MOVIE.
IT SUPPOSED TO BE FUN.
LIGHTEN UP. It is a sceenPLAY, afterall.

ENJOY YOURSELVES.

DIRECTORS: ORDER DIRECT FROM THE PUBLISHER TO GET YOUR DISCOUNT.

GET theBOOK

READ CLIPS AT AMAZON

BOOK REVIEW by Jason Gorbett, STARZ Entertainment, Denver

"Great acting is transformative," Hester Schell writes, "it is the action, guts, and backbone of your story. When you have the right actor in the right role, your entire film will take off."
How to get that actor in that role is the subject of "Casting Revealed: A Guide for Film Directors," which reveals and benefits from Schell's lifetime of experience in an impressive variety of jobs in the worlds of theatrical and on-camera production - acting, directing, producing, writing, teaching, coaching, and, of course, casting. "Casting Revealed: A Guide for Film Directors" provides crucial, must-have information for producers, directors, and casting directors on the process of casting for on-camera productions - with a focus on films. Walking the reader through each and every aspect of the casting process, Schell provides a cornucopia of tips and tricks to support the reader in doing a thoroughly professional job as efficiently as possible.

In the book's introductory pages Schell makes a strong, incontrovertible case for the vital role casting plays in the production of an excellent film. Media production is intrinsically multi-dimensional. Every facet must be approached with total commitment. Drop one facet - equipment, poor logistics, unqualified crew, etc., etc., etc. - and what could be a winning work of art fails to live up to its potential, or fails to live. Writing for both the experienced and novice filmmaker, Schell instills the "Fear of God" into our hearts if we are cavalier about casting our project.

By virtue of her experience and accomplishments, Hester Schell simply cannot write a book about casting without including fundamental information about many other aspects of production - especially pre-production. Readers, therefore, benefit greatly from not only her highly detailed, comprehensive information about the casting process, but also critical information about other aspects of production that may very well be new to some readers.

"Casting Revealed" also contains 'special features' - a Glossary of Common Film Terms, a humorous "The Parts of Speech", and a Bibliography and Resources section.

I enthusiastically add my voice to the chorus of industry professionals who have already proclaimed Hester Schell's "Casting Revealed: A Guide for Film Directors" to be a must-read.

ORDER DIRECT FROM THE PUBLISHER TO GET YOUR DISCOUNT.