Unless you’ve been on another planet, you know La La Land, the award winning film musical that brings singing and dancing back to the screen. Since the vibrant and grand MGM musicals, this powerful form of expression has long been a part of the movies and it is truly wonderful to see this style of film on the main stage being celebrated once again. I grew up watching the golden oldies like Singin’ In The Rain, South Pacific, and anything Rodgers & Hammerstein, so it’s super exciting to see the modern take on the genre.
‘Alpha Female’ is the brand new video from UK band Wild Beasts, produced by APA member Rumble and directed by Sasha Rainbow. We chatted with Sasha to find out where the concept came from and what inspired her to shine a light on the skater girls of Bangalore.
Casting Networks: Where did the inspiration come from for the music video concept?
Sasha Rainbow: For the Wild Beasts music video, I directed I tried to pull apart the song title Alpha Female and think about what it really meant. I wanted to use the video as a platform to celebrate women boldly going against the grain through affirmative, inspiring action, by following their passions; in this case, through skateboarding. The core message for me is ‘big change can start with just one person.’ The Holystoked Skate Crew and the girls that I worked with are an inspiration that cuts through age, gender, and class barriers. I wanted to commemorate this incredible moment in India.
Last month Manchester Actors Platform saw the return of #MAP48 for its second outing after a very successful 48 hour short film competition last year.
Casting Networks speaks with MAP and the team behind the Best Film winner “Am Dram.”
We would also like to congratulate LouLou Dayeh and Will Huntington, the winners of the Best Actor and Best Actress award, each awarded with a 12 month Premium account with Pro Services.
Casting Networks: Where did the idea for MAP48 come from?
Manchester Actors Platform: MAP48 sort of arrived many years ago as a crazy idea I had in London. Everyone had heard of the ‘24 Hour Plays’ and ‘Play In A Day’ type competitions and events, but there was very little out there for films. When I moved back to Manchester it was clear to see there was a massive film community from indie, grass-roots film makers to established teams. Having done a bit of filming myself and enjoyed the challenges of it, it seemed like a good time to complete the initial planning stages and get the beast up and running. The beauty of it being that, as was proven with thee awards this year, experience isn’t essential. This was key to us in structuring the event. Because some people have access to all the quality gear, we couldn’t let that mean that they were a shoe-in for taking Best Film, so we ensure that the decisions made are not about where the film is in HD! We also want to encourage people to try out new skills—this year, Best Writer and Best Director both went to people who were doing it for the first time!
Since it’s International Women’s month (well, we had a day last week!) we were delighted when the female casting duo Aisha Walters and Anna McAuley of McAuley Walters Casting agreed to be interviewed to talk all things castings and “getting seen” as an actor. Both ladies worked for the legendary Shaheen Baig prior, and then went their separate ways. Then in 2016 they set up their new casting director company and the rest is history. Casting Networks got in touch to get the down low on all things UK castings.
Casting Networks: Firstly, Aisha, you came from working with Shaheen Baig for over six years, and Anna you were there for a number of years also. What would you say was the highlight of your time there working as a casting associate/casting director?
Aisha Walters: I’d say it was working with Shaheen. She was very collaborative and taught me so much about casting. Throughout my time there we worked on many wonderful projects, but it was seeing how she worked with the writers, directors and producers, and the different methods she used to find each cast that inspired me to become a casting director.
Anna McAuley: No particular highlight; it was great to get a thorough understanding of the process of casting for screen and the chance to work with some very exciting directors.
After a tape was put in front of US agents, Australian actor Ben O’Toole began making trips to Los Angeles. A 2011 WAAPA graduate and an already working film, television, and theatre actor in Australia, Ben felt unsure about the decision to make the move. However, in Feb 2016, after shooting Hacksaw Ridge, and with a big push from his US agents, he finally did it. He gave himself five weeks to get seen and go to auditions. A year later Ben has three US feature films under his belt., including Everybody Loves Somebody, a romantic comedy with Ben starring alongside Karla Souza, currently showing in US cinemas.
In my latest addition to the L.A Survival Guide, Ben discusses nerves, last minute auditions, finding inspiration in LA, and why it should always be about the work.
