{"product_id":"casting-revealed-9781138945340","title":"Casting Revealed","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCasting is an essential component of any film or video project, but the core skill-set needed to cast effectively is little understood. \u003cem\u003eCasting Revealed: A Guide for Film Directors\u003c\/em\u003e is a straightforward manual on the art and craft of casting. Here, director Hester Schell offers her insider perspective on casting workflows, industry standards, finding actors, running auditions, what to look for in a performance, contracts, and making offers. This new edition has been updated with fresh interviews with casting directors, full color head shots, new information about online video submissions, and a companion website featuring forms, contracts, and sample scenes for auditions.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eGain a fuller understanding of the misunderstood art and craft of casting actors for film and video production.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLearn to find the right actors for any production, run auditions, interview actors, effectively judge performances and video submissions, evaluate suitability for a role\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003e\"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® for casting directors. Because casting is an art form, and Hester’s book is the best I’ve read on demystifying the process.\"\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e—Jon James Miller, producer, Pooka Productions\/Gravity-Squared Entertainment\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"While nothing can replace the benefits of hiring an experienced casting director, this book has some great insights for beginning filmmakers.\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—Lana Veenker CSA \u0026amp; Eryn Goodman CSA, Cast Iron Studios: \u003ci\u003eWild, \u003c\/i\u003eNBC\/\u003ci\u003eGrimm, Twilight\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"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.\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—Carolyn Pickman, CP Casting, Boston: \u003cem\u003eMystic Pizza\u003c\/em\u003e, \u003cem\u003eBlack Mass\u003c\/em\u003e, \u003cem\u003eStraight Outta Compton\u003c\/em\u003e, \u003cem\u003eGone Baby Gone\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"Expect an informative lesson on the rules of the game, with strict outlines from every phase of production. Whip out your pens and highlighters and start jotting down notes, because this will surely be on the desks of up-and-coming writers, actors and directors for years to come.