Backstage Magazine Digital Edition: August 13, 2020

08.13.20

BACKSTAGE.COM

Inside the Emmy Race:

Jeremy Strong on “endangering” himself for TV’s hottest family epic

Your annual voting guide to the 2020 best series ballot

Wanda Sykes

pays homage to a childhood hero

7 Pages OF CASTING NOTICES

How important is authenticity in casting?

An agent weighs in on the changing tide

EMMY

®

NOMINATIONS INCLUDING

O U T S TA N D I N G D R A M A S E R I E S

LEAD ACTOR JASON BATEMAN LEAD ACTRESS LAURA LINNEY SUPPORTING ACTRESS JULIA GARNER

“ JASON

BATEMAN LAURA LINNEY ARE

AND

BOTH POWERHOUSES.” THE TELEGRAPH

“ JULIA

GARNER

CONTINUES TO DELIVER SHATTERING WORK.” CHICAGO SUN-TIMES

FYC.NETFLIX.COM

Contents

vol. 61, no. 18 | 08.13.20

Cover Story

Always Starting Over At the height of his career—and as a newly minted Emmy nominee for “Succession”— Jeremy Strong’s secret to success is to consistently start anew page 18

The Green Room 6 Baltimore Center Stage

responds to #WeSeeYouWAT

8 This week’s roundup of who’s casting what starring whom

9 Tom Ellis talks playing his own evil twin on “Lucifer”

Advice 14 CRAFT

How kids can memorize monologues

16 #IGOTCAST

Katelyn Laird

16 SECRET AGENT MAN Keep it authentic

Features 4 BACKSTAGE 5 WITH...

Wanda Sykes

12 MEET THE MAKER

Cory Finley, “Bad Education” director

14 THE ESSENTIALISTS

Kramer Morgenthau, director of photography

17 IN THE ROOM WITH Jessica Kelly and Rebecca Dealy

23 TRULY OUTSTANDING

This is the only breakdown of the 2020 Emmy-nominated series you’ll need

32 ASK AN EXPERT

Joanne Baron on finding the right acting technique for you

Casting 25 New York Tristate 26 California 28 National/Regional Jeremy Strong photographed by Patrick Hoelck on July 14 at Werkartz in Los Angeles. Styling by Jeanne Yang. Hair by Robert Lopez. On this page and cover: shirt by Basic Rights, jacket and pants

by Andrew Driftwood, watch by Rolex.

Cover designed by Ian Robinson.

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08.13.20 BACKSTAGE

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26 EMMY

®

NOMINATIONS INCLUDING

OUTS TANDIN G LIMITED SERIES

“A

STANDOUT CAST”

OUTS TANDIN G LE AD AC TOR IN A LIMITE D SE RIES OR MOVIE

JEREMY IRONS

“JEREMY IRONS CRUSHES EVERY SECOND” PASTE MAGAZINE

OUTS TANDIN G LE AD AC TRESS IN A LIMITE D SE RIES OR MOVIE

REGINA KING

“REGINA KING IS NOTHING SHORT OF AMAZING” INDIEWIRE

OUTS TANDIN G SUPP ORTIN G AC TOR IN A LIMITE D SE RIES OR MOVIE

YAHYA ABDUL- MATEEN II

“YAHYA ABDUL-MATEEN II IS AS QUIETLY CHARMING AS LARGER THAN LIFE”

THE HOLLYWOOD REPORTER

OUTS TANDIN G SUPP ORTIN G AC TOR IN A LIMITE D SE RIES OR MOVIE

JOVAN ADEPO

“JOVAN ADEPO DELIVERS A RIVETING PERFORMANCE” TV INSIDER

OUTS TANDIN G SUPP ORTIN G AC TOR IN A LIMITE D SE RIES OR MOVIE

LOUIS GOSSETT JR.

