A Director’s Take on Auditions

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Auditions are a critical aspect of the filmmaking process, and as a director, it’s essential to know what to look for in actors during these sessions. The audition process can be lengthy and challenging. Still, a director can find the perfect fit for their film by focusing on three key areas:

  • Observe the actor’s capabilities
  • Determine the actor’s chemistry with cast members
  • Ensure the actor can take direction and explore collaborative choices

Observing the Actor’s Capabilities

One of the most crucial things a director should look for in an audition is the actor’s capabilities. This involves examining the actor’s range, ability to convey emotions and portray characters accurately.

To assess these capabilities, directors can provide actors with monologues or scenes that challenge their acting skills. The scene can be a simple interaction between two people or involve more complex emotions and conflicts. The goal is to get the actor to play and interact in a manner that reveals their capable range.

During the audition, directors should look for the following traits in the actor’s performance:

  • Authenticity: Actors should be able to embody the character they are auditioning for and make it believable. They should be able to evoke the character’s emotions, mannerisms, and speech patterns to make the character come to life.
  • Versatility: The best actors have a deep range and can take on different roles and genres. Look for actors who can perform different emotions and characters with ease.
  • Presence: Actors should have a presence that commands attention. They should be able to captivate the audience with their performance and hold their attention.

Determine the Actor’s Chemistry with Cast Members

Chemistry between cast members is vital for a film’s success. Actors should be able to work well together, establish trust and rapport with one another, and create believable relationships on screen.

During auditions, directors can pair up actors and see how they interact with one another. Directors should look for actors who can create chemistry naturally and authentically. The result of strong chemistry appears in the form of challenging tension and natural acceptance.

The following are some factors to consider when evaluating chemistry:

  • Compatibility: Directors should look for actors who share similar energy and can complement each other’s performances.
  • Communication: Actors should be able to communicate well with each other and create a sense of camaraderie.
  • Adaptability: Actors should be able to adapt to each other’s acting styles and make changes to their performance if necessary.

Ensure the Actor can Take Direction and explore Collaborative Choices

Directors should look for actors willing to take direction and explore various solutions to a scene. During auditions, directors can provide actors with feedback and see how they respond to it. Actors who can take direction and make changes to their performance show they are open to collaboration and willing to work towards a shared vision for the film.

The following are some factors to consider when evaluating an actor’s ability to take direction:

  • Flexibility: Actors should be able to adjust their performance and adapt to the director’s vision.
  • Creativity: Actors who can explore different ways of performing a scene can offer new insights and ideas that enhance the overall film.
  • Collaborative Spirit: Actors open to feedback and working with others can create a positive and productive working environment on set.

The audition process is a crucial step in filmmaking, and directors should know what to look for in actors during this process. Observing an actor’s capabilities, determining the actor’s chemistry with cast members, and ensuring the actor can take direction and explore collaborative choices are all key factors in finding the right actor for a role. With these factors in mind, directors can make informed casting decisions that result in compelling and authentic performances that bring their film to life.

Copyright © 2023 by CJ Powers

Dialog must be Relational

Conversation is about Relationship, Not Information.

pexels-photo-89873There are talkers and there are listeners that will hopefully never meet. They’re missing the chief cornerstone of relationship when only focused on half of the equation. Talking and listening actively is relationship.

Talkers can never learn or be satisfied until they listen equally as well. The listeners will bust at the seams until they share the valuable information stored within their heart. Communication is the only relational tool that unites the human race and forms culture.

During one film shoot, I directed a group of actors who were very different from their characters. The joy on set was high, as the talent played with roles that stretched their imagination beyond the stereotypical. After great contemplation they delivered heartfelt performances that opened our eyes to new perspectives.

One woman, who was an intellectual, played a ditzy blonde type that had a heart for kids. Her research brought the perception that “ditzy” was based on circumstances of how the person addressed the unknown. Curtailing the stereotype, she resisted playing the person that when jolted by a comment would say the first words that came to her.

She entered the scene as a brunette who led with undefined empathy, which became clear by the end of the scene. The actor’s choice gave the feeling of “ditzy,” but without showing a lack of intelligence. This resulted in the character coming across as empathetic and what I called squishy-warmhearted.

