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Full Product Details

Author:   Hester Schell
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Edition:   2nd edition
Dimensions:   Width: 15.20cm , Height: 1.50cm , Length: 22.90cm
Weight:   0.326kg
ISBN:  

9781138945340

ISBN 10:   113894534
Pages:   194
Publication Date:   07 September 2016
Audience:   College/higher education ,  Tertiary & Higher Education ,  Undergraduate
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

"CHAPTER ONE: SAVE MONEY — DO IT YOURSELF: DIY INDEPENDENT FILM AND MARKET SHARE HOW THIS BOOK WILL SAVE YOU MONEY Do It Yourself Collaborate Or Die Anyone Can Make A Movie Yes, But Is It Worth Watching? Why So Many Films Don’t Make The Film Festivals Raise Your Standards All About Editing Inexperience Costs More Money The Best Actors Are The Right Actors TECHNOLOGY HAS CHANGES EVERYTHING Prescreening Footage The Headshot Submission Process Has Gone Green SAVING MONEY RECAP CHAPTER TWO: YOUR DIRECTING CAREER BETTER CASTING IMPACTS YOUR LONG-RANGE CAREERGOALS Shorts Are Your Stepping Stone WHERE TO CONNECT WITH ACTORS BREAKINGBARRIERS: HOW TO TALK TO ACTORS Blame the Media CHAPTER THREE: AN OVERVIEW OF THE CASTING PROCESS WHY DIY: Do It Yourself CASTING DEFINED Principal Background WHAT ARE YOU CASTING Professional Language Preliminary Considerations Families And Lovers CASTING IS Principal, Background Casting TYPES OF AUDITIONS Open Calls Appointments: Script Readings, Cold Readings And Improvisation Callbacks CASTING STANDARDS Keeping It Professional And Confidential Never Settle Actor Are Looking For You As Well Agents Are Looking For Projects For Their Clients Los Angeles And New York: United States Casting Centers CASTING IS NOT A Party About Your Ego: Get Over Yourself TO UNION OR NOT Thoroughly Evaluate Your Decision One Member Makes A Union Shoot Experience Gets More Done The Less Experience The Longer Your Day Questions For Discussion WHEN TO START What Do Actors Look For When They Read Your Audition Announcement Plan Ahead To Stay Ahead WHAT YOU NEED TO START You Need A Script You Need ""Sides"" Know The Window Of Time You Plan To Shoot You’re Going To Need A Place To Hold Your Auditions You Need Your SAG Paperwork Done Reality Check CHAPTER FOUR: INDUSTRY STANDARDS ACTOR MARKETING MATERIALS Cover Letter Headshots What Makes A Good Headshot? Headshot Samples Resumes Reels Video Submissions Warning Signs Of The Less Experienced WHY LOOK FOR THESE STANDARDS? CHAPTER FIVE: ACTING — WHAT IS IT? Acting Defined The Actor’s Toolbox Approaches To Craft SCRIPT ANALYSIS: If It Ain’t On The Page, It Ain’t On The Stage Given Circumstances The Moment Before What’s My Motivation? GO FURTHER: Who do you like? GO FURTHER: Character types GO FURTHER: Character type attributes ACTING 101 FOR DIRECTORS How You Feel Is A Result Of What You Do The Magic Verb Understanding The Craft: Where To Go For Help CHAPTER SIX: TIMELINES — WHEN TO START AND WHAT TO DO BEFORE JUMPING IN ANNOUNCEMENTS, AUDITIONS, CALLBACKS AND CONTRACTS WHERE TO HOLD AUDITIONS Keeping it Professional: 1st Impressions Count THE CASTING TIMELINE EXPLAINED – SCHEDULES: WORKING BACKWARDS Two Weeks From First Shoot Date: Rehearsals One Month From First Shoot Date: Contracts Six Weeks From First Shoot Date: Callbacks Two Months From First Shoot Date: Auditions Ten Weeks From First Shoot Date: Distributing Audition Information. Three Months From First Shoot Date: Preproduction Breakdown The Producer Is There To Help You Union Preparation Recap CHAPTER SEVEN: THE CASTING BREAKDOWN — SPREADING THE WORD BREAKDOWN ELEMENTS SAMPLE BREAKDOWNS BREAKDOWN DISTRIBUTION National Local Or Regional Social Networking Flyers: Other Places To Put Your Breakdown Press Releases Physical Geography International And Regional Web Site Distribution CONTACTING AGENTS Who Represents Whom CHAPTER EIGHT: STAYING ORGANIZED WORKFLOW Who Follows Instructions Turn On Your ""Flake Radar"" MANAGING FILES Confirming Auditions Sample Initial Contact 1: SET APPOINTMENT Sample Initial Contact 2: SELF (VIDEO) SUBMISSION HANDLING REJECTIONS OTHER FILES Creating Script Sides From Your Screenplay Sign-In Sheets MASTER SPREADSHEET CHAPTER NINE: THE FIRST ROUND — WHAT YOU NEED AND WHERE YOU NEED IT PREPARATIONSANDPROCEDURES Provide Scripts In Advance Make A Schedule Setting Up Allow Enough Time For Each Actor Information Form Keep Secrets HOW MANYACTORS DO I SEE FOR EACH ROLE? WHO DO I CAST FIRST? Cast Your Leading Actors First Supporting Actors Background Extras INSIDE THE SESSION Controlling The Room Casting Sessions Are Job Interviews Casting Sessions Are Private Memorized Sides Using A Reader Recording The Casting Session Adjustments And Direction When You Have Something To Say MORE BASIC DO’S AND DON’TS Do Expect Actors To Be Prepared And On Time Do Expect Actors To Arrive With A Headshot And Resume Nudity, Scars And Tattoos Don’t Ask Actors To Sign A Release Form For Audition Footage Keep Track Keep An Open Mind To All Potential And Opportunity Ending The Session Sorting The Session: Do You Need More Options? CHAPTER TEN: THE SECOND ROUND — CALLBACKS CONFIRMING YOUR CHOICES CALL BACK FOR SURE CALL BACK MAYBE NOT GETTING A CALLBACK CALL BACK PROCEDURES Set Call Back Appointments Test Your Communication And Directing Approach Put On Your ""Poker Face."" Sleep On Your Decisions CHAPTER ELEVEN: OFFERS AND CONTRACTS THE OFFER AND THE ART OF NEGOTIATION UNPAID PROJECTS PAID PROJECTS (Union or Not) CONTRACT: Get it in Writing UNION CONTRACTS LOCAL HIRES ONLY STATE PRODUCTION INCENTIVES A Word from the SAG-AFTRA Office CHAPTER TWELVE: DON’T TAKE MY WORD FOR IT — FRIENDS CHIME IN FAST, CHEAP, GOOD—PICK TWO. A LITTLE HELP FROM OUR FRIENDS Actors Do A Shout Out Directors Do A Shout Out CHAPTER THIRTEEN: CASTING DIRECTORS — DO YOU NEED ONE? The Job Defined: Potential Meets Opportunity Types Of Casting Directors The Interview And Checking Credentials. Job Tasks And Responsibilities: What Will They Do For You? When In Doubt: Hire A Professional What’s It Going To Cost? Other Resources CHAPTER FOURTEEN: SO YOU WANT TO BE A CASTING DIRECTOR LOVING ACTORS OUTREACH AND MARKETING Industry Connections Getting Started INTERVIEWS Michael Druck, Austin, Texas Ken Lazer, New York City, New York Sarah Kliban, San Francisco, California GLOSSARY OF COMMON FILM TERMS THE PARTS OF SPEECH: Just For Fun VERBS NOUNS COMPOUNDWORDS FINANCIAL TERMS COMMON PHRASES WEB RESOURCES NOTES, BIBLIOGRAPHY AND RESOURCES RECOMMENDED READING SAMPLE COURSE OUTLINE / SYLLABUS INDEX ABOUT THE AUTHOR FAN MAIL"

