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Everything you’ll ever need to know about the
Screen Actors Guild Awards
Paul Greengrass talks teaming with
Tom Hanks to bring us “News of the World”
4 Pages OF CASTING NOTICES
Great tips for the perfect actor-director relationship
The Directors Issue The Genius of
Steve McQueen
”I’ve always done exactly what I wanted”
In The Envelope The Actor’s Podcast
Recent guests include: Hugh Grant, John Boyega, Nicole Byer, Aidy Bryant, & Maya Rudolph
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Contents The Green Room 6 The Open Culture program brings
back outdoor performance in NYC
8 This week’s roundup of who’s casting what starring whom
9 Abigail Cowen on “Fate: The Winx Saga” and how to never be bored
Advice 11 CRAFT Inside the perfect actor-director dynamic 12 #IGOTCAST
Chloë Cheers
vol. 62, no. 1 | 01.07.21
Cover Story
Never ‘Fucking Careful’ Steve McQueen is ready to share the secret that made him a master page 14
12 SECRET AGENT MAN Best Zoom forward
Features 5 BACKSTAGE 5 WITH...
Nicole Beharie
10 MEET THE MAKER Paul Greengrass, “News of the World” co-writer and director 11 THE ESSENTIALISTS Ann Laudick, second assistant director 13 IN THE ROOM WITH Bruno Rosato and Kate Yablunovsky 19 A NIGHT FOR ACTORS, BY ACTORS Everything you need to know about the SAG Awards, then and now 24 ASK AN EXPERT Retta Putignano on writing scenes for your reel
Casting 21 New York Tristate 22 California 23 National/Regional Steve McQueen photographed by Henry J. Kamara on Oct. 30, 2020, in London. Grooming by Petra Sellge. Cover designed by Ian Robinson.
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01.07.21 BACKSTAGE
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Backstage 5 With...
Nicole Beharie By Allie Volpe
Nicole Beharie has grown accustomed to dealing with the peaks and valleys of life as an actor. A fan favorite on Fox’s “Sleepy Hollow,” she was undeterred early on when many of her Juilliard classmates landed representation upon graduating. Instead, she booked her first film role without an agent. Beharie is now an IFP Gotham Award nominee for her portrayal of beauty queen–turned-bartender Turquoise Jones in writer-director Channing Godfrey Peoples’ “Miss Juneteenth.”
What advice would you give your younger self? To really focus on the work, but still have fun—still live. I was very serious, and I’ve always been a believer in honoring an opportunity that you get—[an] “I don’t want to mess this up” kind of thing. I wish I would’ve enjoyed it a little bit more and realized this doesn’t happen every day. Maybe not hold onto too much of the input, positive or negative, because that becomes your whole identity. Do what feels good and what is challenging and what grows you. Don’t always go the route everyone thinks you should go.
eyes. I realized I’d read it completely differently—as opposed to being cool and snarky, I thought she was really uptight and stern and factual. It wasn’t extremely clear in the character description what she looked like. I could tell, when I walked in the room, they were intrigued: “What’s happening here? Doesn’t she get it?” I did not get that job. What’s the wildest thing you’ve ever done to get a role? I’ve definitely gotten notes and sent tape back in making the adjustments. Even for “Juneteenth,” I did audition for that, and I got notes from Channing and changed the character. I think it’s worth it to make adjustments and send in new auditions. Be open to notes.
ILLUSTRATION: NATHAN ARIZONA/PHOTO: SEN FLOYD
How did you first get your SAG-AFTRA card? It was “The Express,” the Ernie Davis biopic with Rob Brown. When I was graduating [from Juilliard], we do these presentations at the end of the senior year, and everyone goes, “I’m getting a manager!” or, “So-and-so signed me!” I was getting a little bit of love, but not the love other people were getting. I went into the [“Express”] audition, and I actually got the job. Before I got an agent, I got the job, which was crazy.
What’s one performance every actor should see and why? I used to watch “Sophie’s Choice” with my friends in college. I just loved the quirkiness of all the characters, but obviously Meryl Streep’s performance in that is pretty crazy. All the layers and the history and the dialect. All of the characters are so distinct that she gets to be really grounded. I think it’s a movie [that], if you’re an actor [and] you haven’t seen it, [you should] take a look at. There’s also a French movie called “A Prophet” by Jacques Audiard. That’s an amazing movie.
What is your worst audition horror story? There was one that was funny, because I read the sides—there was no script—and my understanding of the sides was [that] the character was really uptight, almost like a librarian: glasses, cardigan, very stern. I showed up and I had a pencil skirt on, and all these girls are in jeans and cutoffs [with] wavy, long hair [and] smoky
“I thought I was going to go to school for journalism, and then I fell in love with the thespians and the weirdos and the writers and the dancers.”
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01.07.21 BACKSTAGE
HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! @BACKSTAGE
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Theater
NYC to Allow Outdoor Performance This Spring The Open Culture program will begin this March, in a move that’s being heralded as “a true win-win” By Diep Tran
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for performances and cultural events. The program will go into effect on March 1, 2021, and will continue through Oct. 31, with the possibility of an extension to March 31, 2022. There will be a $20 application fee to participate in the program. “Arts and culture are the lifeblood of our city,” said Van Bramer in a statement. “With the new Open Culture program, artists and art groups can start staging performances—and [charging] for them.… There will be dancing, singing, and comedy on the streets, bringing joy and jobs to thousands. We need to use our city’s space in new and creative ways to make
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sure the cultural community can perform and create. This new law will be a dynamic and transformative program for our cultural community and will create a dynamic open-space use—a true win-win.” The Mayor’s Office of Citywide Event Coordination and Management will create a website that will provide artists with a list of eligible open spaces and audiences with a list of outdoor performances around the city. The program will be run in consultation with the NYC Department of Cultural Affairs, the Department of Parks and Recreation,
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TETIANA.PHOTOGRAPHER/SHUTTERSTOCK.COM
NEW YORK CITY PERFORMers may not be able to appear on indoor stages right now, but soon, they’ll be allowed to perform outdoors. The New York City Council has approved a new program called Open Culture that will allow live artists, including actors, to apply for permits to perform outside in approved city spaces this spring. Live indoor performances have been on hiatus since March 2020 in NYC due to the COVID-19 pandemic. The bill, introduced by New York City Council member Jimmy Van Bramer, will allow artists and artistic institutions to use approved open spaces
and the Department of Information, Technology, and Telecommunications. “Prior to COVID-19, the cultural sector in NYC was one of the largest industries in NYC, employing nearly 400,000 workers, paying them $31 billion in wages, and generating $110 billion in economic activity,” city council majority leader Laurie Cumbo, who sponsored the measure to create the website, said in a statement. “In merely seven months, employment within this sector has fallen over 60%, with 95% of organizations being forced to cancel some programming.” She said that Open Culture “is symbolic of our city’s commitment to innovation in the face of a ‘new normal.’ I look forward to seeing how open spaces are utilized by our cultural sector in the near future with use of this newly designed website.” The program is modeled after the city’s Open Restaurants program, which allowed restaurants to create outdoor dining structures on city streets. Indoor dining was shut down at the beginning of the COVID-19 pandemic but was reopened at 25% capacity in September; it was again discontinued on Dec. 14 due to rising COVID-19 infections. Meanwhile, on the federal level, the Save Our Stages Act, which allocates $10 billion to live performance venues, was folded into the Heroes Act, which was approved by the House of Representatives but remains in limbo in the Senate. Updates on how artists can take advantage of the Open Culture program are still to come.
The Slate
The Actor’s Remote Resource We’re not letting creativity + productivity stop in the face of coronavirus. We’re taking you directly to industry power players through Instagram takeovers and Q&As, YouTube Lives, and most excitingly, Zoom-hosted seminars for interactive group classes! Guests include: Jason Sudeikis, Elle Fanning, Dylan McDermott, Rachel Brosnahan, Alison Brie, Chrissy Metz, Aishe Dee, Ricky Gervais, Anthony Mackie, Bradley Whitford, Nicholas Pinnock, Susan Kelechi Watson and more!
To get all the details and view the full schedule, please visit backstage.com/magazine.
of the same name) is casting. “All the Queen’s Men” follows the female owner of an upscale strip club in Atlanta who is savvy and charming. No other plot details about the BET+ series have been released, including if any talent has been attached so far. Kim Coleman Casting is adding actors to the series, which will shoot in Atlanta. No dates have been announced for the beginning of shooting.
‘Dexter’ Is Back on the Case The Showtime reboot is staffing up By Elyse Roth
STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles! Please note that shoot dates are subject to state and county restrictions and may change. Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.
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“All the Queen’s Men” Tyler Perry’s latest series (not to be confused with the 2001 movie
FILM
Blumhouse Partners With the Times By Casey Mink
For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!
BEATING OUT HEAVY HITTERS INCLUDing Chernin Entertainment and HBO’s documentary division, Jason Blum’s Blumhouse studio has secured the rights to the New York Times story “She Stalked Her Daughter’s Killers Across Mexico, One by One.” The seven-figure deal also includes the Times as a full producer on the project. Published on Dec. 13, 2020, the story by Azam Ahmed follows a mother’s quest to track down her daughter’s kidnappers in San Fernando, Mexico. There’s no word yet on whether the project will take the form of a series or film, nor on who will helm the adaptation.
