What I Look for in an Actress or Actor when Hiring

It's been my experience that actors are some of the best liars on Earth. Good actors are able to jump into character and project another life to others with convincing dialogue.

Auditions

Once I post an advertisement looking to take on some actors for a film project, I weed out the hacks by telephone and set audition appointments for others. I always squeeze in a few extra actors, because inevitably some people do not show up, whether out of fear of being denied a role or because of other last minute commitments.

During auditions headshots are collected and provided to me by a production assistant (PA). My cameraman is behind me ready to roll. First off, I lighten the mood and joke or speak with the actor for a minute or two to ease the tension. The cameraman and I then use code words regarding whether we want to film a particular actor or not. If I say, "Roll it," he does not film. On the other hand, if I say, "Let's do this," he rolls tape.

With the headshot and the actor's experience placed before me, I have the actor/actress perform their monologue. Once we roll tape, we allow the actor to complete their respective monologue, whether great, mediocre or horrific. Some are comical, some are sloppy, some are drunken rants, and others are professional. I make notes to refer back to each actor.

You'd be surprised what occurs during auditions. Crying, sucking up to the producers with provocative sexual gestures, and drunken wannabes are all part of the process. These people are almost always immediately eliminated. I just say, "I'll let you know" and leave it at that. Some do get a second chance to do another monologue or ad lib something.

Typically we do two days of initial auditions. I narrow the actors down and the possible roles I have in mind for each of them. Once this process is complete, we do call backs the following weekend. However, sometimes I immediately know if an actor or actress will be a part of the film and schedule them in advance for the following weekend's auditions.

Call backs

I call actors and actresses back and set up a second audition. We roll tape on all of the call backs. I provide the actors with the script they will read for me and the producers in advance.

Once at the second audition, I have the actors read from the script, with a PA, producer or myself reading the lines of another actor. It is here that I am looking for several things.

I look for great timing, authenticity, style, facial expressions and gestures, and whether the actor/actress knows the script. I don't want a parrot who memorizes the lines, but rather a person who knows the story. There's a huge difference.

I do not tolerate tardiness. An actor gets one chance and is warned. If they are late a second time, they are fired. This is an important process in filmmaking. If a person is late to an audition, call back or table read, they will likely be late for filming, which is unacceptable. Tardiness causes scheduling problems, and may delay the film if shooting outdoors and I am losing light.

At any rate, a keen observer of film and TV shows can spot an actor who has memorized their lines. They come across as totally fake. I see a lot of this in Asian films and TV dramas, and amateur US films, too.

Once I have selected an actor for a specific role, I may change their role based on their reading. We wrap the auditions up in four days total (two weekends), and then we set up our next step.

Table reading

A table read is a lighthearted but an important affair. Here I bring in critical parts of the crew, and of course all the actors. Each person has the full script, whether it is a short or feature film.

After introductions, we take a break for beverages and snacks and allow actors to mingle. No energy drinks or alcohol are allowed, as they are known to be disastrous. After about 10-15 minutes, I then ask the actors to go over their part in the script and know the story. In this manner, they are able to stick to the story and ad lib a bit. This makes the lines more realistic.

Once the actors and actresses have had their time to go over the script again (they are expected to have done this prior to the table read), we all sit at the table again. I do not film this. We read through the entire script, with each actor speaking their part. If it is a feature script, we do one read through, two or three read throughs on a short film. I may do a couple of table reads or rehearsals for a feature film.

Once corrections and tips are provided I may change the script if something works really well. Sometimes I notice that an actor or actress is not fit for the role, and assign them another bit part. I have back up actors on call and bring one or more in as needed.

Once everything is complete, I am ready to film. It is here that the actors sign their contracts. There is one important rule while on set that I make perfectly clear, the three D's. Absolutely no drinking drugs or drama is allowed on set. Violators are fired and replaced immediately. An unruly film set is capable of demotivating actors and crew, whereas a harmonious set breeds greatness.

And that is how I do it!