3 Elements to Finding the Right Actor

Everyone has seen the results of a badly cast film, but few understand how it came about. Some will guess that the director and producer first brought together their friends and second salted in a few relatives. But most miscast films come about because a lack of attention and direction was given to the casting director.

The real problem develops the moment a director thinks tactically instead of strategically when considering how they match stars to characters.

My first mismatched casting direction came about when I was producing a series for the Wisconsin Television Network. I had selected the two main stars based on their looks and neglected to consider the creativity they might or might not bring to the table. The result was overly simple characters that never matured – sending the series to an early demise after the first season.

The strategic approach takes more courage and gives unlimited possibilities to every episode. It necessitates a director who knows his story better than anyone else and requires actors to fully understand their character.

Strategic Exploration

After matching the physical makeup of the character and actor, the director needs to know he can trust the actor to listen attentively and stay on course. If those elements are in place there are three things to consider in finding the right actor for the role.

  1. Ability to Translate Concept to Action: The cinema is a visual medium that requires movement on screen – The reason it’s called “motion” pictures. An actor who can read the script text and turn the moment into a series of actions worth exploring becomes a great asset to the director.
  1. Collaboration through Suggestion: Rarely does an actor understand the full ramifications of a character choice to the overall story, but he does bring great character insights to each moment. It therefore takes a collaborative process of the actor suggesting possibilities and trusting that the director will know if the ideas fit or hinder other story elements.
  1. Finding Context in Subtext: Many films are laced with subtext and symbolism to guide the audience’s subconscious. Actors who are able to find the subtext and create actions within those organic context parameters become invaluable to the director.

With the above elements in place, the depth of character and the number of paradoxical character explorations becomes unlimited. The juxtaposition of the potential character inserted into the parameters of the story can bring about the most fascinating results – Keeping the audience pinned to the screen until the epilog.

 Copyright © 2014 by CJ Powers

Mood Reels

ConflictThe latest craze in film fundraising is the development of mood reels. The mood reel consists of clips from other movies cut into a sequence that would be reminiscent of the feelings to be generated in the future film. By using similar music, production teams hope to set the tone and create an emotional atmosphere to pitch potential investors.

The mood reel is not too different from a living reel, except for the use of someone else’s work. Any form of previsualization helps to gain the attention of investors and clarify the type of film being made. Similar to animatics, a rough animated version of the storyboard, the mood reel is designed to introduce a logical decision maker into the world of the picture.

Mood reels are typically 2-5 minutes in length and intangibly present an emotional background or give the audience a feeling about the story. These compilation pieces can also give a sense of the types of shots, timing and effects that will be used throughout the film.

The drawback to a mood reel resides with the investor’s ability to separate the mood and his emotions from the short and translate it into the possibilities for the feature film. This is a similar problem to having an investor read a script without knowing how to properly read scripts – Causing them to miss the subtext and demand more overt content.

Mood reel or not, the most important element for an investor is whether or not he can trust the filmmaker’s artistic choices in transferring the story from the page to the screen. The filmmaker either knows his film inside and out and can communicate it, or he can’t. This requires the filmmaker to be a good verbal communicator and not just a visual communicator.

The reason behind the continual search for a visual tool like the mood reel is because the average investor prejudges the story. The more niche the film’s distribution, the greater the prejudgment.

Walt Disney was the first to experiment with storyboards, artistic renderings and the like in order to sway bankers. There is an entire warehouse of composites created by Disney artists experimenting with concepts, as they attempted to reduce Walt’s ideas to paper or canvas. While most of the images are symbolic or give a feel for the concept, they have in their own right become valuable works of art.

The skills needed to make a great feature film are very different than making a great mood reel, trailer, short, or other promotional piece. Yet, investors continue to prejudge a filmmakers feature ability based on these preliminary tools, so its not surprising that filmmakers have shifted to using a mood reel – Taking advantage of great art that already exists.

Copyright © 2014 by CJ Powers