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“Dexter” The internet lit up in October when Showtime announced that it would revive its popular drama “Dexter,” which ran for eight seasons. Now, the series is
casting the reboot’s new criminals and, likely, new characters to track them down (or, at least, try to before Dexter Morgan can). No details about the revival’s plot have been revealed, but showrunner Clyde Phillips said in an interview that it will acknowledge the original ending and is an “opportunity to write a second finale for our show” after the famously divisive ending left longtime fans lukewarm. It won’t be a Season 9, exactly, but something brand new. Gary Levine, co-president of entertainment at Showtime, said that bringing the series back required an idea that was “worthy,” and that the creators have found one. Though
Michael C. Hall will return as the show’s titular do-gooder serial killer, the new iteration won’t be set in Miami like the original run. New York–based Tucker/ Meyerson Casting is seeking talent to fill out the 10-episode limited series return. The original series filmed in Los Angeles, but no production location or timeline has been announced for the new installment.
KEVIN SCANLON
What’s Casting
“Ivy + Bean” Netflix is casting for a slate of live-action feature films based on Annie Barrows’ children’s book series “Ivy + Bean,” which will be geared toward families. Each film will be one hour long. The 12-book series follows two unlikely 7-year-old friends: Bean, who is brash and fearless, and Ivy, who is subdued and thoughtful. When Ivy moves to the neighborhood, Bean thinks she will never be friends with her, but soon discovers that Ivy is a witch-in-training; they become fast friends despite their differences. No talent has been announced for the first film, which is casting now, but it’s an opportunity for young talent to step into leading and supporting roles. Nancy Nayor is casting the movie, which will shoot in summer 2021. No location has been announced.
The Slate
Flipping the Script
Abigail Cowen on Netflix’s “Fate: The Winx Saga,” audition tips, and more By Gillian Russo
The following interview for Backstage’s on-camera series The Slate was compiled in part by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions. WITH TWO MAJOR NETFLIX roles under her belt—Dorcas on
“Chilling Adventures of Sabrina” and Bloom on the upcoming “Fate: The Winx Saga”—Abigail Cowen’s star is quickly rising. She’s recently spent time flitting between Vancouver, Los Angeles, and Ireland for her various projects, but she sat down with Backstage for a spell on Instagram Live. Cowen talked about “Winx” and her advice for actors at every stage of a project,
Abigail Cowen
from approaching the audition room to script analysis to time on set. Working with fantastical scripts like those for “Sabrina” and “Winx” means Cowen is never bored by her work. “[I love] the fact that it is magical and there are endless possibilities. There’s nothing that can’t happen; so every time you get a script, you are most likely to be shocked by what’s in there, as opposed to playing a real-life character where it’s probably predictable. I love that, and I love that you can just play and really use your imagination on these types of projects.” She uses a reverse-psychology trick to calm herself down in the audition room. “For in-the-room auditions…the way that I would relax myself is [to] almost let go of the project already. Before I [walked] into the room, I would just be like, ‘I don’t need it. I don’t want it. I don’t care’—even though I really did.” Familiarizing yourself with the scenes adjacent to the one you’re filming is key to knowing how to play your character. “Whenever I get a script, I do an entire outline, because, for some reason, my brain just gets all jumbled with the entire story. You’re filming completely out of order, so [if] you go in
FILM
Warner Bros. Looks to 2023
MARGAUX QUAYLE CANNON
KEVIN SCANLON
By Casey Mink
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and if you’re not aware of what happened right before this one scene that you’re filming or what’s going to happen right after, you could deliver the scene [in] a completely different way than it’s supposed to be delivered…. Also, writing it out helps me comprehend what’s really going on [by] putting it into my own words.” Neither success nor failure as an actor is a reflection on you as a person. “When you don’t get a role, it’s not personal. It’s just because someone else fit the character better than you did. It’s not because you suck, [and] it’s not because you’re a failure. That’s all that I would do—I would [lie down] in my room and cry. I had to learn that it has nothing to do with me. I need to keep going. I need to keep showing up and putting in the work, and if I keep doing that, it will pay off. And when you get the role, it’s still not personal. It’s not because you’re the greatest and you’re the best. It’s because you fit the character, you did the work, and OK, great, this opportunity worked out. Awesome. But there will be more that don’t, and that’s just the ups and downs of the industry.” Want to hear more from Cowen? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.
AFTER WARNER BROS. SENT shockwaves through the industry this year with its HBO Max deal, the giant continues to plan for the future. Specifically, it has given 2023 release dates to three of its most anticipated titles. “Mad Max: Fury Road” prequel “Furiosa,” which will see Anya Taylor-Joy play a younger version of Charlize Theron’s character, will debut June 23; the live-action-hybrid Looney Tunes adaptation “Coyote vs. Acme” will hit screens July 21; and the Oprah Winfrey– produced film adaptation of “The Color Purple” musical will be released Dec. 20.
01.07.21 BACKSTAGE
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Paul Greengrass, “News of the World” co-writer + director By Casey Mink
Tom Hanks and Helena Zengel in “News of the World”
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and on demand, the film reunites Greengrass with his “Captain Phillips” leading man, Tom Hanks, playing a different sort of captain here: Jefferson Kyle Kidd, a forlorn Civil War veteran who travels from town to town sharing local and national news stories with the people he meets. In his travels, he comes upon an orphaned girl who’s been kidnapped by the Kiowa tribe. So begins a sort of reverse-engineered journey to bring her home. The girl, Johanna, is given equal storytelling weight as Hanks’ Kidd. It’s a tall order for any actor, let alone one who’s 11 years old, as Helena Zengel was when they shot the film. “I definitely thought, going into this film, that the biggest uncertainty was going to lie
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in choosing the young girl to play Johanna,” Greengrass recalls. “I thought it was going to be an agonizing process, and that every day working on set with whoever that young girl was going to be would be anxious-making for me, because she was going to have to act head-tohead with Tom Hanks.” Oh, and the young actor would also need to speak German, as dictated by the part; bonus points if she was comfortable on horseback. A producer tipped Greengrass off to Zengel thanks to her work in the 2019 German hit “System Crasher.” They met and ran through a couple of scenes, and she got the gig. Still, Greengrass admits, you can’t be sure until you start filming. But “I never thought about her with anxiousness from that
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UNIVERSAL PICTURES
WITH ITS COMMENTARY ON anti-Black racism and seemingly irreparable divides between neighbors, “News of the World” is among the year’s most relevant films. That it is set in the 1870s is not beside the point; according to director and co-writer Paul Greengrass, it is exactly the point. The script is based on the 2016 novel of the same name by Paulette Jiles, set in post–Civil War Texas. When he read an early draft of the book, Greengrass thought that “it felt like it was about our time now.” He adds, “It was about healing and the search for home, with Kidd and Johanna being characters who are lost, searching for connection [and] a place to belong.” Now playing in select theaters
day on,” he says. “The very first scene [the actors] did together was the scene where they first meet in the woods. Tom came up to me after and said, ‘She’s absolutely terrific.’ ” Throughout shooting, Zengel displayed an intuitiveness and awareness of on-camera performance that many adult actors do not possess. In one scene in particular, when Johanna must wordlessly relive a past trauma, Greengrass recalls, chuckling, that “someone gave her a note after the first take, and she said to me, ‘Oh, you mean just before I turn, when I want the camera to really see the emotion on my face?’ That is one heck of a sophisticated understanding of performance and technique.” It also speaks to the broader scope of the film; Greengrass opted not to use explicit flashbacks, as he thought it would cheapen the intent. “It would diminish the acting rather than inform it. I wanted them to be experiencing, in the moment, what had happened in the past in order to move beyond it in the future,” he says. The film also gave Greengrass his first chance to make a classic Western—a genre in which journeying is basically intrinsic, and one that allowed him to call upon a slew of fantastic character actors to play fantastic character roles. “A journey necessarily means you’re meeting new characters and then leaving them, which gives [you] the opportunity to have all these wonderful actors come in and play these parts,” he says. “Whether it’s Michael Covino playing the bad guy or Elizabeth Marvel playing the hotel owner or Bill Camp playing the childhood friend, those characters inform the journey and inform the relationship between the two central characters.”
“1917”: FRANÇOIS DUHAMEL/UNIVERSAL PICTURES ; “MINARI”: A24
Meet the Maker
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Dean-Charles Chapman in “1917”
Spotlighting the people and projects you need to know
THE ESSENTIALISTS
ANN LAUDICK
second assistant director
Craft
Inside the Perfect ActorDirector Dynamic By Charis Joy Jackson
DIRECTING IS A JOB THAT DEMANDS TENACITY. IT REQUIRES someone who can create the best atmosphere on set and be the driving creative force. It’s tough, but also fulfilling—especially if you learn how to be one of those directors that actors love. There’s a lot of innovation, intuition, and learning through the school of hard knocks that can help you become this type of director, but I want to highlight two simple tips to get you started, one from a creative perspective and the other from a technical standpoint.
UNIVERSAL PICTURES
“1917”: FRANÇOIS DUHAMEL/UNIVERSAL PICTURES ; “MINARI”: A24
CREATIVE TIP: Give actors
room to explore. Ask your actors how they see their characters, and consider how that differs from your vision. Sometimes, directors can get too close to a project and pigeonhole a character; but whoever is playing the part will want to discover every possible dynamic to flesh out the character. Gaining an actor’s trust this way can really aid their performance. If they feel they’ve got a director who trusts their intuition and improv skills, whole new moments that no one anticipated can happen. An example of this can be found in “Good Will Hunting.” If you’re familiar with the film, you’ll remember a scene in which Robin Williams’ character tells a story about how his wife used to fart in her sleep.
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Williams created the story on the spot, and the director decided to keep it. Another way to do this is by shooting multiple takes of a scene. If you have the time, ask your actor if they feel good about their performance. If they don’t, let them try it another way or try it again. TECHNICAL TIP: Shoot lots
of long takes. I’m a sucker for movies like Alfonso Cuarón’s “Children of Men” that have gloriously long takes. You can find another famous example near the end of Joe Wright’s “Atonement,” as James McAvoy walks along the beach at Dunkirk. No list would be complete without mentioning Sam Mendes’ beautifully crafted “1917,” which was filmed to look like one massive single
By Casey Mink
The second assistant director is one of those pivotal production roles that keeps the machine running smoothly without ever being seen. ANN LAUDICK, the second AD on A24’s awards contender “Minari” (out Feb. 12), breaks down the position.
amazing PAs. I create the call sheet, which is a big part of my day, and that lays out the plan for the next day with a lot of specificity. The role requires a lot of attention to detail, creative problem solving, [and] working with a whole lot of different personalities.”
