Looking for “Magic Performance Moments”
There are very few rules or guidelines in filmmaking (but lots of opinions) and every director will have an “opinion” on how to cast actors. And one of my very “strong opinions” is that you don’t always have to give actors an objective adjustment that relates to the scene they are reading!
Since my goal for the first audition is to find out who is NOT right for a part, after the actor’s first reading I give them a change of objective that is opposite of the last objective they just played. What I’m looking for here is a quick way to find out if the actor is listening to me, if they have range in their performance and if they can take direction.
I call this technique “looking for magic moments” because the objective change I give them may not be relevant to all the text in the scene – but if you know what to look for, you will discover “magic performance moments” within the scene where the actor has taken your notes and made them work.
For example: If the written scene describes the character as extremely angry and the writer has the character yelling at their partner, the actor’s first read will most likely have them yelling (loud & angry) at their partner. Why? Because that is what the script text says and actors understand that the “written moment” is what you are probably looking for!
So for the adjustment change, I give them an opposite objective (or opposite action verb) such as “Let’s do it again, but this time I would like you to flirt with her.” Now this adjustment may have nothing to do with the written scene, but if the actor is well trained and they’ve listened to me, they’ll take that note and create a very real and believable performance – but only within certain moments of the written text.
This effective technique will show you not only if the actor listened to you and took your direction, but also show you their performance range.
15 Qualities Directors Look for in Actors
Whether you review the auditions from your notes or from looking at video, the following check list contains 15 general traits and qualities you will want to look for in any actor. However, you will also need to add to this list the specific qualities and traits of the individual characters in your film before deciding on whom to cast.
Assessing the performance. (Look at both the actor’s physical characteristics and their acting abilities.)
Type casting vs performance casting. (Think outside the box when it comes to actors portraying characters.)
Character relationships. (Which actors could play well together? Does the chemistry work?)
Is the character type in the actor? (Does the actor physically look like the character?)
Do they incorporate changes quickly? (These can be anything from beat changes to unexpected events.)
Was the adjustment (change of direction) believable? (Judge the strengths and weaknesses of the actor from your objective adjustment.)
How well did they listen? (Are they focused? Can they play in the moment with another actor?)
Did they make active choices? (Are they adept at creating appropriate actions for the character to tell the story rather than just saying the words?)
Do they have a clear sense of the character? (Have they done their research? Do they know their “who, what, where, when and how?”)
Can they perform on impulse, not on cues? (Do they react naturally to what is going on around them? Are they good at not anticipating the next line?)
Do they react well to problems? (Can they stay in character if another other actor drops their lines? Do they get distracted easily?)
Do they know their backstory? (Does the actor know where they have just been, what they are feeling and where they are going?)
Do they know what is important in the scene? (Are they willing to take a “back seat” to an animal, a child, a specific prop or a visual effect?)
Do they understand the character’s physical environment? (Are they believable as a prisoner? Is the “fake film set” environment hot or cold?)
Do they have a certain charisma about them? (Do heads turn when they enter a room? This is a trait that cannot be taught.)
Copyright (c) 2020 Peter D. Marshall / All Rights Reserved
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