Sharon Sorrentino is a casting director unlike any other. Not only has she worked in marketing, been an assistant, an associate, and now a casting director, but she also wrote a book for actors on . . . well, acting and auditions! And the next edition of her book is due out soon via Troubadour Publishing. We got up close and personal with Sharon to find out all about the best ways for actors to approach auditions, and how to get seen in today’s tough environment.
Casting Networks: Sharon, you’re a casting director, you have been a casting assistant, and an associate, and you’re also a published author. How do you fit it all in?
Sharon Sorrentino: I don’t sleep. Honestly, I think we all make the time to do what we love. The working hours of someone working in casting, at whatever level, are extremely long—longer than actors or non-industry folk realise. If we’re not reading scripts and working on ideas for a particular project, then we’re at the theatre, or a screening, or watching telly to continually broaden our knowledge of actors.
Scene from new play, Blue Is For Boys, written by Melanie Hunter. Photo by Kaz Bielecki
This month Casting Networks sat down with Lennie and Louise, who run SundaySurgery, an in-depth, hands-on script development workshop for writers, actors, and directors. Participants are encouraged to be bold during this intensive process, where they say everyone should challenged. Let’s find out exactly what’s involved!
Casting Networks: Can you tell our readers exactly what SundaySurgery is?
Louise: SundaySurgery has been running since 2010 and is a development workshop for new scripts, held on the last Sunday of each month. Although we deal primarily with early career writers, we do have more established writers coming in to the workshop as well. The workshops are very collaborative; we get professional actors and directors to work on the script with the writers in a very intensive rehearsal improvisation process. During the workshop, we look at a scene or script excerpt (normally 10-15 minutes of script), and we encourage the actors and directors to be very bold. After two hours, the actors perform all the scenes to the rest of the group. Everyone who attends, whether they’re a writer, director, or actor, is able to use these performances as an informal showcase. We invite the industry professionals who attend our producer/director meet up, which is something Lennie set up, and participants can also invite their own guests. The number of people who attend the performances has really grown over the last couple of years, and we’ve now got a huge pool of 100+ writers, 100+ directors, and nearly 500 people we would count in our regular network.
On the first Wednesday of each month in Manchester, Liverpool, and now Sheffield, 80-odd film-lovers, makers, and socialites gather together to appreciate each others’ work. What started as a small social gathering has grown in to a multi-city, monthly, international film festival, and doesn’t look like it’s stopping there.
Split into two parts, the evening begins with a selection of ‘Short Shorts’—films 15-minutes-and-under are watched, and then voted for by the audience to win the People’s Choice Award. The ‘Feature Short,’ 15-45 minutes, is then shown before the night culminates in a Q&A with the filmmakers present on the night.read more
This year the CDA held their first ever award ceremony in the UK, and we were there to help celebrate and honour the work of casting directors. Over one hundred key professionals working in the industry attended the ceremony at the Crypt of St Etheldreda’s for a fun, packed night, which was judged by an independent panel of experts. On this year’s panel were Gabe Blair (United Agents Commercials Department), Matt Buels (Managing Partner, Hungryman), Steve Davies (Chief Executive, APA), Paul Gay (TV, Film, and Commercials Director), Ella Sanderson (Senior Producer, Partizan), Jason Solomons (Film Critic), Charley Stadler (Commercials Director), and Mark Waites (Founder & Creative Director, Mother).
The event was hosted by the incredibly talented and funny Sally Phillips (Smack the Pony, Bridget Jones’ Diary), who presented each award to the winners on the night (see list below).
Ah, Mr. Eugene O’Neill. How is it even possible that you, Mr. Doom & Gloom, wrote Ah, Wilderness!? I’d love the opportunity to sit down and have a drink with Eugene O’Neill and discuss that, amongst many, many other things. If you follow these reviews monthly, you know both my admiration for EO, one of the “best” American playwrights, and that I sat fairly enthusiastically through 3+ hours of Long Day’s Journey Into Night last month at the Geffen. I couldn’t resist the thought of seeing another O’Neill piece the following month at A Noise Within. A completely different kind of piece, which most call a straight-up comedy (though more in the warm/feel good realm vs. the laugh out loud type), in which the main character gets his happy ending. It’s presumed to take place in the same small town as in LDJIN on July 4, 1906. And . . . that’s where most of the similarities end.
Ah, Wilderness! centers around the delightful middle-class Miller family. Nat Miller (Nicholas Hormann) is a newspaper publisher who, along with his doting wife, Essie (Deborah Strang), has been raising their four fine children, as well as providing a home for Essie’s never-been-married sister, Lily (Kitty Swink), and jovial/alcoholic uncle, Sid (Alan Blumenfeld). Wait, alcoholic Uncle Sid? Mr. O’Neill, maybe you DID write this play. Seventeen-year-old Richard (Matt Gall) is the second child and the central character who, gently mind you, rebels and pushes the boundaries by reading “daring” books, spouting socialist ideas, and quoting risque-ish poetry. As you might have guessed, he’s endearingly naive and harmless. It’s also not a stretch to predict that he happens to have fallen in love with Muriel (Emily Goss), but her grumpy and disapproving father has gotten squarely in the way by restricting his daughter to the house, and forcing her to write a letter to end their relationship. Heartbroken, Richard becomes a little unhinged, getting tangled up one crazy night with booze and fast women, before finding his way again, and returning back to her.
Casting Networks is heading to the 4th annual Actors Pro Expo event in NYC! A day for professional actors to come along and network with the industry. There will be Seminars, Workshops, 1-on-1 careers advice consultations, an open casting call for feature film ‘Fiver’ and generals with casting director Michael Cassara.
General admission, Seminars and 1-on-1 advice is all FREE! Industry-led workshops will cost $30 each and are available for advance booking online.
- When creating a Share Selects link, Casting Directors can now choose whether the link will be Live or a Snapshot. A Live link will be updated as changes to selects are made. Whereas a Snapshot link will remain unchanged once sent. Casting Directors can also now choose which Priority Numbers to include when Sharing Selects.
- Once a Share Selects link has been sent out, the history of these emails is now housed in the Email History section of the project. This is accessed from the Overview page of the project and follows the Project and Audition sections of the modal.
- The Share Selects presentation has also been updated to include the Casting Director’s company logo as well as made the role name more prominent in the top right hand corner of the page.
‘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!
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.