The second AD does a lot of unseen work. “During the shoot, the second AD is the point of contact, or intermediary, for the cast to the producers, production coordinator, the rest of the AD team, and, really, the rest of the crew. And then I run base camp, usually with the help of some
“Minari” is storytelling at its finest. “Upon reading the script, it completely drew me in. It’s so understated and tender and so deeply personal…. We were in the production meeting, and the director [Lee Isaac Chung] tells us an absolutely beautiful speech about
take. This style of filmmaking is incredibly difficult to pull off, but it’s becoming more and more popular. It’s also fun for actors because it gives them more time to live with their characters. These types of shots require heaps of rehearsals—not only for the actors, but for the entire crew—to provide creative space for all those involved to find a rhythm. For example, “1917” actor Dean-Charles Chapman said in an Esquire interview that the cast and crew would rehearse a scene up to 20 times to get the right timing for everything from how far they walked to pauses in conversation. This gave the actors time to flesh out their characters and proved vital for the crew, who needed to make sure there was a place for them to walk during the
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what a personal story ‘Minari’ was for him. That moment completely set the tone for the entire experience. When the stories are beautiful and you can really believe in it and put your heart into it, it shifts the experience away from being a job and into wanting to facilitate the telling of that story in the best way that you can.”
shot. Employing these types of shots can definitely help you become the type of director actors long to work with. These may be simple tips, but it will still take some innovative thinking on your part. As the director, you carry not only the vision, but the creative atmosphere—so my last piece of advice is to have passion for what you’re doing, and to use it to inspire your cast and crew to do their best work. Jackson is an actor, casting director, producer, director, and Backstage Expert.
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Best Zoom Forward
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auditioning in person. And just like color photos and streaming TV, self-taping has become a large part of the business. The new pivot point is the virtual meeting, held on Zoom or a similar service. To be clear, I’m not talking about auditions; I’m talking about a meeting where you’re speaking with a group of people who are thinking about hiring you. Those people will usually consist of a casting director, some producers, and the director. At this point, they’ve seen your work and want to get a better sense of you. It’s critical that you come across as your best self. There are several proven
Some meetings will be in person; others will continue to be online. As a professional actor, you have to be ready for both.
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Chloë Cheers
By Jalen Michael CHLOË CHEERS may be young, but she is committed to developing her craft through hard work and perseverance. Stay on track, and success will soon follow. “My advice? Persistence. And audition—a lot. And while you’re doing this, hone your craft and study the business side of the industry. My mom is constantly teaching me, but I’ll be 18 before I know it, and I must know how to control my career.” Slow and steady applies in acting, too. “In the beginning, I’d say [to look for] everything as a ‘hungry artist.’ But now, I really shoot for specifics in film and theater, and for any project where I can sing…. I also have built relationships through my auditions and, now, jobs.” Backstage keeps the job simple and convenient. “[I use Backstage] every day. Thanks to Backstage, I have the convenience of breakdowns aligning with my profile, so the auditions just come to my email. Backstage doesn’t just keep me in the loop—it tracks my ‘type’ and what I want to audition for.” TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.
backstage.com
ILLUSTRATION: SPENCER ALEXANDER; CHEERS: SUZANNE GOLD
MY FIRST YEAR AS AN assistant was the year blackand-white headshots became history and color photos became the new normal. I remember how everyone resisted the change. Why? Because that’s human nature. People get used to a way of doing things, and when that gets disrupted, they freak out. Nine years ago, I had a client test for a new TV show that wasn’t going to air on TV—it was going to stream. That threw me for a loop, especially since Netflix was the production company, and I only knew them as a service that mailed DVDs to your home. But, hey, David Fincher was attached, so we had to take the project seriously. I call those moments “pivot points.” The last big one was the shift to actors putting themselves on tape instead of
#IGOTCAST.
RAQUEL APARICIO
Secret Agent Man
ways to do this. There are also a lot of ways to screw it up. Let’s start with your choice of clothes. The meeting is about you, so don’t wear anything that pulls focus. That means busy prints and repeating patterns are out. Instead, go with bright, solid colors. Avoid black or white fabrics, because they’ll wash you out like the desert sun. And if you have an addiction to jewelry, you might want to cut back on that for the meeting. I did a virtual panel recently in which the manager was wearing a stack of bracelets. Whenever she moved, they made a ton of noise. It was very distracting. Next, you should practice with your friends to figure out the angle and lighting that flatters you most. Sure, people will cut you slack on these things, but why rely on that? It makes more sense to give them your best shot, figuratively and literally. Backgrounds are important, too. Pick a spot that isn’t distracting. A framed poster in the background will pull focus; a neutral wall won’t. And don’t even think about using a background replacement that makes it look like you’re in Hawaii. Now, let’s talk about audio. Some of the microphones that are built into laptops and webcams sound atrocious. No one will mind if you wear a headset if that makes it easier for everyone to hear each other. On an additional technical level, you have to master these services beyond just audio. That means learning to control the settings on the app itself. It’s so lame when an actor kicks off a meeting by saying, “Can you see me?” or, “Can you hear me?” In the future, you will attend many, many meetings. Some meetings will be in person; others will continue to be online. As a professional actor, you have to be ready for both.
culture +
Spotlighting the people and projects you need to know
In the Room With
Bruno Rosato and Kate Yablunovsky The Montreal-based casting team shows how an ensemble for an Oscar contender can be built outside of a major market By Elyse Roth
NETFLIX’S “PIECES OF A WOMAN” LANDS ONE EMOTIONAL GUT punch after another, thanks almost entirely to its pitch-perfect cast. And while the film’s call sheet features international stars all giving awards-caliber (and, for SAG and Oscars 2021, awards-contending) performances, it was the handiwork of Montreal-based casting team Bruno Rosato and Kate Yablunovsky that brought them all together. The Vanessa Kirby–starring film from director Kornél Mundruczó and screenwriter Kata Wéber heartbreakingly explores marriage, motherhood, and loss. Oscar winner Ellen Burstyn, Emmy nominee Sarah Snook, Iliza Shlesinger, and a slate of lesser-known and local actors round out the cast. Recruiting this wide-ranging talent slate is nothing new for Rosato and Yablunovsky; the two multilingual CDs take on work at home and all over the world, bringing knowledge of actors in different markets with them from one project to the next. Describe the search to build the cast for “Pieces of a Woman.” BRUNO ROSATO: The team went worldwide. Luckily for us, we have really good talent here, so a major part of the cast came from Montreal, and some from Toronto. Of course, we had
Ellen Burstyn from the U.S. and Sarah Snook from Australia. Jessica Kelly was part of the casting team in the U.S. Then we have associates in Toronto and in Vancouver. But we always do an international search.
What kind of research and preparation did you do before casting the film? BR: We were lucky that it was a husband-and-wife team— the director, Kornél Mundruczó, and the writer, Kata Wéber, are married. Since they work together, it was very easy to sit down with them and access the perspective of what the writer’s original intent was and mix that with the director’s. We really tried to dig into their present story and what the world was about and who they were trying to find to interpret it. KATE YABLUNOVSKY: We watched their films to see what they do. We tried to understand what kind of stories they like to tell, what feeling they like to give lot of conversations with them together. They gave us so much to work with. How did the subject matter of the story affect your search for the cast? BR: In Montreal, you’re still finding the first generations; there are a lot of cultures here, so there’s already a platform of understanding of these dramas, maybe in their own families and their own experiences and
the Montreal culture. Montreal actors are pros. They’ve been around a long time, and we’ve had big films shoot here and they’ve been involved, so they’re seasoned actors. Their job is to interpret those lines. It really wasn’t a challenge to find people to do great work for the story, especially when you’re telling somebody who they’re going to be working with in the cast and creative team and producers. What should actors know about casting and working in Montreal? BR: We’re very privileged in Montreal. The actors have a very good relationship with casting directors. We have a union that’s very homey and really tries to build the relationship with the casting directors. The actors and our unions do a phenomenal job in building a stage where actors can be comfortable. They can be respected, can have proper timing and proper diligence, and have the time to prepare. Here, I think the process makes actors feel safer and less rushed than in a city with a larger acting or production market.
Want more?
Read the full interview at backstage.com/magazine
RAQUEL APARICIO
ILLUSTRATION: SPENCER ALEXANDER; CHEERS: SUZANNE GOLD
Where do you look for new talent? KY: Depending on the project, we go anywhere we need to go. If there’s something in the story that’s very particular, like a special skill or someone from a particular community, we call the communities or those businesses or associations or schools. We’re really open to looking anywhere possible for actors.