This empathetic quality came out because of the conversation between her and another leader. The dialog revealed the heart of both people and their relationship. It was more than just an exchange of information. The expressions of each character’s souls were on the line, demonstrating their courage in conversing.

Ursula K. Le Guin in her essay titled “Telling is Listening” published in The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination, shared the following complexities of human communication:

“In most cases of people actually talking to one another, human communication cannot be reduced to information. The message not only involves, it is, a relationship between speaker and hearer. The medium in which the message is embedded is immensely complex, infinitely more than a code: it is a language, a function of a society, a culture, in which the language, the speaker, and the hearer are all embedded.”

The film was powerful because each character did more than communicate information. Their expressions and backstory came through in how they presented each comment. Even their reaction shots revealed how they were impacted through the courageous interchange.

The audience was mesmerized and fascinated by the dialog, not because it was written well, but because of how it was crafted using the embedded elements of each character within the exchange. The dialog was far more than words or information. It was real in everyway.

I made an interesting note the night after the shoot that read, “Dialog is about relationship, not information.” Whether a discussion occurs in real life or on screen, it is only of value if it develops the relationship. Talkers who talk without listening and listeners who listen without sharing are not interesting because they are only focused on themselves.

© 2017 by CJ Powers

Crayon Messaging Americans Grasp

64_Crayon_Box.pngSome say that Trump’s campaign messages captivated Americans, while Clinton’s messages seemed to miss the mark with critical people groups. Others say it was Trump’s lack of intelligence that helped him speak to the people and Clinton’s high intellect that undercut her attempts at the White House. These comments caused me to consider how the messaging of each candidate helped or hurt their campaign.

To win an election, or to communicate any message, the speaker must exclude some vocabulary so their message is clear and easy for the average American to understand. The media typically presents the nightly news at the 8th grade level to make sure they reach as many people in their viewing audience as possible.

This makes sense to me when I compare the communication of information to crayons. Almost everyone in our country understands the basics of communication. It’s like the average person is able to communicate in the 8 basic crayon colors. You know the ones, those boxes with the really thick crayons that are hard for preschoolers to break.

As we grow older we mature to the level of communicating with a box of 16 crayons. The crayons are smaller, but we’ve doubled the amount of color choices like our increase in vocabulary. Soon we improve to the 24-pack and those more focused learn additional communication skills that serve up one of those cool 64-packs of crayons. And, there are a few that move on to the 152-pack, but its rare.

Abraham Lincoln spoke at an 11th grade level, the highest level spoken during a run for the presidency. Trump spoke at the 4th grade level, which was the lowest level in history for a candidate. George W. Bush, during his run spoke at a 5th grade level. Clinton varied her talks, fluctuating between the 7th and 9th grade levels – possibly blocking many Americans from understanding her message.

You see, Trump spoke using the 8 basic colors we all understand in life. When he said blue, we understood him because the 8-pack comes with blue. But with Clinton using a vocabulary that included the color Cornflower, many 8, 16 and 24-pack people didn’t know she was saying blue because their vocabulary didn’t included the variation she mentioned. They may have thought she changed the subject to farming or baking—get it, Cornflower.

The readability model used to measure the level of a speaker’s comments is called READ. This information is always tracked by organizations including the Boston Globe and Carnegie Mellon University. And, the published results are readily available in many libraries. The document I read came from the Cornell University Library.

My take away from my mini-study is that I can talk to 64-pack people and be understood by them using any of the 64 colors. But, if a 16-pack person joins us at the table, I have to shift my conversation to 16 colors if I want everyone to understand my comments. I saw this play out in a peculiar way just this week.

A wife (64-pack) asked her husband (8-pack) a Cornflower question. His pride didn’t allow him to ask what she was talking about, so he instead stormed off with his voice trailing, “I don’t have time for any of this.” She turned to me and asked if she was being unreasonable with her husband. I nodded, “No,” and suggested she reword her request based on his 8 colors.

It’s frustrating for a wife or husband who has a spouse with less colors of communication ability because they are constantly talking with self-restrictions to be understood. They typically alleviate this frustration by finding a friend that can handle all of their 64 colors of expression, which greatly reduces their stress.

Copyright © 2016 by CJ Powers