‘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.
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!
In class, I often refer to voice & accent work as the dance of the tongue. As an ex dancer, I like approaching sound correction as a series of muscular exercises preparing you for your text. Essentially, the voice is muscular, rather than a disembodied sound that happens to come out of your mouth somehow.
An accent requires a precision and placement where the facial muscles and resonance completely changes. Even your natural speaking voice will be far more developed by doing your breathing, release, and resonance exercises along with some tongue twisters. And all of those are muscular exercises.
Certain authors are very challenging with sound combinations. The goal is not only to get the sounds correct but also getting the thoughts flowing easily off the tongue as if they are your own. The change of rhythm and placement of certain sounds can be as difficult as moving between a waltz and a foxtrot and as awkward as watching a ballet dancer try hip hop.
Over the last 6 years, I’ve coached literally hundreds of actors on what it takes to set strategic goals, both inside and outside of their acting careers. If you missed my recent article for Casting Networks on that very process, check it out by clicking here. However, setting your goals is only one half of the equation here. To accomplish your goals, you’re going to need to find time to attack them—something many actors tell me they struggle with.
Do you often find yourself feeling very busy, but not very productive? We’ve all been there, and it’s no fun at all. You spend your entire day fighting mini-fires, doing menial tasks, and never actually get stuck into the things that you really desire from life. Well, in this article, I’d like to share 10 super-simple steps that you can take to literally 10x your productivity. Utilise these and you’ll not only wake up productive, but you’ll push your productivity to all new levels and beyond.
Welcome to His & Hers, in which an entertainment industry business advisor and actress/mentor give their take on the latest topics that come up when they’re mentoring and coaching actors.
This month John Byrne, an entertainment industry business advisor who writes for The Stage and coaches actors around the globe, compares thoughts with Angela Peters, actress and acting mentor with clients in the UK, LA, and AU, on the topic of Resolutions—and how you can make acting resolutions that actually count.
Every year, hundreds, perhaps millions, of actors sit down about now and plan their goals to take over the acting world. I’ve coached actors as they do it, I’ve received emails asking for support as they work on them, I’ve read the tweets and Facebook comments professing that this year will be different—and why not? The new year is about making resolutions and vowing to do things differently; it’s a chance to start again.
But what really counts are the goals that can actually be put into practise—the goals that are actionable, the goals that allow an actor to feel good about themselves.
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?