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01.07.21 BACKSTAGE
Never ‘Fucking Careful’ Steve McQueen is ready to share the secret that made him a master
By Benjamin Lindsay Photographed by Henry J. Kamara “WE’RE ALL GOING TO DIE ANYWAY— what’s the worst thing that could happen to you? When you have nothing to lose, go for it. We need artists right now who represent that kind of conviction, because otherwise, what’s the point?” Steve McQueen is really going all in now. As our wide-ranging interview nears its final minutes, he wants to make sure that artists at all stages of their careers heed his words: Now is your chance, the state of the world be damned. “If you haven’t learned anything in these unfortunate times that we’ve been living through with COVID-19, I don’t know what more to say. Just do it!” he continues, speaking via video call from his London home. “If you want to fall in love with someone, fall in love with someone. What are you waiting for? Get on with it. Take a risk; take a chance. Sometimes you fall flat on your face—don’t get me wrong. But then you know that’s not the way to go, and you move on.” Considering he’s a multidisciplinary artist whose reputation for meticulousness and clarity of vision precedes him, it’s a wonder to learn that part of the key to McQueen’s success as a creator is becoming bedmates with failure—not the kind of irreversible BACKSTAGE 01.07.21
nosedive you can’t recover from, but the little starts and inevitable stops along the way that show you the best path forward. “Yes, I have fallen on my face,” he says. “You say, ‘I don’t imagine people think Steve McQueen has fallen on his face before,’ but the only reason I’m here is because I have. These aren’t things, necessarily, that I’ve shown. But all those things I’ve done have reshaped and resharpened my focus. My situation is littered with those things. Do not be afraid to make mistakes, because that’s the only way one’s going to learn. Don’t be fucking careful.” Earlier this year, McQueen’s decades-spanning, cross-medium career in the arts was treated to its first major exhibition in 20 years with a Tate Modern retrospective featuring 14 major works, including his first Super 8 film, “Exodus.” Speaking about the exhibit at the top of 2020, he said that his goal as an artist was, in part, to uncover truths that are difficult to look at. “As far as
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I’m concerned, it’s all about the truth, the whole truth, and nothing but the truth,” he told the Guardian. “To get to that, you have to go in close, uncover what’s been hidden or covered over. Obviously, the easy thing is not to go there, but I have a need to go there.” In conversation now, he demurs at the idea of finding a distinct through line in his work. “I’m not trying to put things neatly in a row at all…. That’s for critics to think about. I don’t think about that. But it’s a good question to ask,” he says. He reveals, however, that it’s “the things which are often not said” that draw him in. And when it comes to choosing the medium, he lets the subjects speak for themselves. “The subject matter told me what it wanted to be,” he says, before giving an example: “If I was doing something on Bobby Sands [who led the IRA hunger strike in 1981] and it wanted to be a painting, then it would have been a painting. If it wanted to be a photograph, it would have been a photograph. backstage.com
backstage.com
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04.02.20 BACKSTAGE
At the time, it wanted to be a feature film, so that’s why I made ‘Hunger.’ The idea leads me to where it needs to go. I would never change to the whole idea of, ‘Oh I’ve got to make a feature film,’ ” he adds, “because then it would be like a job.” Making a years-into-his-career transition from the fine arts for which he was already decorated to a feature film project came with certain risk factors and an opportunity for failure. But according to him, his approach allows for little negotiation between short- and long-form visual pieces. He compares the former to poetry, while a feature is like a novel: “You’re using the same materials to do the same thing.” Following the thread of that metaphor, McQueen still, consciously or not, uses poetic practice while piecing his “novels” together. “When shooting something, I often think about: What’s the minimalist thing I could do? What do I leave out more than I put in? How much can the audience put in themselves to shorten that gap?” he explains. “It’s also a case of just being practical in how you make a film, meaning that you don’t have to say everything. Sometimes you have a longer-lasting impression the less you say.” The aim is to have “a bigger impact with an essence of something, which has a bigger implosion” rather than any unnecessary exposition.
I’ve never compromised on anything. I’ve never been told to do anything, and I never will,” he insists. “If there was a challenge, it was making it my own. I wanted to make films how I wanted to make films; therefore, it was about me creating my own space within the environment that I found myself in. I think for young filmmakers and people starting [out], you have to make it yours. It’s very important to have an understanding of how you want to do things.” McQueen began his career exploring far-reaching themes—from Black lives in the United Kingdom to the impact of colonialism—across sculpture, photography, and film. Using methods both minimalist and experimental, he went on to become one of the most acclaimed visual artists of his generation. “It was the love of art,” he says, that brought him to the Chelsea College of Arts and Goldsmiths College, University of London, in the 1980s, with a brief stint at New York University’s Tisch School of the Arts. “The love of wanting to explore and [the] love of experimenting and finding things out firsthand—that’s it, really,” he continues. He moved into indie films with actor Michael Fassbender in 2008’s “Hunger” and 2011 sex addiction drama “Shame.” Then came “12 Years a Slave,” his 2013 adaptation of Solomon Northup’s 1853 narrative
memoir, which became the first best picture Oscar winner directed and produced by a Black filmmaker. He followed that up with “Widows” in 2018, a female-driven heist thriller starring Viola Davis that marked his studio spin on genre filmmaking. (It’s also worth mentioning that he’d already been awarded Britain’s coveted Turner Prize, one of the country’s most prestigious honors in the visual arts, in 1999, and he was named a Commander of the Order of the British Empire in 2011.) His latest, “Small Axe,” stands as one of the year’s masterworks. The compilation of five films, currently streaming on Amazon Prime Video, retells real-world experiences and events in London’s West Indian community from the 1960s–80s, including the true story of the Mangrove Nine (“Mangrove”) and Leroy Logan, the lauded research scientist who joined the London Metropolitan Police in an attempt to tackle its racism from within (“Red, White and Blue”). Of course, even with real-life inspiration, a director does not make a film (or five) alone. McQueen, with all his genius, is the ringleader, but he thrives in a state of collaboration. His “Small Axe” colleagues all applaud his passion, economy, and fearlessness as a creator. “Not fearlessness in the sense that he doesn’t have any fear; he’s quite
The only reason I’m here is because I have [made mistakes]…. All they’ve done is refocused and reshaped what I’ve done. Do not be afraid to make mistakes, because that’s the only way one’s going to learn.
It’s a stylized approach to filmmaking that is now part of McQueen’s distinct aesthetic. His unorthodox path to Hollywood (he’s never worked on a film set that he wasn’t running himself) has allowed him to move fluidly and confidently as an artist. There were no bad habits to break and no people to please; from the start, it’s been his singular vision leading the way, gut and mind first. “I’ve always done exactly what I wanted to. backstage.com
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01.07.21 BACKSTAGE
honest about his fears, actually. But the fact that he works through them anyway,” says Courttia Newland, McQueen’s co-writer on “Red, White and Blue” and “Lovers Rock,” the series’ second installment. As he does in his own craft, McQueen invites any well-intended action or idea to the table. Failure—or being told, “That’s rubbish”—is always a possibility, but the artistic result of risk-taking, vulnerability, and collaboration from all parties is the end goal. “He’s not going to be shy of telling you” when you have a bad idea, says his other co-writer, Alastair Siddons, with a laugh. “You could get it wrong as long as you were coming from the right place,” Newland echoes. “And when I say ‘wrong,’ I mean he might not always like your idea. But if he appreciated the intellectual capacity you brought to it, he would be like, ‘OK, that’s cool.’ ” Working on “Small Axe” installments “Education,” “Alex Wheatle,” and “Mangrove,” Siddons also learned what emboldens McQueen as a leader: his ability to make a choice and stick with it. “He was always very nice about my first draft; he’d ring me after and just be like, ‘Emotionally, it’s there. We’re very close…. I want to do this, this, and this,’ and that’s what he would do. It’s that decisiveness that makes him such a pleasure to work for.”
Amarah-Jae St. Aubyn and Micheal Ward in “Lovers Rock”
BACKSTAGE 01.07.21
like I was part of a collaborative process,” Ward adds. Letitia Wright, who stars as one of the central activists in “Mangrove,” also notes the faith McQueen had in his performers to get where they needed to go. “What makes him unique for me was that level of trust,” she says. “The level of trust that went into him saying, ‘You’re this character; you’re representing this person. Bring something to the table.’ It was just, ‘Bring something that’s from your spirit and that’s truthful to the table, and I’ll work with that, and I’ll alter it when I need it.’ I found that to be very freeing. He didn’t tamper with your process.” To hear McQueen tell it, the admiration
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was mutual. “The reason I love actors is because they’re so daring and they can take the risks,” he says, citing the likes of Wright, Ward, Fassbender, and “12 Years a Slave” Oscar winner Lupita Nyong’o. “I have no idea what I want until I see it. That’s exactly what I want from the actor: They’re not to preempt anything, but to feel it.” It all goes to show that no matter the form, the filmmaker’s respect is rooted in his guiding mantra: Engage with and work on your craft like you’ve got nothing to lose. Take that risk; live a bit recklessly. “The only hope I hope is that it encourages people to do great things,” he concludes. “That’s all.” backstage.com
“LOVERS ROCK” : PARISA TAGHIZADEH/AMAZON PRIME VIDEO
Outside of the writers’ room, McQueen brings that same openness and trust to his days on set. It’s seen in his own creative flourishes with the camera (“Lovers Rock,” in particular, employs some of the year’s most enrapturing and unexpected camerawork) and in his give-and-take relationship with his actors. “Steve is an artist first and foremost, so he is very meticulous with the stories he tells and the way he tells them,” says Micheal Ward, one of the romantic leads in “Lovers Rock.” In that approach, he “cared more about the emotion and encouraged you to commit to the decisions you’ve made creatively, and that made me feel
A Night for Actors, by Actors Everything you need to know about the SAG Awards, then and now
FEATUREFLASH PHOTO AGENCY/SHUTTERSTOCK.COM
By Esther Zuckerman ACTORS ARE THE FACE OF Hollywood celebrations every awards season; they are the most visible representation of the screen work being honored. And the Screen Actors Guild Awards ceremony, more than any other, is their night and their night only. The guild, now called SAGAFTRA, only began handing out the trophies known as “the Actors” to, well, actors in 1995; but its annual ceremony has become a crucial stop for any movie star gunning for an Oscar or any TV star in the running for an Emmy. And while the event is plenty glitzy, there’s also a charming camaraderie on display—the show opens with testimonials from attendees about their early acting experiences. (Angela Lansbury, who opened the inaugural evening, began this tradition.) Some trivia: At the 24th ceremony, Julia Louis-Dreyfus of “Veep” and “Seinfeld” earned her eighth and ninth statues, beating the previous record of eight held by both Alec Baldwin and Julianna Margulies. Edie Falco has the distinction of having received the most nominations ever, with 22. To prepare you for this awards season, Here are all the basics on the sensational SAG Awards.