“LOUIS GOSSETT JR. IS AN ICON IN THE CRAFT” COLLIDER

OUTS TANDIN G SUPP ORTIN G AC TRESS IN A LIMITE D SE RIES OR MOVIE

JEAN SMART

“JEAN SMART IS AT THE TOP OF HER EXTRAORDINARY GAME” INDIEWIRE

VULTURE

Watchmen: ©2020 Warner Bros. Entertainment Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Office, Inc.

Backstage 5 With...

Wanda Sykes

By Allie Volpe

With 10 Emmy nominations and one win under her belt, comedian, writer, actor, and producer Wanda Sykes continues to break ground with the Apple TV+ documentary series “Visible: Out on Television,” which she executive produced, and her standout guest star performance as comedian Moms Mabley on Season 3 of “The Marvelous Mrs. Maisel.” Here, she discusses a memorable Pepto-Bismol commercial audition and the role she’ll never forget.

What advice would you give your younger self? I would have said to follow your passion from the jump. Don’t be afraid; don’t play it safe. Then again, maybe I did it the right way, because maybe I wasn’t mature enough to start back then.

If I had to go back, in college, I probably would’ve gone to be a theater major or something like that instead of business marketing, because I knew what I wanted to do. At least it was there, the desire was there. I made the safe decision: Let me get a degree I could use down the road if this stuff doesn’t pan out. I would say [to] take a chance. Always bet on yourself.

What’s the wildest thing you’ve ever done to get a role?

I wish I was that bold, where I could put myself out there like that. I have not. You can’t be on the fence with something like that. All in or not.

What is your worst audition horror story? I think it was for a Pepto-Bismol commercial. It was a mother-daughter relationship. I hate auditioning—I hate auditioning to this day. I’m reading the sides, and the casting director literally snatched the sides out of my hand and said, “Good day.” Not, “thank you,” just, “good day,” and [she] snatched them out of my hand. That was pretty bad. Maybe she was gassy. Maybe she was having a bad day.

What performance should every actor see and why? I love Don Cheadle in “Devil in a Blue Dress.” He is so menacing. He’s this killer, and he has such a pleasant, calm demeanor. I just thought the way he played that was... Man, if I ever got to play a killer, that’s how I would do it. He’s so matter-of-fact: “This is what I do, man. Why’d you leave her with me, then? You know that’s my thing.” And Viola Davis in “Fences.” If you want to know how to cry, just an ugly cry, that’s how you do it.

“That’s the beautiful thing about art: You can create any world that you want.”

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ILLUSTRATION: NATHAN ARIZONA/PHOTO: MARTIN SCHOELLER

How did you first get your SAG-AFTRA card? I believe I got the offer to be in “Nutty Professor II,” and that was it. I remember going down to the office to sign up. I had my offer letter. Boom. For an Eddie Murphy movie—how crazy is that?

18 EMMY

®

NOMINATIONS INCLUDING

OUTSTANDING DRAMA SERIES

“MASTERFUL OUTS TA N DIN G LE A D AC TO R IN A DR A M A SE RIES

BRIAN COX

“BRIAN COX IS RIVETING”

THE HOLLYWOOD REPORTER

PERFORMANCES” VULTURE

OUTS TA N DIN G SUPP O RTIN G AC TO R IN A DR A M A SE RIES

NICHOLAS BRAUN

“NICHOLAS BRAUN CONTINUES TO MINE GOLD” THE HOLLYWOOD REPORTER

OUTS TA N DIN G SUPP O RTIN G AC TO R IN A DR A M A SE RIES

MATTHEW MACFADYEN

“MATTHEW MACFADYEN IS SUBLIMELY PERFECT…A PARTICULAR STANDOUT” THE HOLLYWOOD REPORTER

OUTS TA N DIN G LE A D AC TO R IN A DR A M A SE RIES

OUTS TA N DIN G SUPP O RTIN G AC TO R IN A DR A M A SE RIES

“JEREMY STRONG’S PERFORMANCE WAS MAGNIFICENT AND A TRUE ACCOMPLISHMENT”

“KIERAN CULKIN IS TERRIFIC”

