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

Solving Problems When You Don’t Feel Creative

CandleBoxTacksWhen I was in college, Oktoberfest was a big celebration in Wisconsin. One year, the local radio station had a competition to find the hidden medallion. The winner received thousands of dollars’ worth of prizes, major media coverage, and was honored in the parade. Every morning the radio station broadcasted a clue to help people find the medallion that was hidden somewhere within a half-hour radius of the tristate area along the Mississippi.

Known for my creativity, numerous people asked if I was going to solve the puzzle and reap the rewards. I decided to give it a try and found myself following the clues to within an inch of the medallion. I even rested my hand on the stone that covered the medallion. But I never lifted the stone to find it. Why? Because I had a functional fixedness bias from my childhood.

A common game we played in our childhood was called Hide the Thimble. The rules were that the person hiding the thimble had to place it in plain sight, so it could be seen from at least one angle without anything blocking it. My heightened observation skills made me a natural at winning that game. But in the case of the Oktoberfest medallion, there was no rule of it having to be in plain sight. I assumed the rule because of my functional fixedness.

The emotional pain I experienced when the station announced where the medallion was hidden, having had my hand on that very stone, was intense. I cringed when I realized that the reason the stone wobbled under my hand wasn’t that it was uneven, but because part of it was sitting on top of a medallion. Argh!

Today, I’m very conscious of any form of bias. I also practice interrupting patterns on a regular basis. The reason I work diligently at breaking away from functional fixedness is that innovation demands my mental freedom and the longer a person continues in functional fixedness the harder it gets to break free and think creatively.

Functional fixedness is a bias that hinders creativity—limiting people to only use an object in the way it was intended to be used. The opposite of functional fixedness is reflected in MacGyver’s ability to use common objects in a different way than originally designed. It takes a tremendous amount of creativity to use unrelated objects together for a solution, like using a cellphone camera as a mirror, a brick as a doorstop, or a quarter to unscrew a screw.

In moments when we feel less creative, psychologists suggest that we are likely caught in the functional fixedness mindset. This concept was first introduced by Norman Maier in 1931. By 1945, psychologist Karl Duncker designed a test to determine if a person held the bias or not. The test included a candle, a box of thumbtacks, and a book of matches.

The test subject was to solve a simple problem. The goal to find a way to hang a lit candle on the wall using only the materials provided. The person with a high degree of functional fixedness was not able to see the box of tacks as part of the solution. He could only perceive it as the container holding the useful thumbtacks.

The unhindered creative solution had the person dump the tacks out of the box. Place the box on the wall using thumbtacks and placing the candle in the box. Then the matches were used to light the candle. This simple solution is mentally blocked for many people who hold a bias that they are unaware of.

Unfortunately, many people who realize they are no good at solving these types of problems seldom take time to break the bias and improve their creativity. They typically state that they aren’t creative, allowing their functional fixedness to grow more powerful. The only way to reduce our unhealthy biases is to build and empower our creativity.

There are three steps I use to break free of functional fixedness:

Explore the Problem using Make-Believe

Today’s culture suggests that problem-solving is a logical practice because of functional fixedness. To use the right side of our brain, where most of our non-diagnostic troubleshooting skills reside, we have to make the problem abstract. This can be considered a form of play, which opens our mind up to all possibilities.

Sometimes I pretend that I’m living in a sci-fi world where normal rules of nature no longer apply. This creative world-building allows me to look at a problem from new vantage points because it distills the issue down to its core elements—surface issues that typically hold our attention due to bias fade away.

Drawn from Alternative Fields of Knowledge

Once I’ve exposed the bare essence of a problem, it is easy to see similar issues being worked on by professionals in other fields. This allows me to draw from their expertise in how they work the basics and transfer them to my situation. This process typically fuels my creative thought process and feeds me new perspectives and ideas worth exploring for my specific problem.