Who votes on them? The actors, of course! These festivities are all about the performers, which is why winners usually thank their peers in their speeches. All SAG-AFTRA members who have paid their dues are allowed to cast ballots. How does the voting work? While everyone can vote for the winners, the nominating process is a little more exclusive. Nominating Committees for film and TV are randomly selected from among SAG-AFTRA members. The nominators change
every year; any actor who serves on a Nominating Committee must wait eight years before being on the same one again. When and where will the awards be held this year? The 27th annual SAG Awards will be held on March 14 in Los Angeles. Further details are still forthcoming. Who do the awards honor? Performers across film and TV. That means that SAG presents statuettes to actors in leading and supporting roles, but there are also awards for ensembles. That’s where eligibility can get a little tricky. To be on stage as a recipient of the prestigious award for outstanding performance by a cast in a motion picture, a performer must have been credited on a separate title card, leaving out those in memorable but smaller roles who share billing. (Those in the cast crawl get certificates instead of trophies.) To be considered part of the ensemble of a TV series, series regular contenders must appear in a predetermined episode minimum; guest stars must be in more than half of the episodes within the nominating period. Certificates
are doled out to those who have appeared in at least three episodes in the calendar year. SAG is also one of the few awards bodies that acknowledges the work of stunt performers, with awards for stunt ensembles in film and TV. Each year, SAG also names a Life Achievement Award recipient. How can I join the fun? Getting a SAG card is a rite of passage for any actor, so knowing how to join the union is crucial. The first step is getting hired. Then you can supply your paycheck stubs or the “original activity printout or report from the payroll company that states your name, social security number, the name of the production company, the title of the production, the salary paid in dollar amount, and the specific date(s) worked.” You can also apply for membership in SAG-AFTRA if you’ve been a member for a year in an affiliated organization, including Equity and Canada’s ACTRA, among others. For the full guide to all things SAG Awards, visit backstage.com/magazine.
Julia Louis-Dreyfus
When did the SAG Awards first take place? The Screen Actors Guild’s inaugural celebration took place in 1995, with trophies going to Tom Hanks for “Forrest Gump” and Jodie Foster for “Nell,” among others.
backstage.com
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01.07.21 BACKSTAGE
Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events
Submit a Notice |
New York Tristate Short Films ‘John and Cheryl’
• Casting “John and Cheryl,” a short film
which explores the question, “are some things better left in our dreams?” This short follows two occasional lovers over one night at a hotel. • Company: Ooof & the Walrus. Staff:
Indie Jansons and Samuel Morris, prods.; James Dylan, dir.
• Rehearses and shoots in late January in
New York City.
• Seeking—John: male, 40-60, all eth-
nicities, successful regarding finances and work, less so regarding his personal life. From the outside, John’s life appears enviable, but in reality, John is unfulfilled and lonely. Note: This role requires nudity. Cheryl: female, 40-60, all ethnicities, independent and rebellious, working as a prostitute. As she approaches middle age, she is realizing she’s unhappy with current life. Note: This role requires nudity. • Seeking submissions from NY. • Apply on Backstage.com. • In your cover letter, provide your
availability.
• Travel and meals provided. Pay
negotiable.
‘Pink Elephant’
• Casting “Pink Elephant,” a short film
about mystery, denial, and the pursuit of human knowledge. • Staff: Matthew Ericson, writer/dir.;
Nick Martin, prod.
• Shoots in late February or early March
in Woodstock, NY.
• Seeking—Mandy: female, 28-70, all
ethnicities, a stay-at-home wife caring for Robert, a friend to her husband Bruce. She is sympathetic to a fault; she often puts the care of others before herself. This leaves her open to exploitation and harm. After Robert’s condition dramatically worsens, she is torn between giving him the proper care and paying attention to own needs. Bruce: male, 28-70, all ethnicities, a struggling writer who is married to Mandy and friends with Robert.
BACKSTAGE 01.07.21
SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.” Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity.
Casting picks of the week
Bruce routinely denies responsibility for the tasks of his life and relies on Mandy to keep things moving. He expects her to care for the household and for Robert; his novel is on the way and can’t be slowed down by family drama. Robert: male, 28-70, all ethnicities, an overweight, mentally ill man without many friends or family. He is friends with Bruce and Mandy and lives in their house “temporarily” for his care. Due to his condition, he struggles to leave his room, consumed by depression and isolation. The film’s story after he attempts (but fails) to commit suicide. Physical weight preferred, but not required. Dr. Gibson: male, 28-70, all ethnicities, Mandy’s therapist. He uses a virtual call service to keep in touch with his remote patients. He senses that something in Mandy’s life is deeply wrong, but is unable to get through to her to help her understand her own failings. Note: This role will be virtually pre-recorded.
BY LISA HAMIL
musical
‘Million Dollar Quartet’ Make beautiful music in Roanoke, VA
podcasts
‘A Moment Of Your Time’ Contribute your story to this collaborative podcast
short film
www.imdb.com/name/nm8121704/This show will air on Samsung TV Plus, Sling TV, XUMO, Pluto TV, Distro TV, SKY TV and many other services around the world.” • Company: ESRevolution, Inc. Staff:
Wendy Wang, CEO.
• Shoots January 2021 in NYC. Note: You
will need to be available for one of the four days: Jan. 5, 7, 8, 11. If you win, you’d advance to semi-final and possibly final, which will be filmed on Jan. 12. All filming will be at our studio in Long Island City/Queens, NY. • Seeking—Contestant: female, 18-43. • Seeking submissions from NY. • Send submissions to wendy.wang@
realbighits.com.
• In your cover letter, note your availabil-
ity and which video games you play or follow. • Pays $64 stipend per day.
‘Pink Elephant’ Share your gifts in NYC
• Seeking submissions from NY. • Send submissions to mde271@nyu.edu. • For consideration, submit a video
short film
‘Masks’ Protect yourself in Los Angeles, CA for this COVID based story
Online Commercials & Promos
• Virtual and in-person auditions in NYC. • Pays $125/day. Food, lodging and trans-
commercials
Medication Delivery Company Video
audition with the sides provided. Candidates who pass the first round will be auditioned (safely) in person.
Medication Delivery Company Video Take your medicine in Hauppauge, Long Island, NY
portation provided.
Student Films ‘Daddy’s Night’
• Casting “Daddy’s Night,” a short hor-
ror-comedy film.
• Company: Columbia University. Staff:
William Pinke, Columbia MFA student, writer-dir.; Harrison Perkins, Columbia MFA Student, prod.
• Shooting in NYC mid- to late March. • Seeking—Daddy: male, 30-50, all eth-
nicities. Natalie: female, 25-35, all ethnicities. Betsy: female, 5-11, all ethnicities.
• Seeking submissions from NY. • Send submissions to wap2114@colum-
bia.edu.
• SAG-AFTRA Student Film Agreement.
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
Reality TV & Documentary ‘Battle For the Rose’
• Casting “eSports Times: Battle for the
Rose.” Project Description: This is a game show where girl gamers compete against each other in a series of video games, trivia questions, and mini-challenges for the opportunity to win the Host’s Heart. Production states: “Michael Bonini is also the host for our eSports Times series ‘Kills, Thrills & Chills,’ ‘Thanksgaming,’ ‘Holiday Smash,’ ‘Toast with the Most’ as well hit CBS drama ‘Bull’ and CNN’s ‘Pope.’ His credits can be seen here:
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• Casting an about us video for a pre-
scription drug delivery service. Note: There will be a main video and two shorter videos that are being aimed at different potential clients. These are non speaking roles. You will be provided a meal on the shoot day. We will supply some costume elements but you may be asked to supplement wardrobe with your own. • Company: PL Visuals. Staff: Adam
Forgione, dir.; John Braigno, DP; Bobby Shortle, prod. • Shoots TBD in Hauppauge, NY (Long
Island.).
• Seeking—Home Owner: female, 30-55,
all ethnicities. Pharmacist: female, 25-55, all ethnicities. Customer Care Rep: male, 25-55, all ethnicities. Physician: male, 30-60, White / European Descent. • Seeking submissions from NY. • Send submissions to bobby@pennyl-
aneprod.com.
• Note: “We prefer applicants who are
from or around the Long Island area and can get themselves to the shoot.” • Pays $300 flat rate. Travel can be
negotiated.
backstage.com
California casting
Film & TV Crew
Student Films
‘Double Horizon,’ Short Film
‘1037’
states: “My short film is a setting of Charles Baudelaire’s poem ‘Delphine et Hippolyte.’ It tells the story of Hippolyte’s lost innocence and regret for the past as she creates a new path in life. It will be filmed in a poetic fashion - stylistic references could be Persona, Tarkovsky. I also draw heavily from my love of Asian calligraphy and experience as a live performer.”
Heartbroken by the sudden death of her father, a woman’s world starts to change around her as the number 1037 keeps bringing her good luck. However, as she learns more about what or who is sending her these signs, she must decide if she wants to follow the life the number wants for her, or lead her own life.
• Casting “Double Horizon.” Creator
• Company: Joe Fee Music. Staff: Joe Fee,
dir.-music composer.
• Shoots end of February-mid March for
one day in.