JEREMY STRONG

KIERAN CULKIN NPR

OUTS TA N DIN G SUPP O RTIN G AC TRESS IN A DR A M A SE RIES

SARAH SNOOK

“SARAH SNOOK IS ONCE AGAIN A REVELATION” COLLIDER

THE HOLLYWOOD REPORTER

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HAVE YOU BEEN CAST IN A PROJECT THROUGH A BACKSTAGE CASTING NOTICE? Share your story with us and you might be featured in an upcoming issue! Just tweet @Backstage using the hashtag #IGotCast and we’ll be in touch to hear your success story! @BACKSTAGE

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Ashley Pierre-Louis and Ryan Jamaal Swain in “Thoughts of a Colored Man” at Baltimore Center Stage

Industry

First Theater Responds to #WeSeeYouWAT

Baltimore Center Stage will implement new policies addressing We See You, White American Theater’s anti-racist demands

By Diep Tran

BACKSTAGE 08.13.20

response from theaters and producers. Baltimore Center Stage in Maryland stepped away from the pack as the first institution to respond to the conversation started by We See You, WAT. On July 29, the theater released a statement on how it plans to be an anti-racist organization.

“Today we share not our first steps, and not our last steps, but our next steps toward what the We See You, WAT organizers call ‘a truly sustainable, antiracist theatrical ecosystem,’ ” it said.

Among the steps the theater pledges to take: establishing a permanent line item in its budget dedicated to anti-racism

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efforts and training, paying playwrights for workshops and rehearsals, compensating artists for post-show talkbacks, eliminating the “10 out of 12” technical rehearsal, and moving from a six-day rehearsal week to a five-day one.

BCS artistic director Stephanie Ybarra said that the theater was inspired to respond to We See You, WAT because other institutions were not.

“I hadn’t seen anybody respond to the considerable gifts of the demands document, and so it felt responsible and appropriate,” Ybarra told Backstage.

“And our senior staff was all in.”

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MICHAEL DAVIS

ON JULY 10, WE SEE YOU, White American Theater released a statement called “BIPOC Demands for White American Theatre.” In the 29-page document, the anonymous collective detailed a list of demands for making the theater industry more diverse and less racist, such as requiring that production teams must be made up of at least 50% people of color. We See You, WAT originally began with an open letter signed by over 50,000 theater makers, including Lin-Manuel Miranda and Sandra Oh. Since the release of the list of demands, there has been little

The theater had experimented with shorter technical and regular rehearsals earlier in the season pre-shutdown. Ybarra said she looked to other theater organizations, such as the New Native Theatre in Minneapolis, which created these alternative practices out of respect for Native American families.

As New Native Theatre artistic director Rhiana Yazzie said in a statement within the BCS press release: “For a people who are recovering from genocide, many practices that seem normal and professional are in reality disruptive to the family structure and discourages community cohesion. As a result, many Native people aren’t willing to give up their humanity to participate in something that literally gives nothing back to them.”

Ybarra agreed that better, more “humane” working conditions and anti-racism go hand-in-hand.

“Inherent in anti-racist practice is a move toward collective liberation,” she said. “And when we start challenging the status quo, challenging our inherited assumptions about the way we are supposed to make work, then we often can see the disproportionate impact that these practices have on BIPOC artists.

They’re exclusionary.”

Ybarra encourages her fellow artistic directors and producers to follow BCS’s example and release their own statements of commitments.

“Our BIPOC artists have repeatedly told us that they have been harmed,” she said. “To not acknowledge that is perpetuating harm. It’s re-traumatizing, it’s erasure, it’s dismissal, it’s silence. That is harmful. So we have to respond. That’s literally the least we could do.”

KERRY WASHINGTON “ WASHINGTON HITS THE EMOTIONAL HIGH NOTES OF MIA’S ANGER AND THE STOIC LOW NOTES IN THE RESERVED PERSONA SHE PRESENTS TO THE WORLD.”

delayed by the pandemic, but the team is staying optimistic about starting principal production in the fall. If that plan fails to come to fruition, then it will instead begin in early 2021.