\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—Kyle Rupprecht, MovieMaker Magazine, on the first edition of \u003ci\u003eCasting Revealed\u003c\/i\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCHAPTER ONE: SAVE MONEY — DO IT YOURSELF: DIY \u003c\/p\u003e\n\u003cp\u003eINDEPENDENT FILM AND MARKET SHARE\u003cbr\u003eHOW THIS BOOK WILL SAVE YOU MONEY \u003c\/p\u003e\n\u003cp\u003eDo It Yourself \u003cbr\u003eCollaborate Or Die\u003cbr\u003eAnyone Can Make A Movie \u003cbr\u003eYes, But Is It Worth Watching? \u003cbr\u003eWhy So Many Films Don’t Make The Film Festivals\u003cbr\u003eRaise Your Standards\u003cbr\u003eAll About Editing\u003cbr\u003eInexperience Costs More Money \u003cbr\u003eThe Best Actors Are The Right Actors \u003c\/p\u003e\n\u003cp\u003eTECHNOLOGY HAS CHANGES EVERYTHING \u003c\/p\u003e\n\u003cp\u003ePrescreening Footage\u003cbr\u003eThe Headshot Submission Process Has Gone Green \u003c\/p\u003e\n\u003cp\u003eSAVING MONEY RECAP\u003c\/p\u003e\n\u003cp\u003eCHAPTER TWO: YOUR DIRECTING CAREER \u003c\/p\u003e\n\u003cp\u003eBETTER CASTING IMPACTS YOUR LONG-RANGE CAREERGOALS\u003c\/p\u003e\n\u003cp\u003eShorts Are Your Stepping Stone\u003c\/p\u003e\n\u003cp\u003eWHERE TO CONNECT WITH ACTORS \u003c\/p\u003e\n\u003cp\u003eBREAKINGBARRIERS: HOW TO TALK TO ACTORS \u003c\/p\u003e\n\u003cp\u003eBlame the Media \u003c\/p\u003e\n\u003cp\u003eCHAPTER THREE: AN OVERVIEW OF THE CASTING PROCESS\u003c\/p\u003e\n\u003cp\u003eWHY DIY: Do It Yourself\u003c\/p\u003e\n\u003cp\u003eCASTING DEFINED\u003c\/p\u003e\n\u003cp\u003ePrincipal\u003c\/p\u003e\n\u003cp\u003eBackground\u003c\/p\u003e\n\u003cp\u003eWHAT ARE YOU CASTING\u003c\/p\u003e\n\u003cp\u003eProfessional Language\u003c\/p\u003e\n\u003cp\u003ePreliminary Considerations\u003cbr\u003eFamilies And Lovers\u003c\/p\u003e\n\u003cp\u003eCASTING IS \u003c\/p\u003e\n\u003cp\u003ePrincipal, Background Casting\u003c\/p\u003e\n\u003cp\u003eTYPES OF AUDITIONS\u003c\/p\u003e\n\u003cp\u003eOpen Calls \u003c\/p\u003e\n\u003cp\u003eAppointments: Script Readings, Cold Readings And Improvisation \u003cbr\u003eCallbacks\u003c\/p\u003e\n\u003cp\u003eCASTING STANDARDS\u003c\/p\u003e\n\u003cp\u003eKeeping It Professional And Confidential\u003c\/p\u003e\n\u003cp\u003eNever Settle\u003c\/p\u003e\n\u003cp\u003eActor Are Looking For You As Well\u003c\/p\u003e\n\u003cp\u003eAgents Are Looking For Projects For Their Clients\u003c\/p\u003e\n\u003cp\u003eLos Angeles And New York: United States Casting Centers \u003c\/p\u003e\n\u003cp\u003eCASTING IS NOT\u003c\/p\u003e\n\u003cp\u003eA Party\u003c\/p\u003e\n\u003cp\u003eAbout Your Ego: Get Over Yourself \u003c\/p\u003e\n\u003cp\u003eTO UNION OR NOT \u003c\/p\u003e\n\u003cp\u003eThoroughly Evaluate Your Decision\u003c\/p\u003e\n\u003cp\u003eOne Member Makes A Union Shoot\u003c\/p\u003e\n\u003cp\u003eExperience Gets More Done \u003c\/p\u003e\n\u003cp\u003eThe Less Experience The Longer Your Day\u003c\/p\u003e\n\u003cp\u003eQuestions For Discussion\u003c\/p\u003e\n\u003cp\u003eWHEN TO START \u003c\/p\u003e\n\u003cp\u003eWhat Do Actors Look For When They Read Your Audition Announcement\u003c\/p\u003e\n\u003cp\u003ePlan Ahead To Stay Ahead \u003c\/p\u003e\n\u003cp\u003eWHAT YOU NEED TO START\u003c\/p\u003e\n\u003cp\u003eYou Need A Script\u003c\/p\u003e\n\u003cp\u003eYou Need \"Sides\"\u003c\/p\u003e\n\u003cp\u003eKnow The Window Of Time You Plan To Shoot\u003c\/p\u003e\n\u003cp\u003eYou’re