• Seeking—Set Design: 18+, all ethnici-
ties, to decorate, control set design, and possibly costume (if interested) for a short film shoot; end of February or early March 2021; my short film is a setting of Charles Baudelaire’s poem Delphine et Hippolyte; it tells the story of Hippolyte’s lost innocence and regret for the past as she creates a new path in life; visual inspiration is drawn from various photographers and painters such as Edward Weston, Leonardo, and Gustave Moreau as well as my love of Asian calligraphy and philosophy. Cinematic references include Persona, Barry Lyndon, Tarkovsky, and Maya Deren; looking for someone who can bring an energy to the space.
• Seeking submissions from NY. • Send submissions to info@joe-fee.com. • For consideration, write a brief mes-
sage indicating why you are interested experience that you have that is relevant to this - especially if you have added experience or interest in costume. • To be discussed.
Southern California Short Films ‘Masks’
• Casting “Masks,” a short movie about
COVID-19 and how the virus is changing our perspective about what is dangerous. A philosophical discussion about what is right nowadays and what is wrong. • Company: AFI. Staff: Mikhail Makeev,
prod.
• Rehearses TBD half day via Zoom;
shoots Jan. 9 or 10 (one day).
• Seeking—A Man: male, 45-65, all eth-
nicities, shy, vulnerable, charismatic, middle aged man who recently lost his wife, while trying to figure out what is wrong and right coming to the conclusion that there is no right or wrong and everything is just blurred. • Seeking submissions from CA. • Send submissions to storozzhenko@
gmail.com.
• Copy, credit, meal, mileage reimburse-
ment provided.
backstage.com
only for it to backfire when he unexpectedly falls for the young woman. Note: This is a remote production, which means we will need the actors playing Nicholas and Brittany to live together. We will supply all equipment necessary for the production.
• Casting a student film. Synopsis:
• Company: USC School of Cinematic
Arts. Staff: Tynae Miller, dir.-writer; Joe Metcalf, prod.
• Shoots Jan. 30-31 and Feb. 6-7, 2021 in. • Seeking—Brittany: female, 20-29, all
ethnicities, a warm yet cheeky woman who loves the life she created for herself despite being in a wheelchair; a world traveler and an optimist at heart, but can’t seem to find the right guy; disabled actresses encouraged, but all are welcome to submit. Nicholas: male, 20-30, all ethnicities, an aspiring world traveler who took the traditional route in life - college, then office job - but feels like something is missing; he’s a good person at heart with a sometimesprickly exterior.
• Company: BugHasAGun Productions.
Staff: Nora Ghannam, dir.
• Shoots Feb. 25-Mar. 2 in Los Angeles,
CA.
• Seeking—Eleanor: female, 28-35, early
30s, a go-getter who needs to come into herself and spread her wings as an adult. Worked her way through law school and now works at a corporate law firm as an associate. Slightly competitive, indecisive, and kind hearted. She wants to be a lawyer to help other people, but she also wants to please the people she loves - especially her dad. Dealing with dad’s death puts her life/ priorities on hold. Best friends with Ryan. Ryan: male, 18-25, open to all ethnicities but preferably a red head. Loyal sidekick/confidant to Eleanor. He’s a summer intern at the law firm where Eleanor works at. Brutally honest, loyal, and a firecracker. He wants the best for Eleanor even if that means telling her what she doesn’t want to hear. He’s also learning that the corporate world isn’t all that it’s cracked up to be. Best friends with Eleanor and has an undying admiration for her. Derek Reid: male, 30-45, White / European Descent, fratguy meets trust-fund incarnate. Came from privilege and worked his way up as a partner at a corporate law firm. A typical “guys” guy, cocky, and somewhat abrasive. Wants to keep the corporate environment casual, although he knows the reality that law isn’t always exactly about justice, it’s about whoever your client is. Eleanor and Ryan’s boss. Jackson Myers: male, 14-18, a young teen trapped in the middle of a custody battle. Son of Moira Myers, independent, decisive, and knowledgeable. He wants to be liberated from his parents household and find his own walk of life. He represents everything Eleanor is lacking, and through their relationship, they help each other. Moira Myers: female, 35-50, a mother struggling to keep her family together. Mother of Jackson Myers. Determined, desperate, and teasing. She wants to keep Jackson on her side in order to preserve her family and hurt her ex-husband. She is somewhat deceiving and willing to do whatever it takes to keep Jackson.
• Seeking submissions from CA. • Apply on Backstage.com. • Audition sides attached. For consider-
ation, submit self tape with both actors’ slate and the performance by Jan. 6, 2021. • A copy of the film will be provided.
SAG-AFTRA Student Film Agreement.
‘Endure’
• Casting “Endure,” a student film about
a college student who is deep in the closet has to confront his sexual orientation after his roommate throws a party in his house. • Company: Chapman University. Staff:
Shirley Zhang, prod.
• Shoots (dates TBD) in L.A. • Seeking—Eric Murphy: male, 18-25,
White / European Descent, 20s, a Caucasian boy from Oklahoma. He’s the oldest boy in the Murphy house. He’s between 5’7”-6’0”. He comes from an extremely conservative and religious household. His dad, Captain Steven Murphy, is a Navy doctor and served in Afghanistan. Eric was raised in a strict military upbringing and was expected to be a manly man. When Captain Steven finds out Eric can’t play sports and can’t even grow facial hair, he puts all his hope into Eric’s younger brother, Ben. Eric is constantly bullied at school for being the “unicorn. “ He is gay, but he’s deep in the closet and is not ready to come out any time yet. When he graduated from high school, he chose the farthest college from home. Eric met his roommate Seth Remer at orientation week. They have become good friends since then. Eric keeps most things to himself. He frequents the school library and the local art house cinema in his spare time. He has a secret crush on Seth but tries everything in his power to pretend not to be true. Seth is an enigma, and he plays hot and cold on Eric. The fragmented impression on Seth makes Eric haunted by the imagination between him and Seth. Eric keeps the status quo until
• Seeking submissions from CA. • Send submissions to bughasagun@
gmail.com.
• For consideration, submit headshot,
resume and demo reel. • Meals provided.
‘Can We Meet?’
• Casting “Can We Meet?,” a USC stu-
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
dent film. Synopsis: After discovering his date is in a wheelchair, an aspiring world traveler arranges an escape plan
21
Seth brings his girlfriend home, which completely stirs up the chaos inside Eric’s mind. Eric is struggling between rationality and sentimentality. Note: Role requires nudity. Seth Remer: male, 18-25, a Caucasian boy from Long Island, New York. He’s between 5’8”6’1”. He comes from a family with generational wealth. His dad spends an average of 200 days a year on business trips around the world. His relationship with his dad is purely transactional. He grew up with an overprotective nanny and a mother would fulfill all his requests. Seth is the popular kid in high school. He’s the football team’s star quarterback, the prom king, and always has the coolest snickers and gears in school. He’s overly confident and takes pride in taking care of his good look. Seth rushed for Sigma Phi Epsilon the first week of freshman year and became the house president at the beginning of this year. He is known for throwing sick parties and pulling pranks. Seth keeps a friendly relationship with his roommate, Eric. He senses Eric’s feeling towards him, but he chooses to ignore it. After all, it’s not his first time. Deborah Stephens: 18-25, White / European Descent, a Caucasian girl from California. She’s between 5’4”5’6”. Deborah is in the same class as Eric. She has been observing Eric and making googly eyes at Eric since the start of the semester.Deborah and Jasmine have been friends since High School. She’s Jasmine’s loyal sidekick, even though they have different personalities. They are roommates and are in the same sorority house. She has been secretly jealous of Jasmine’s relationship with Seth and confides in Jasmine on a drunken night. Jasmine and Seth decide to throw a party to introduce Deborah to Eric in hopes of bringing them together. Deborah is always the follower, but for the first time in her life, she is going to take the initiative and be aggressive if she wants Eric in her life. Jasmine Scoble: female, 18-25, White / European Descent, a Caucasian girl from California. In high school, Jasmine was the cheerleading team captain and the prom queen. She’s one of the most popular girls at school and only dates the popular guys. She meets Seth at a frat party in her sophomore year and has been going strong for a year. After knowing Deborah’s secret crush on Eric, Jasmine and Seth decide to set up a double date to help Deborah break the ice. • Seeking submissions from CA. • Apply on Backstage.com. • Pays $150/day.
Online Commercials & Promos ‘Mighty Mug’ Video Commercial ft. Youth Talent
• Casting youth talent to play the role of
the son/daughter in an online commercial for Mighty Mug. The Mug prevents
01.07.21 BACKSTAGE
casting National/Regional spills by sticking to the surface it is on. The child will test this feature by carelessly interacting with the Mug in this video. Production states: “A parent should be on set. It will be filmed in a home setting with the house being a rented Peerspace location.”
monologue (up to 60 seconds) in landscape video format. Slate your name and piece at the top of your audition video. Video file size limit is 100 MB. Submit video audition online before 5 p.m. CST on Jan. 13, 2021. Mary Moody Northern Theatre/St. Edward’s University invites the submission of video auditions for our limited 2021 mainstage season Equity offerings. Due to COVID health and safety protocols, no auditions or interviews will be held in person at this time. Stay safe, everyone, and stay tuned for additional opportunities as circumstances allow. Auditions will be viewed only by those with casting authority and will be destroyed after review. Local Austin ETJ actors particularly encouraged to submit. Actors who have auditioned for MMNT in the last three years are still in the casting pool and not required to re-audition. Actors submitting in this round will be eligible for callbacks and casting for any future shows this season and for three additional years. Due to the training program design, guest artist are mentors to student actors and are cast in roles that students would not typically play, e.g., parents, grandparents, etc. Visit www.stedwards.edu/theatre for more information on MMNT.
• Company: Kyro Digital. Staff: J.
