| Auditioning potential cast members is your first | | | | them. But they can afford you a little bit of |
| chance to see the director/actor relationship at | | | | privacy, and these expenses, if used exclusively |
| work. Even if you plan to cast your friends or | | | | for your film, are tax-deductible if you keep all |
| family, be sure to audition them first. This will help | | | | your receipts. |
| establish a new kind of relationship and let them | | | | If your local community has a theater newsletter |
| know that you're treating your film as a | | | | or an actors' hotline, definitely place your ad there. |
| professional endeavor (and encourage them to do | | | | Some local newspapers also have classified |
| the same). Some directors choose not to audition | | | | sections specifically for actors and musicians; if |
| actors but rather simply meet with them to | | | | yours doesn't, you could place an ad in the "help |
| discuss the project. This works best if the actor | | | | wanted" section knowing that you may get a lot |
| is well known, with several films in release so that | | | | of calls. You could also post an ad on the bulletin |
| the director already has a general sense of how | | | | boards at local college theater departments or |
| the actor looks and acts on camera. | | | | community theaters. |
| There are two types of auditions: open calls | | | | When posting fliers on bulletin boards, make the |
| (sometimes called cattle calls) and scheduled | | | | bottom edge of the flier a series of small tabs |
| appointments (which more experienced actors | | | | that can be torn off, each with a reminder of the |
| usually prefer). An open call is when you advertise | | | | ad's content, such as "actor wanted," and the |
| hours that potential actors can drop in and audition | | | | phone number or address to contact you. This will |
| on the spot. Scheduled auditions are when you | | | | help keep interested people from taking the entire |
| ask actors to contact you beforehand and | | | | flier or not contacting you because they didn't |
| schedule a specific appointment time. | | | | have a pen and paper to write down your info. |
| Getting the Word Out | | | | You'll need to decide whether this first call should |
| Before you can hold an audition, you need to | | | | be just for resumes and headshots or whether |
| have some idea of what you're looking for. This | | | | you want to go ahead and schedule the actors |
| involves another kind of script breakdown, this | | | | for an audition time or whether you want to |
| time by character. You'll want to prepare a brief | | | | create an open call for drop-ins. If you just want |
| description of each character you plan to cast, | | | | the actors' resumes, you should only include a |
| certainly anyone who has a major speaking role. | | | | mailing address in your ad; if you want to go |
| This shouldn't be more than a paragraph or two, | | | | ahead and start seeing people in person, you'll |
| a brief summary of the character's key physical | | | | want to include your phone number and ask them |
| or psychological traits. | | | | to bring a headshot with them to the audition. |
| Once you have basic descriptions for each of | | | | Before you can actually schedule appointments |
| your characters, you'll then want to distill these | | | | with your actors, you need to figure out where |
| down to one- or two-sentence summaries of | | | | to hold the auditions. The ideal audition space will |
| their visible demographic information: gender, race, | | | | provide access to restrooms, a small check-in or |
| ethnicity, age, general look. You might also include | | | | reception area where actors can wait if they get |
| an adjective or two regarding their visible | | | | there early, and a separate room where the |
| demeanor. This is the information you'll use to | | | | actual audition takes place. Your home is an |
| advertise what types of actors should audition. | | | | inappropriate and unprofessional location for |
| Because ads cost by the word, the goal is to be | | | | auditions. If you have set up a production office |
| succinct but clear enough so that you are only | | | | outside your home, and it's big enough, that might |
| looking at people you'd consider casting. Besides a | | | | be okay. Otherwise, you'll need to rent or borrow |
| brief character type, include the logline in order to | | | | a room for the auditions. Many local municipal |
| give prospective actors a sense of what the film | | | | buildings and libraries will rent meeting rooms for a |
| is about. Also let them know if there will be pay | | | | nominal fee, as will some high schools, colleges, |
| or if you're expecting them to work for free. Be | | | | and churches. Even community theaters might |
| sure to include your contact information. | | | | have a stage or meeting room they'll rent. |
| TIP: To keep everything more organized and | | | | Never hesitate to see if you can bargain the price |
| separate from their personal lives, filmmakers will | | | | lower or exchange free use of the room for a |
| often buy cell phone services, create a separate | | | | credit in your film. The worst they can do is say |
| e-mail address, set up a website, or rent a postal | | | | no. Any rental fee you do have to pay should be |
| mailbox just for the production. All of these cost | | | | included in your budget as an expense of the film. |
| money, however, so you have to budget for | | | | |