Casting director Katie Taylor joined us for our February 2017 seminar, where she shared a lot of great information with us. Let’s see some of the things she had to say.
1. If You’re Getting Avails, You’re Doing It Right
Success can be hard to measure when you’re an actor, especially if you don’t seem to be booking anything. Getting avail after avail without getting that coveted booking can be frustrating as an actor, but just remember that if you are getting an avails, you are succeeding! It may not seem like it after getting released from your 3rd avail in a row, but if you are getting to that point, it means you are doing something right. So just keep doing what you’re doing, and those bookings will not be far behind.
Get Out is one of the eeriest, funniest, and most socially relevant horror film to come out in decades. The film, which is the directorial debut from Jordan Peele (of Key & Peele fame), tackles racism—specifically racism from rich, liberal-leaning white people—in a fresh and powerful way. Daniel Kaluuya is excellent as Chris, a black man going home to his white girlfriend’s house to meet her parents for the first time. The rest of the cast is pitch-perfect, with Allison Williams as Chris’ girlfriend Rose, Bradley Whitford and Catherine Keener as her parents, and Lil Rel Howery providing much of the comic relief throughout the film as Chris’ friend Rod. If you enjoy horror films that make you think, then Get Out is for you.
The film begins as a young black man (played by Lakeith Stanfield from TV’s Atlanta) walks through an affluent neighborhood while talking on his cell phone. After he hangs up, a creepy car slowly drives by, playing a foreboding 1930’s tune “Run Rabbit Run.” Without giving too much away, let’s just say that the song chosen for the scene is an appropriate one. After this opening, we meet Chris (played by the previously mentioned Kaluuya, who is probably best known for playing Bing in a terrific Season 1 episode of Black Mirror), a talented photographer living a comfortable existence in a nice loft apartment in the city. Soon, his girlfriend Rose (Allison Williams, best known for her work on HBO’s Girls) shows up, and they pack for a weekend getaway to Rose’s parents’ house. Chris is getting progressively more worried about their trip, however, especially when Rose reveals that she has not let her parents know that Chris is black. She reassures him by letting him know that her father “would have voted for Obama for a third term if he could have.”
I find it funny to say that I’ve considered writing about the subject of actor gifts to industry professionals and have decided against it several times. Why? Because it’s controversial, I guess. There are two camps: believers in gift giving to industry pros, and those who are firmly against. The “against gift folks” believe we, industry pros, need you and your talent. When you are booked on a job, your being fantastic on set is your gift to us. We should, perhaps, send a thank you gift to you. t’s one way to look at it, and I respect the viewpoint, but not always the way in which it’s delivered (see kindness blog last month). If you are a no gift giving advocate, you are off the CASN reading hook for the month; I don’t want to attempt to change your mind. If you are interested or a believer in giving gifts, and want to do it well, this column is for you . . .
Commercial actors should never give industry gifts in a less than effective way.
QUESTION: How can you tell if your kid really wants to act or is just going through a phase?
ACTOR: That’s a question I hear from parents all the time, so I spoke with my dear friend, acting coach, speaker, and acclaimed actor, Mike Kimmel, to get some insight into child actors and their childhood dreams. Mike is the author of two scene books geared toward younger actors, Scenes for Teens and Acting Scenes for Kids and Tweens.
Karen Ann Pavlick: Congrats on releasing your second scene book. What made you want to write the first book, Scenes for Teens?
MIKE KIMMEL: I decided to write a scene book for teens when I couldn’t find anything out there I liked. The scenes were either too short, so I would have to add on, or they were filled with bad language. Parents are able to work with their child without covering words up or explaining things they don’t want to explain at this time. I think that has contributed to its success.
For every part you audition for, you have to make choices to give personality to the character. It is a known fact that you can’t be “neutral” and give a good audition.
There are all kinds of conundrums associated with what choice to make. “Am I being too big, too small, too this or too that?” Bottom line is you have to make an intelligent choice in the venue you are working on, based on all your education and training. In commercials, there are many hints you can find in the copy regarding each character. In my Acting in Commercials workshops, I particularly teach how to apply backstories to your discoveries. Some information comes from the copy itself revealing the attitude of the character and relationships, some of which are obvious and some are not.
The big trap is the spokesperson copy.