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!
McAuley & Walters
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.
Jane Kaczmarek and Alfred Molina in ‘Long Day’s Journey Into Night’ at the Geffen Playhouse
When was this written? Who wrote this? Okay, I admit, I didn’t ask the second question because the sole reason I went to see Long Day’s Journey Into Night was because it was written by Eugene O’Neill, thought to be the greatest American playwright (or certainly one of them) of all time, and this, his greatest play. And it’s on stage, people. Remember reading it in theatre school? Yeah, I don’t either. So this rare opportunity is yours—not only if you reside in the City of Angels, but if you live anywhere in the country; BroadwayHD will be streaming it live on March 11th at 7pm PST/10pm EST, with the broadcast then available on-demand through March 21st—if you have a subscription, of course. And this will the streaming site’s first broadcast from the Geffen Playhouse! But let’s go back to the first question. I did actually wonder to myself when this humdinger of a play was written, for two reasons: it’s really long and it’s really current. Current? Read on . . .
Casting Networks Manchester are very excited to have special quest casting director Jane Anderson join us on Thursday 30 May for our first FREE members event of the year!
Jane Anderson casts for both emerging & established directors. Before forging out on her own in Spring 2010 she had spent 6 years working with, and being guided by, some of the most respected casting directors in the industry including, as an assistant, Di Carling, Rachel Freck, Gary Davy and as a casting associate with Kate Rhodes James.
Her casting has been informed and is inspired by her life experience; growing up in a diverse family in London, a photography degree, 3 years in production in her early 20s, as well as travelling extensively and living in Melbourne for 5 years.
Jane Anderson’s casting ranges from comedy through to gritty dramas. She continually updates her knowledge of established and rising talent in order to maintain her innovative and fresh approach to casting.
Submissions are now open via the Casting Billboard!
As always, we give priority to pro services subscribers. With Premium Accounts actors can upload up to 50 photos, add showreels, and attach unlimited video and audio clips to individual credits or skills. If you aren’t already subscribed to pro services, you may want to consider adding them to your profile as the demand for video footage from casting directors as part of the digital CV increases. Click here to find out more about our pricing structure.
This week Casting Networks caught up with the folk at Outward Film Network (OFN), a Midlands and London based filmmaking organisation that boast support for low and no budget filmmaking. Their remit is to support all those filmmakers who can’t reach the general population because they just don’t have the funds or support. What a great idea. So here we talk with one of the founders, Matthew Simmonds, about what they offer, how they can help actors and filmmakers, and what’s coming up for OFN.
Casting Networks: So can you tell us a little about Outward Film Network and how it came to be?
Outward Film Network: The Outward Film Network was setup to support, produce, and promote films shot on a no/low budget. Heading Outward is Matthew Simmonds, David Woods, and Phil Slatter. We’ve been making movies (short and feature) and writing about film for over fifteen years.
Outward looks to embrace an approach to making film that’s often considered as being amateur or “student” filmmaking. We don’t think it’s beneficial to be catagorised, we can’t afford to compete with indie films (20k + budget), and to be catagorised as amateur creates an even greater disconnect. Influenced by movements such Dogme 95 and mumblecore, we like to discuss and make films that don’t fall into the “indie” or “industry” category.
After yet another smashing night of Manchester ADP’s supremely popular event ‘Scripts Aloud’ I’ve spoken to four of the key players: Jaki McCarrick, writer of the engaging and heartbreaking Bohemians; Kyle Walker, the sole performer in the emotional journey that is My Man (written by Kenton Thomas); and the two wonderful women who make all of it possible—Hannah Ellis and Diana Atkins.
We asked each of them the simple question:
How do these ADP read throughs benefit you?
Diana Atkins – Producer
Producing ADP is such a buzz. It’s really lovely to be able to create opportunities for people to do what they love. To see all the hard work come together at each show always leaves me on a high (I usually can’t sleep that night!). I’m an actor too and producing ADP has opened doors that probably never would have been open to me before.
The main thing for me is the community that it’s created. I’m relatively new to Manchester, and it’s been a really great way to make friends and get to know other creatives. ADP really does feel like a big family!
Storytelling is hot. I think it’s been hot now for quite some time, so maybe I should say hotter? But that doesn’t sound quite right. You get the idea. I had a terrific plan to follow the heat and catch The Moth GrandSLAM in downtown Los Angeles and share my experience with you, but it was sold out. Remember, storytelling is hot! So I searched the internet for an alternative. I landed on Rant & Rave at the Rogue Machine Theatre. Something like Mortified would have been a closer Moth match, but Rant & Rave is a storytelling-ish show and I was going!