Hip, Dress; also add the full name of the applicant who is not on Backstage; mother and daughter should be isolated together; production will follow COVID-19 safety guidelines, including pre-production testing. Man Age 63+: male, 63-85, all ethnicities, to play the role of a senior husband; include your sizes in your submission cover letter/ message: Height, Waist x Inseam; all applicants must be comfortable working in close proximity to one other model on set; production will follow COVID-19 safety guidelines, including pre-production testing. Woman Age 63+: female, 63-85, all ethnicities, to play the role of a senior wife; include your sizes in your submission cover letter/message: Height, Bust/Cup-WaistHip, Dress; all applicants must be comfortable working in close proximity to one other model on set; production will follow COVID-19 safety guidelines, including pre-production testing. Real Husband and Wife: 63-85, all ethnicities, real husband and wife. Include your stats in your submission cover letter/message; wife: Height, Hair Color, Eye Color, Bust/Cup-Waist-Hip, Dress; husband: Height, Hair Color, Eye Color, Waist X Inseam; also add the full name of the applicant who is not on Backstage; husband and wife should be isolated together; production will follow COVID-19 safety guidelines, including pre-production testing.
• Shoots in Mission Viejo, CA. • Seeking—Doctor: male, 35-45, all eth-
d2models.com.
• Casting versatile Equity actors, singers
• Company: The H Hub. Staff: Simon Li,
chief of staff; Karl Cannone, head of video prod.
• Tentatively shoots either Jan. 10 or 12
(eight hour day) in the L.A. area.
• Seeking—Child Actor: all genders,
6-12, all ethnicities.
• Seeking submissions from CA. • Send submissions to simon@thehhub.
com.
• Note your availability for Jan. 10 and 12. • Pays $500-650 for a single 8-hour
shoot. Lunch is provided. On-set teacher will be there.
Print & Digital Modeling Hospital Wardrobe Modeling Shoot • Seeking models for a Hospital
Wardrobe modeling shoot. Models will be modeling new PPE attire in efforts to sell to hospitals. Sherman, photographer.
nicities, a middle aged, professional doctor. • Seeking submissions from CA. • Apply on Backstage.com. • For consideration, must include
headshots.
• Pays $75 for a two hour shoot.
Medical Device Shoot
• Casting men and women for print and
non-union video shoot for a medical equipment manufacturer. • Company: Confidential. Staff: D2
Models, agency dir.
• Shoots January 2021 (exact date to be
• Pays $612/wk. Equity URTA Agreement.
Weathervane Theatre 2021 Season, Equity Video Submissions
• Seeking submissions from CA. • Send submissions to castings2013@
and dancers for the Weathervane Theatre 2021 Season, the 56th Season of the Weathervane Theatre. This is a ten show Alternating Repertory Schedule. All Equity Actors will perform in three-seven productions. Length of contracts will vary based on package. We assemble a resident company of actors. Productions include: : “Hello Dolly!” (Ethan Paulini, dir. Marisa Kirby, choreo.), “Buyer And Cellar” (Nathaniel Claridad, dir.), “Kinky Boots” (Kevin Smith Kirkwood, dir.-choreo.), “Amadeus” (Ethan Paulini, dir.), “Disaster!”, “The Addams Family” (Taryn Herman, dir.-choreo.), “Pippin” (Ethan Paulini, dir.-choreo.), “The Mountaintop” (Shinnerrie Jackson, dir.), “Fully Committed,” and “She Loves Me.”
• Include your sizes and details (Men:
Height, Hair Color, Eye Color, Waist X Inseam. Women: Height, Hair Color, Eye Color, Bust/Cup-Waist-Hip, Dress.). • Media will be used for Internet website
and social media still photography and video in perpetuity (no time limit). No broadcast.
National/ Regional
determined) in Los Angele, CA.
• Seeking—Woman Age 42-60: female,
all ethnicities, to play the role of Mom to a daughter age 18-28; include your sizes in your submission cover letter/ message: Height, Bust/Cup-Waist-Hip, Dress; all applicants must be comfortable working in close proximity to one other model on set; production will follow COVID-19 safety guidelines, including pre-production testing. Woman Age 18-28: female, 18-28, all ethnicities, woman to play the role of daughter of a woman age 42-60; include your sizes in your submission cover letter/message: Height, Bust/Cup-WaistHip, Dress; all applicants must be comfortable working in close proximity to one other model on set; production will follow COVID-19 safety guidelines, including pre-production testing. Real Mom & Daughter: female, 18-60, all ethnicities, real Mom age 42-60 and daughter age 18-28; include sizes and specs for both applicants in your submission cover letter/message: Height, Hair Color, Eye Color, Bust/Cup-Waist-
BACKSTAGE 01.07.21
Plays
• Company: Weathervane Theatre
Mary Moody Northern Theatre 2021 Season, Equity Video Submissions
Players, Inc. Staff: Ethan Paulini, Producing artistic dir.; Robert Fowler, assoc. artistic dir.; Marisa Kirby, choreo.-company member.
• Casting Equity actors for the Mary
Moody Northern Theatre 2021 Season. Season includes “Maypearl” (World Premiere.Tlaloc Rivas, playwright-dir. Rehearsals begin Jan. 19, 2021; runs Feb. 19-28, 2021) and TBD.
• Rehearsals begin June 14; runs June
26-Oct. 10 in Whitefield, NH.
• Seeking—Equity Actors: all genders,
18+.
• Seeking submissions from NH. • Submit unlisted YouTube or Vimeo link
• Company: St. Edward’s University.
Staff: Robert Tolaro, interim artistic dir. “Maypearl”: Mayor Lester, late 50s - mid 60s male, a small town Texas mayor; other plays: none specified at this time.
to info@weathervanenh.org by 5 p.m. onJan. 31, 2021. Virtual Callbacks will take place via zoom Feb. 16-17, 2021. Submit three brief selections that demonstrate versatility and how you might see yourself fitting into the 2021 sea-
sion link, contact Michelle Polgar, Managing Director, at michellp@stedwards.edu. Submit one contemporary
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
• Season runs in Austin, TX. • Seeking—Equity Actors: 18+, for
• Seeking submissions from TX. • Registration requested. For a submis-
22
son. While a monologue is not required, it is highly recommended. • Pay TBD (minimum pending - $505/
week in 2019.) Equity LOA ref. LORT Agreement.
Musicals ‘Million Dollar Quartet,’ Equity Video Submissions
• Casting Equity actors for “Million Dollar
Quartet.”
• Company: Mill Mountain Theatre. Staff:
Colin Escott and Floyd Mutrux, book; Ginger Poole, prod. artistic dir.; Payton Moledor, asst. artistic dir.; Seth Davis, resident music dir. • Rehearses July 13-27, 2021; runs Wed.-
Sun. with two shows on Sat. from July 28-Aug. 22, 2021 in Roanoke, VA.
• Seeking—Carl Perkins: male, 20-29,
singer/lead guitarist; must be able to accompany themselves on guitar extremely well and be familiar with Carl Perkins’ music; should look and sound like Carl Perkins in his 20s; vocal range: D3-C6. Johnny Cash: male, 20-29, singer/guitarist; must be able to accompany themselves extremely well on guitar and be familiar with Johnny Cash’s music; should look and sound like Johnny Cash in his 20s; vocal range: D3-G#5. Jerry Lee Lewis: male, 20-29, singer/pianist; must be fun, energetic, and able to accompany themselves extremely well on the piano; should be familiar with Jerry Lee Lewis’ music; should look and sound like Jerry Lee Lewis in his 20s; vocal range: D4-C6. Elvis Presley: male, 20-29, singer/musician; must be able to play basic guitar and look/sound like Elvis in his 20s; vocal range: A3-C6. Jay Perkins: male, 20-29, bass player/singer, Carl Perkins’ brother; must be an extremely accomplishedbass player comfortable singing with others. W.S. “Fluke” Holland: male, 18+, drummer who plays onstage with the cast; must be an accomplished drummer with a good stage presence. Sam Phillips: male, 30-39, the founder of Sun Records and “Father of Rock ‘n’ Roll”; a charismaticactor with a strong stage presence. Dyanne: female, 25-29, accomplished vocalist, Elvis’ girlfriend; should be comfortable singing solos in an alto range and covering all soprano parts in group numbers; seductive and confident; vocal range: A3-D5. • Seeking submissions from VA. • Prepare and submit video audition as
follows: Perkins/Lewis/Presley/Cash: one minute self-accompanied on piano or guitar and instrumental reel. Dyanne: one-minute song and one-minute monologue. Jay/Fluke: one-minute instrumental demonstration and instrumental reel. Sam: one-minute monologue. Submissions deadline is Feb. 1, 2021. Submit to auditions@millmountain.org or Ginger Poole, Mill Mountain Theatre, 1 Market Square SE, Roanoake, VA 24011. • Pays $546/wk. (Tier 7.) Equity SPT
Agreement.
backstage.com
National/Regional casting
Short Films ‘The Birth’
• Casting “Birth,” an SVA thesis film that
is about Alzheimer’s disease patients under the Covid-19. • Company: The School of Visual Arts.
Staff: Xupeng Feng, dir.
• Rehearsals and shoot begin Mar. 1 in NY
and NJ.
• Seeking—Annie: female, 55+, Ethnically
Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent, an old lady fight against Alzheimer’s; check the PDF attachment. Julia: female, 17-40, the nurse who takes care of Annie; check the PDF attachment. Carlos: male, 18-40, son; check the PDF attachment. Little Annie: female, 0-14, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent. 26 Year Old Annie: female, 16-35, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, White / European Descent. Middle Aged Woman A: female, 30-45. Middle Aged Woman B: female, 30-45. • Seeking submissions nationwide. • Send submissions to xupeng.feng@
nyfa.edu. Auditions Jan. 31-Feb. 5, 2021. • Pays according to pro /union rules. No
participation fee required. Travel and meals provided;.COVID compliance officer on board. Sign up contracts with producers.