Going To Need A Place To Hold Your Auditions \u003c\/p\u003e\n\u003cp\u003eYou Need Your SAG Paperwork Done \u003c\/p\u003e\n\u003cp\u003eReality Check \u003c\/p\u003e\n\u003cp\u003eCHAPTER FOUR: INDUSTRY STANDARDS \u003c\/p\u003e\n\u003cp\u003eACTOR MARKETING MATERIALS \u003c\/p\u003e\n\u003cp\u003eCover Letter\u003c\/p\u003e\n\u003cp\u003eHeadshots\u003c\/p\u003e\n\u003cp\u003eWhat Makes A Good Headshot? \u003cbr\u003eHeadshot Samples\u003c\/p\u003e\n\u003cp\u003eResumes\u003c\/p\u003e\n\u003cp\u003eReels \u003c\/p\u003e\n\u003cp\u003eVideo Submissions\u003c\/p\u003e\n\u003cp\u003eWarning Signs Of The Less Experienced\u003c\/p\u003e\n\u003cp\u003eWHY LOOK FOR THESE STANDARDS?\u003c\/p\u003e\n\u003cp\u003eCHAPTER FIVE: ACTING — WHAT IS IT? \u003c\/p\u003e\n\u003cp\u003eActing Defined\u003c\/p\u003e\n\u003cp\u003eThe Actor’s Toolbox\u003c\/p\u003e\n\u003cp\u003eApproaches To Craft\u003c\/p\u003e\n\u003cp\u003eSCRIPT ANALYSIS: \u003ci\u003eIf It Ain’t On The Page, It Ain’t On The Stage\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eGiven Circumstances\u003c\/p\u003e\n\u003cp\u003eThe Moment Before\u003c\/p\u003e\n\u003cp\u003eWhat’s My Motivation? \u003c\/p\u003e\n\u003cp\u003eGO FURTHER: Who do you like? \u003cbr\u003eGO FURTHER: Character types\u003c\/p\u003e\n\u003cp\u003eGO FURTHER: Character type attributes \u003c\/p\u003e\n\u003cp\u003eACTING 101 FOR DIRECTORS\u003c\/p\u003e\n\u003cp\u003eHow You Feel Is A Result Of What You Do \u003c\/p\u003e\n\u003cp\u003eThe Magic Verb\u003c\/p\u003e\n\u003cp\u003eUnderstanding The Craft: Where To Go For Help \u003c\/p\u003e\n\u003cp\u003eCHAPTER SIX: TIMELINES — \u003c\/p\u003e\n\u003cp\u003eWHEN TO START AND WHAT TO DO BEFORE JUMPING IN \u003c\/p\u003e\n\u003cp\u003eANNOUNCEMENTS, AUDITIONS, CALLBACKS AND CONTRACTS\u003c\/p\u003e\n\u003cp\u003eWHERE TO HOLD AUDITIONS\u003c\/p\u003e\n\u003cp\u003eKeeping it Professional: 1st Impressions Count\u003c\/p\u003e\n\u003cp\u003eTHE CASTING TIMELINE EXPLAINED – \u003c\/p\u003e\n\u003cp\u003eSCHEDULES: WORKING BACKWARDS\u003c\/p\u003e\n\u003cp\u003eTwo Weeks From First Shoot Date: Rehearsals\u003c\/p\u003e\n\u003cp\u003eOne Month From First Shoot Date: Contracts\u003c\/p\u003e\n\u003cp\u003eSix Weeks From First Shoot Date: Callbacks\u003c\/p\u003e\n\u003cp\u003eTwo Months From First Shoot Date: Auditions\u003c\/p\u003e\n\u003cp\u003eTen Weeks From First Shoot Date: Distributing Audition Information. \u003c\/p\u003e\n\u003cp\u003eThree Months From First Shoot Date: Preproduction Breakdown \u003c\/p\u003e\n\u003cp\u003eThe Producer Is There To Help You\u003c\/p\u003e\n\u003cp\u003eUnion Preparation Recap\u003c\/p\u003e\n\u003cp\u003eCHAPTER SEVEN: THE CASTING BREAKDOWN — SPREADING THE WORD\u003c\/p\u003e\n\u003cp\u003eBREAKDOWN ELEMENTS \u003c\/p\u003e\n\u003cp\u003eSAMPLE BREAKDOWNS \u003c\/p\u003e\n\u003cp\u003eBREAKDOWN DISTRIBUTION \u003c\/p\u003e\n\u003cp\u003eNational \u003c\/p\u003e\n\u003cp\u003eLocal Or Regional \u003c\/p\u003e\n\u003cp\u003eSocial Networking \u003c\/p\u003e\n\u003cp\u003eFlyers: Other Places To Put Your Breakdown\u003c\/p\u003e\n\u003cp\u003ePress Releases\u003c\/p\u003e\n\u003cp\u003ePhysical Geography\u003c\/p\u003e\n\u003cp\u003eInternational And Regional Web Site Distribution\u003c\/p\u003e\n\u003cp\u003eCONTACTING AGENTS\u003c\/p\u003e\n\u003cp\u003eWho Represents Whom\u003c\/p\u003e\n\u003cp\u003eCHAPTER EIGHT: STAYING ORGANIZED \u003c\/p\u003e\n\u003cp\u003eWORKFLOW \u003c\/p\u003e\n\u003cp\u003eWho Follows Instructions \u003c\/p\u003e\n\u003cp\u003eTurn On Your \"Flake Radar\"\u003c\/p\u003e\n\u003cp\u003eMANAGING FILES\u003c\/p\u003e\n\u003cp\u003eConfirming Auditions\u003c\/p\u003e\n\u003cp\u003eSample Initial Contact 1: SET APPOINTMENT\u003c\/p\u003e\n\u003cp\u003eSample Initial Contact 2: SELF (VIDEO) SUBMISSION\u003c\/p\u003e\n\u003cp\u003eHANDLING REJECTIONS\u003c\/p\u003e\n\u003cp\u003eOTHER FILES\u003c\/p\u003e\n\u003cp\u003eCreating Script Sides From Your Screenplay\u003c\/p\u003e\n\u003cp\u003eSign-In Sheets \u003c\/p\u003e\n\u003cp\u003eMASTER SPREADSHEET \u003c\/p\u003e\n\u003cp\u003eCHAPTER NINE:\u003cbr\u003eTHE FIRST ROUND — WHAT YOU NEED AND WHERE YOU NEED IT\u003c\/p\u003e\n\u003cp\u003ePREPARATIONSANDPROCEDURES \u003c\/p\u003e\n\u003cp\u003eProvide Scripts In Advance \u003c\/p\u003e\n\u003cp\u003eMake A Schedule \u003c\/p\u003e\n\u003cp\u003eSetting Up \u003c\/p\u003e\n\u003cp\u003eAllow Enough Time For Each Actor\u003c\/p\u003e\n\u003cp\u003eInformation Form\u003c\/p\u003e\n\u003cp\u003eKeep Secrets\u003c\/p\u003e\n\u003cp\u003eHOW MANYACTORS DO I SEE FOR EACH ROLE? \u003c\/p\u003e\n\u003cp\u003eWHO DO I CAST FIRST? \u003c\/p\u003e\n\u003cp\u003eCast Your Leading Actors First\u003c\/p\u003e\n\u003cp\u003eSupporting Actors\u003c\/p\u003e\n\u003cp\u003eBackground Extras\u003c\/p\u003e\n\u003cp\u003eINSIDE THE SESSION \u003c\/p\u003e\n\u003cp\u003eControlling The Room\u003c\/p\u003e\n\u003cp\u003eCasting Sessions Are Job Interviews\u003c\/p\u003e\n\u003cp\u003eCasting Sessions Are Private\u003c\/p\u003e\n\u003cp\u003eMemorized Sides\u003c\/p\u003e\n\u003cp\u003eUsing A Reader \u003c\/p\u003e\n\u003cp\u003eRecording The Casting Session \u003c\/p\u003e\n\u003cp\u003eAdjustments And Direction When You Have Something To Say \u003c\/p\u003e\n\u003cp\u003eMORE BASIC DO’S AND DON’TS\u003c\/p\u003e\n\u003cp\u003eDo Expect Actors To Be Prepared And On Time \u003c\/p\u003e\n\u003cp\u003eDo Expect Actors To Arrive With A Headshot And Resume\u003c\/p\u003e\n\u003cp\u003eNudity, Scars And Tattoos\u003c\/p\u003e\n\u003cp\u003eDon’t Ask Actors To Sign A Release Form For Audition Footage\u003c\/p\u003e\n\u003cp\u003eKeep Track\u003c\/p\u003e\n\u003cp\u003eKeep An Open Mind To All Potential And Opportunity \u003c\/p\u003e\n\u003cp\u003eEnding The Session \u003c\/p\u003e\n\u003cp\u003eSorting The Session: Do You Need More Options?