Reviews

I wish I had Hester's book when I first started in Hollywood. It would have saved me a lot of heartache because it spells-out in clear and concise language the necessary tools for successful casting every filmmaker needs to know. Reading this book reminded me of how much the Academy needs to award an Oscar(R) for casting directors. Because casting is an art form, and Hester's book is the best I've read on demystifying the process. - Jon James Miller, producer, Pooka Productions/Gravity-Squared Entertainment While nothing can replace the benefits of hiring an experienced casting director, this book has some great insights for beginning filmmakers. - Lana Veenker CSA & Eryn Goodman CSA, Cast Iron Studios: Wild, NBC/Grimm, Twilight Hester, I have to compliment you on taking on this mystery of a job and making it so enjoyably clear as to what we do as a process and how we take young people who are interested in filmmaking - who don't understand the first thing about how the casting process is done - making it enjoyable to read and very informative of how this works and how they can use their time and their effort and money to the best of their ability... to get good talent. - Carolyn Pickman, CP Casting, Boston: Mystic Pizza, Black Mass, Straight Outta Compton, Gone Baby Gone

Author Information

Hester Schell is a recovering academic, award-winning director, master acting teacher and author. Hester has been either in front of the camera or part of a crew, on stage or directing for over 45 years. The first feature she acted in, shot in Portland, Oregon, won an Oscar™. Hester took a side-trip into academia, graduating highest honors with a Master of Fine Arts in directing and landing a tenured position teaching theatre and film at a California college. She has a column at SCRIPTMAG.com and her articles have appeared in CineSource, Movie Maker Magazine and Coastviews Magazine. Schell is a contributing writer to Sherry Ellis and Laurie Lamson’s NOW WRITE: Writing Exercises from Top Writers and Teachers, 2010, Tarcher/Penguin, and HOW TO BE A WORKING ACTOR, 5th Edition, 2010, Watson/Guptill Publication. She’s a member of the Screen Actors Guild/American Federation of Television and Radio Artists, and the Harvard Square Screen Writers. Speaking engagements include London’s British Film Institute, Burbank’s The Writer’s Store, Drama Books in New York, Connecticut Screenwriters Association, and the San Francisco Black-American Film Festival. For more information, find Hester Schell at IMDb.com, the Internet Movie Database, or hesterschellcreative.com. Hester is available for workshops and seminars on a variety of topics, and is interested in hearing from producers and writers with comedies. She is finishing a novel and working on several scripts with roles for middle aged and senior women.

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