Play with the Inspired Possibilities

At this point in the process, my thoughts are freer of bias and I continue to play with the ideas. This is the stage where I keep all possibilities open for as long as I can, not wanting to take just the first solution that pops into my head. The playful stance during this phase of the process allows me to explore multiple solutions so I have a few to choose from.

Freeing our creativity requires the breaking of strongholds like functional fixedness. A bias never self corrects, so we must purpose to change our viewpoints. By acknowledging our bias, we can focus on strengthening our creativity and fuel our future with a greater ability to problem solve and innovate—making us a valuable resource for our company, community group, and family.

© 2019 by CJ Powers

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Crisis Energy to Feed Stamina

Turning the Adrenaline Rush of a Disaster into Energy for the Solution

Years ago my company created art for a museum that had a specific deadline. Everything needed to be mounted and in place for the grand opening of the new display. The press was coming out in full force and the curator just hung up the phone after pushing me for a specific delivery time. He made it clear that I had 42 minutes left to deliver the final artwork.

Museum_PhotoI felt my muscles tighten and worried about the onset of a heart attack, even though I had no family history. The emotional drama within my body felt like a tsunami was collapsing all around me and I was unable to surface for a breath of air. The worst pressure came while I waited for the subcontractor to finish the arduous process of laminating the art to meet ultra high museum archival standards.

Everything around me started to waver and the room sounds dropped to a deafening quiet—I was passing out. I asked the person next to me if she would mind me lying down on the floor. She looked concerned and nodded a willing “yes.” I dropped to the floor, turned onto my back and wondered how I got in such a spot.

Staring up at the lights was a weird phenomenon, especially when I realized that there were four things that I could do to change my response to the circumstances.

Accept the Worst – Everyone who feels they are falling into an abyss of the unknown needs a solid baseline from which to start their recovery. By accepting the worst-case scenario that my imagination could realistically paint, I was able to stop the sense of pending doom. I no longer felt like I was in a free fall and could work on my choice of thoughts.

Change the Perspective – Turning the corner from a negative perspective to a positive one forces my feelings to follow. A small sense of glee rises when a person stops thinking about their cup of lemonade being half gone and decides to savor a second half-cup more of delight. The positive person can even pick up on how the second half of the drink tastes a tad sweeter due to the sugar settling over time.

Release the Rigid – Facts typically raise its ugly head the moment a person tries to see an opportunity in its best light. After all, we’re taught from an early age to think logically about the situation when a swift deadline appears to be statistically out of reach. The choice to turn the ridged facts into a moment of flexibility brings relief and experimentation—the very thing that fuels creativity and solutions.

Think Creatively – Taking advantage of the freedom found in flexibility energizes the creative soul to see the circumstances as an opportunity to be a hero. Once pulled off, the client will trust their vendor no matter how unrealistic the schedule. And, they’ll even be willing to pay higher dollars for “miracles” knowing the job will get done right and on time.

Strength surged through my bones as I stood up and brushed the dirt from my slacks. I suddenly had the stamina to complete the task and I was ready to be a hero. I had the opportunity to prove my team’s skills and commitment levels. Oddly enough, I also felt comfortable in the middle of the calamity.

Within seconds the subcontractor handed me the pieces of art and apologized for the delay. I thanked him and smiled when he handed me the invoice that read “No Charge.” He thanked me for the opportunity and asked that I consider his firm for future work.

I pulled into the customer’s loading dock and was met by specialists who care for archival quality art. They were ecstatic that the quality exceeded their requirements and worked diligently to install the new display.

The client pulled me to the side and apologized for the pressure he had placed on our team. He learned ten minutes prior that his boss gave an earlier deadline to avoid being embarrassed in front of the media.

I left with a large check that included a bonus. More importantly, I left more capable of managing my emotions based on choice, rather than arbitrary circumstances. And, I had learned how to turn crisis energy into the stamina necessary to complete a project in the midst of turmoil.

© 2017 by CJ Powers

 

 

 

 

 

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