\u003c\/p\u003e\n\u003cp\u003eCHAPTER TEN: THE SECOND ROUND — CALLBACKS\u003c\/p\u003e\n\u003cp\u003eCONFIRMING YOUR CHOICES\u003c\/p\u003e\n\u003cp\u003eCALL BACK FOR SURE \u003c\/p\u003e\n\u003cp\u003eCALL BACK MAYBE\u003c\/p\u003e\n\u003cp\u003eNOT GETTING A CALLBACK \u003c\/p\u003e\n\u003cp\u003eCALL BACK PROCEDURES \u003c\/p\u003e\n\u003cp\u003eSet Call Back Appointments\u003c\/p\u003e\n\u003cp\u003eTest Your Communication And Directing Approach\u003c\/p\u003e\n\u003cp\u003ePut On Your \"Poker Face.\" \u003c\/p\u003e\n\u003cp\u003eSleep On Your Decisions \u003c\/p\u003e\n\u003cp\u003eCHAPTER ELEVEN: OFFERS AND CONTRACTS\u003c\/p\u003e\n\u003cp\u003eTHE OFFER AND THE ART OF NEGOTIATION\u003c\/p\u003e\n\u003cp\u003eUNPAID PROJECTS\u003c\/p\u003e\n\u003cp\u003ePAID PROJECTS (Union or Not)\u003c\/p\u003e\n\u003cp\u003eCONTRACT: Get it in Writing\u003c\/p\u003e\n\u003cp\u003eUNION CONTRACTS\u003c\/p\u003e\n\u003cp\u003eLOCAL HIRES ONLY\u003c\/p\u003e\n\u003cp\u003eSTATE PRODUCTION INCENTIVES\u003c\/p\u003e\n\u003cp\u003eA Word from the SAG-AFTRA Office\u003c\/p\u003e\n\u003cp\u003eCHAPTER TWELVE: DON’T TAKE MY WORD FOR IT — \u003cbr\u003eFRIENDS CHIME IN\u003c\/p\u003e\n\u003cp\u003eFAST, CHEAP, GOOD—PICK TWO. \u003c\/p\u003e\n\u003cp\u003eA LITTLE HELP FROM OUR FRIENDS \u003c\/p\u003e\n\u003cp\u003eActors Do A Shout Out \u003c\/p\u003e\n\u003cp\u003eDirectors Do A Shout Out \u003c\/p\u003e\n\u003cp\u003eCHAPTER THIRTEEN: CASTING DIRECTORS — \u003cbr\u003eDO YOU NEED ONE?\u003c\/p\u003e\n\u003cp\u003eThe Job Defined: Potential Meets Opportunity\u003c\/p\u003e\n\u003cp\u003eTypes Of Casting Directors\u003c\/p\u003e\n\u003cp\u003eThe Interview And Checking Credentials. \u003c\/p\u003e\n\u003cp\u003eJob Tasks And Responsibilities: What Will They Do For You? \u003c\/p\u003e\n\u003cp\u003eWhen In Doubt: Hire A Professional\u003c\/p\u003e\n\u003cp\u003eWhat’s It Going To Cost? \u003c\/p\u003e\n\u003cp\u003eOther Resources \u003c\/p\u003e\n\u003cp\u003eCHAPTER FOURTEEN: SO YOU WANT TO BE A CASTING DIRECTOR \u003c\/p\u003e\n\u003cp\u003eLOVING ACTORS \u003cbr\u003eOUTREACH AND MARKETING \u003c\/p\u003e\n\u003cp\u003eIndustry Connections \u003cbr\u003eGetting Started \u003c\/p\u003e\n\u003cp\u003eINTERVIEWS\u003c\/p\u003e\n\u003cp\u003eMichael Druck, Austin, Texas\u003c\/p\u003e\n\u003cp\u003eKen Lazer, New York City, New York\u003c\/p\u003e\n\u003cp\u003eSarah Kliban, San Francisco, California\u003c\/p\u003e\n\u003cp\u003eGLOSSARY OF COMMON FILM TERMS \u003cbr\u003e\u003cbr\u003eTHE PARTS OF SPEECH: Just For Fun \u003c\/p\u003e\n\u003cp\u003eVERBS \u003cbr\u003eNOUNS \u003cbr\u003eCOMPOUNDWORDS \u003cbr\u003eFINANCIAL TERMS \u003cbr\u003eCOMMON PHRASES \u003c\/p\u003e\n\u003cp\u003eWEB RESOURCES\u003c\/p\u003e\n\u003cp\u003eNOTES, BIBLIOGRAPHY AND RESOURCES\u003c\/p\u003e\n\u003cp\u003eRECOMMENDED READING\u003c\/p\u003e\n\u003cp\u003eSAMPLE COURSE OUTLINE \/ SYLLABUS\u003c\/p\u003e\n\u003cp\u003eINDEX\u003c\/p\u003e\n\u003cp\u003eABOUT THE AUTHOR\u003c\/p\u003e\n\u003cp\u003eFAN MAIL\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49407235719511,"sku":"9781138945340","price":37.99,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/bookcurl.com\/products\/casting-revealed-9781138945340","provider":"Book Curl","version":"1.0","type":"link"}