Student Films ‘Confine’
• Casting a family of actors for “Confine,”
a USC Junior Thesis film. Family must live together due to USC’s COVID protocols. Synopsis: During a family reunion dinner, Dave, who’s a recovering addict, finds drug paraphernalia in his house bathroom. • Company: University of Southern
California, School of Cinematic Arts. Staff: Zehua Yang, dir.; Madu, prod.; Ricardo Herrera, editor.
• Shoots Jan. 30-31 and Feb. 6-7 (sched-
ule to be confirmed in early January). Note: Everything will be conducted virtually.
• Seeking—Father-Dave: male, 35-60, all
ethnicities, a recovering addict, who just finished his decade-long sentence; comes home to rejoin the family he was barely a part of. Child-Sam: all genders, 18-25, all ethnicities, a fiercely independent college senior, who has a soft spot for their mom; has to deal with a father that they never expected or wanted to meet. Mother-Jane: female, 35-50, all ethnicities, a once single mother tries to keep up appearances for her husband and reconnect the distant relationship between her husband and her son. • Seeking submissions nationwide. • Send submissions to zehuayan@usc.
edu.
• Shoots virtually at talent’s home; no
crew. Filmmaking will be coordinated by actors. Auditions will be held Jan. 8-10, 2021. • Food will be provided.
backstage.com
YouTube Channel, Mime/ Jester
Reality TV & Documentary
• Seeking a spokesperson to serve as
brand ambassador for the REW and REW Plus YouTube Channel. Company states: “The main responsibilities is to serve as an end screen spokesperson and shoot promotional videos for our page. You will be credited on IMDb and will receive a copy for your reels, as it is an unpaid gig for the moment. Jacqueline D. Box will serve as the brand ambassador for the YouTube channel.”
HGTV Casting, St. Louis, MO • Casting couples in St. Louis city and
county who have just closed on their dream home...that needs some work. Note: Planning on opening up the kitchen and getting rid of that shag carpet? Knocking down some walls and replacing those outdated fixtures? Must have existing budget starting at $50,000 to renovate several rooms.
• Company: Yard Lion REW. Staff: Yarnel
Nicolas, writer-dir.
• Company: Squeaky Wheel Casting. Staff:
• Talent will self-tape. Production is
Squeaky Wheel Casting, casting dir.
based in Fort Lauderdale, FL. Production commences on a first come, first served basis.
• Shoots February-April in St. Louis, MO. • Seeking—Real New Homeowners: 18+. • Seeking submissions from MO. • Send submissions to hello@squeaky-
• Seeking—Eny Matix: female, 25-44,
Asian, Ethnically Ambiguous / Multiracial, South Asian / Indian, Southeast Asian / Pacific Islander, the newest member of REW. Originally from NYC, she’s one of the few mimes that breaks the rules. She’s soft spoken, mysterious but also playful.
wheelcasting.com.
• For consideration, fill out our applica-
tion at www.squeakywheelcasting.com/ reno-show. • No pay.
• Seeking submissions nationwide. • Apply on Backstage.com. • Talent will be provided with IMDb credit
Online Commercials & Promos
and digital copy.
Comedians & Improv
Influencer Ad
• Casting for our influencer ad. Company
states: “We mail you our portable blender to your house, and you take videos with your phone, following our script. We’re looking for enthusiastic people, all genders/races encouraged to apply. We’re mostly looking for people ages 25 and above.”
‘Dark Side Tales Improv’
• Casting “Dark Side Tales,” an online-
Zoom interactive improv production, incorporating horror themed storytelling competitions. Note: Performance approximately two hour commitment.
• Company: BlendJet. Staff: John Tierney,
• Company: Dark Side Tales Production.
videographer.
Staff: Brian Leslie, exec. prod.
• Located wherever you live. • Seeking—Influencer: 25+, all
• Runs Feb. 6, 2021 for two hours on
ethnicities.
Zoom, remote production. Note: Able to work from home.
yourself, ideally in a commercial-context.
all ethnicities, must have strong improv skills; to playTV Anchor on-line Zoom performance lasting about two hour performance with other actors.
• Seeking submissions nationwide. • Send submissions to jt@blendjet.com. • For consideration, submit a video of
• Seeking—TV Journalist: female, 20-25,
• Pays a flat fee of $100. If your video per-
• Seeking submissions nationwide. • In your audition we will provide you with
forms well on social media, you could be contacted for continuing work.
Makeup Commercial
• Casting women and men for makeup
commercials. Note: Some are work from home, and some are in studio. prod.
• Location is work from home or studio,
depending on the shoot. Dates are weekdays, TBD and flexible.
• Seeking—Women: female, 18-45, all
ethnicities, attractive women, to demonstrate makeup application and discuss it as they do it.
buyout.
Curtis, prod.
• Ongoing podcast with no deadline;
remote/work from home.
• Seeking—Personal Story Contributor:
18+, with a personal story to tell for an audio-only podcast; each episode features a quick piece celebrating individualism and solidarity; pieces must be original and under six minutes in length. Musician/Songwriter Contributor: 18+, with a song to share on an audio-only podcast; each episode features a quick piece celebrating individualism and solidarity; pieces must be original and under six minutes in length. Poetry/ Creative Writing Contributor: 18+, with a poem or other piece of creative writing to share on an audio-only podcast; each episode features a quick piece celebrating individualism and solidarity; pieces must be original and under six minutes in length. Young Contributor: 10-17, for an audio-only podcast; each episode features a quick piece celebrating individualism and solidarity; piece can be a personal story, a song, a piece of creative writing--any way you would like to share a bit of yourself with a creative community; pieces must be original and under six minutes in length. • Seeking submissions worldwide. • Send submissions to amomentofyour-
timepodcast@gmail.com.
• For consideration, create a piece (under
six minutes in length), record it, and submit.
• No pay, no fees. IMDb credit provided.
• Company: Spiral Opus. Staff: Roy
• Casting “A Moment of Your Time,” a col-
laborative podcast featuring submitted pieces by contributors. Available on all
23
• Company: CurtCo Media. Staff: Jenny
two hour commitment. Talent will perform from home. Must have access to a quiet room, decent computer, Zoom account, decent camera, and audio. No travel or other expenses required.
‘A Moment of Your Time’ Podcast
VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices
orientations, belief systems, and experience levels are welcome and encouraged to submit. We are a community that celebrates individualism and artistry. Your piece can be a personal story, song, statement, poem, letter, lesson, creative work--whatever you would like to share in your moment of time. This is an outlet for you to share a big of your heart with a creative community.”
Drama Podcast
Audiobooks & Podcasts
• Seeking submissions nationwide. • Apply on Backstage.com. • Pays $250 for non-union, all media
• Production states: “All ages, cultures,
two photos unrelated and you will have to improv a story approx. two minutes on each. The issue will be that you will not see the second photo until the first two minutes is up. • Professional Pay: $110 flat rate for the
• Staff: E. Kennedy, supervising casting
podcasting platforms, the show releases daily episodes comprised of approximately two-to-five(ish) minute original pieces of creative expression with the underlying theme of solidarity and hope.
• Casting an African American voice
actress, age early to mid 30’s for a dramatic podcast - surrealistic science fiction drama. This is a character acting part - not announcing. Burdine, voice dir.
• Records as soon as casting is complete. • Seeking—Michelle: female, 30-36,
Black / African Descent, early to mid 30’s - struggling actress, runs a webcam on the side, and has been targeted by otherworldly invaders in an existential attack. • Seeking submissions nationwide. • Send submissions to spiralopus@gmail.
com.
• For consideration, actor must have pro-
fessional recording equipment set up (laptop, garage band, professional mic, for example) since recording must be done remotely. • Pays $100 flat rate (36 lines).
01.07.21 BACKSTAGE
Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover
Q:
Would it be OK if I wrote my own scenes for a video reel?
—@tyrell.a.rowan Yes, but here are a few basics about writing scenes specifically for your reel that you should keep in mind.
Our Expert
what you’re selling, how can you know how to sell it? Do your homework: Take a branding class, work with a coach, ask friends for adjectives to describe how they see you or what films or TV shows they see you on, get feedback on the roles they think you could play—whatever it takes. BE SUCCINCT. Casting directors and reps are short on time and can get what you’re selling pretty
quickly if you’ve done the above branding work. If you’re writing a scene that focuses on you without the turnaround to the other person, which we call “minilogues,” keep it around 30 seconds. Anything longer is awkward and starts to feel less and less like it’s from a real project. A scene with you and a scene partner should be no longer than a minute. DON’T WORRY ABOUT A BEGINNING, MIDDLE, AND END. Write a compelling moment in your character’s story, but don’t feel obligated to tell the whole story. This way, the scene will feel like it’s a clip from a larger project, and the dialogue won’t be heavy on exposition. That said, specifics will lend more authenticity to the scene; you just don’t have to unravel everything for the sake of the viewer. They understand that this is just a clip. AVOID WRITING A BIG EMOTIONAL OR ANGRY SCENE. This isn’t to say you can’t have an emotional
scene on your reel. But if you have control over how it all goes, a more subtle performance tends to be more effective. Watching you try not to cry is usually more interesting than watching you sob, especially when you have a very short time to show casting what you can do. When your character holds back their tears like people do in real life, you’re allowing us, the viewers, to feel what you’re feeling. *Submit questions for our Experts on Backstage’s Facebook or Twitter accounts or via our forums page at backstage.com/forums! The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.
BACKSTAGE 01.07.21
24
backstage.com
ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; PUTIGNANO: COURTESY RETTA PUTIGNANO
Retta Putignano is the co-creator, head writer, and manager of client services at Create Your Reel.
KNOW YOUR CASTING. First and foremost, it’s imperative to know your brand. If you don’t know
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