Rogue describes the show as, “An ongoing art project where prose finds voice.” They select a group of Los Angeles writers, give them a topic word (the January show was “ESCAPE”), and a 20ish minute time limit—as far as I can tell—and the writers get up and deliver their own words. The show runs one Monday evening per month and I believe it always sells out. It runs about two hours and there is an intermission. That’s the deal.
New additions to our Sides functionality provide casting directors improved security and oversight on shared materials. You can now choose to share your sides and documents with all representatives, or with only those whose talent have auditions. If posting roles to the Casting Billboard, casting now has the ability to share files directly with talent by selecting “Post sides publicly on Casting Billboard.”
*Materials uploaded prior to this release will remain visible to all representatives by default and will not be posted publicly on the Casting Billboard.
- The privacy of the information you share is important to us. New changes to the role release mean there is no default selection for releasing a specific role to Casting Billboard. Select “Yes” if you wish to receive public submissions for a role and “No” if you wish to release the role only to representation.
- Size Sheets can now display talent email addresses! Choose “Show Contact Info” when generating a Schedule Size Sheet or Session Size Sheet Report and the email will display immediately beneath the talent phone number.
- New project types include Music, Talk Show and Studio Audience.
- Issues caused when talent are listed as a Callback Select in an archived role have been resolved.
- Users should no longer encounter an error when selecting multiple criteria in our Advanced Search.
- Submission notes are now viewable when viewing filtered talent.
Each talent’s email address will now appear within your Audition Call List, so you can instantly identify talent who will not receive forwarded auditions through your account.
Look for Sides and Documents to now be posted within role details in the project overview:
Talent now have the ability to list the following as skills, abilities, or preferences:
- Driver’s License
- Motorcycle License
- Stand-Up Comedy
Paul Andrew Williams is a British film writer and director who won Edinburgh International Film Festival’s New Director’s Award, Raindance’s Best Feature, a BIFA, and Evening Standard British Film Awards’ Best Newcomer for his film London to Brighton in 2006, as well as BAFTA nominations. Paul then went on to receive a host of nominations for Song for Marion in 2012. Paul has since gone on to work on a number of British television shows, as well as developing and creating other projects. Paul joined Casting Networks this month to speak very frankly about the British film industry and how he has navigated his way to success.
CNI: You’ve been working solidly as a director for many years now, with London to Brighton being your big breakout directorial feature debut. How have you found it, going from film to film, as you’ve climbed the director ladder in the UK?
London to Brighton
Paul Andrew Williams: I would have to say that there has been no climb. I think I’m very lucky to have treaded water for such a long period of time. I have made four feature films and three television programmes. That is over the last 12 years, and in the time I wasn’t working on a particular project, I have been writing, with some projects getting further than others. Not a day goes by that I don’t think about certain decisions made, and how they have changed my path in both positive and negative ways. It’s definitely my vocation, so I will keep trying to do stuff that I feel positive about, and hope someone employs me.
CNI: Ever a fan of your work, we recently saw a domestic violence short you made called Do You See Her starring Tessa Peake-Jones, Phil Davis, and Anne-Marie Duff. How did that short film come about? And how did you get involved with the organisation Womansaid?
Off the corner of Deansgate, in the great city of Manchester, hidden away amongst the arches of old car showrooms, there seems to be an abundance of talented thespians making a racket. I blame 53two and it’s seemingly never ending schedule of events taking the fringe community in Manchester by storm in its maiden year as an Arts Venue.
After birthing its own night of fleeting theatre, ‘North South Shorts,’ then becoming a temporary venue to the old power that is JB shorts, 53two has now played host to Scott Devon’s poetically written When Both Sides Surrender.
The writing was described as Shakespeare meets A Clockwork Orange. I must start this review by conceding that I would not class myself as a fan of Shakespeare, however I am certainly a fan of Mr. Stanley Kubrick, so I had mixed feelings as I entered the theatre.
Richard Cooper and Kaeran Dooley should be proud, first for a wonderfully creative set incorporating a burnt out car, graffiti, battered steel, and decaying sofas that set the tone for the performance. Second, because these production aspects were matched in their quality by the costume and props, from the ‘trackies’ all the way to the police riot gear.