The film has yet to lock down a location, only noting that it will take place in the United States.

A Great Escape

“1000 Miles” follows a couple to freedom

By Rebecca Welch

STAY IN THE LOOP ON INDUStry and casting news with our write-up on who’s been slated for recent film and television roles!

Please note that shoot dates are subject to state and county restrictions and may change.

Refer to Call Sheet for updates, and keep checking Backstage for the latest news on project development during this time.

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TELEVISION

A ‘Perfect’ Cast Assembles

By Casey Mink

For the latest news, check out backstage.com/resources to find thousands of production listings, casting directors, acting classes, agents, and more!

MORE PRINCIPAL CASTING HAS BEEN announced for Hulu’s upcoming limited series “Nine Perfect Strangers.” Joining previously announced stars Nicole Kidman and Melissa McCarthy will be the ever-prolific Bobby Cannavale, as well as Regina Hall, Michael Shannon, Manny Jacinto, Luke Evans, and Samara Weaving, among others. David E. Kelley and John-Henry Butterworth will serve as co-showrunners of the series, adapted from “Big Little Lies” author Liane Moriarty’s novel of the same name. The project is currently aiming for a 2021 premiere.

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MARGAUX QUAYLE CANNON

Get cast!

For more upcoming productions and casting news, visit backstage.com/news/casting

“1000 Miles” There was no one way that enslaved people escaped the horrors of the antebellum American South, but each journey to freedom took perseverance and cleverness, and involved a lot of danger. For enslaved husband and wife William and Ellen Craft, the voyage to liberation would lead them to publish their story in the aptly titled “Running a Thousand Miles for Freedom.”

A new film based on the Crafts’ autobiography follows the couple as they make plans to leave their oppressive lives in Georgia by using Southerners’ prejudice to create a ruse.

Ellen, who was light-skinned,

passed as white by disguising herself as a wealthy male slave owner traveling with “his” slave. In this way, she and her husband moved from town to town and state to state until they reached freedom in the North. Casting director Kim Coleman has a full plate as she searches for talent to add to the historical literary adaptation for HBO Max. The biographical film will be directed by TV veteran Hanelle M. Culpepper.

Production had originally been

ALLEGRA MESSINA

What’s Casting

“Dog” Man’s best friend is about to go on the ultimate car ride in a new comedy feature, but the story will be about more than just laughs. The film follows a former Army Ranger and Lulu, a playful Belgian Malinois, on a road trip from Montana to California as they race to make it to the funeral of a fellow Army veteran who was also Lulu’s handler. Antics from both man and dog cause delays on the trip, but these bumps in the road slowly forge a bond between the two. Avy Kaufman has already begun casting the film out of her New York office. Channing Tatum, who has been signed on to play the lead role from the beginning, inspired the writers to create this story when he took a real-life road trip with his late dog, Lulu. The team is aiming to start filming the comedy in September. California will host production, and Louisiana may also become part of the location rotation to serve as scenery for the road trip.

Backstage Live

Double Trouble

Tom Ellis talks Season 5 of “Lucifer” and playing his own evil twin

By Isabelle Sarraf

The following Backstage Live was compiled by Backstage readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit questions live on camera.

Tom Ellis

WELSH ACTOR TOM ELLIS has a vast list of British TV credits to his name, including roles on “Miranda,” “Merlin,” and “The Fades.” But he reached true international acclaim playing the titular role on Netflix’s “Lucifer.” Based on

Mike Carey’s famed DC Comics series, the first half of Season 5 premieres on Netflix Aug. 21.

Ellis sat down with Backstage for an Instagram Live to talk about it all and offer tips for others in the field looking for their big break.

How did you emerge into the acting world after drama school?

In the grand scheme of things, I’ve had quite an easy time of it. I was fortunate enough to get a job before I finished drama school. I left a bit early to go and do that. And essentially, when you’re in drama school, that’s what you want, is to come out and start working.

For my first year coming out of drama school, I just went from job to job to job to job. I spent the first two years of my career just taking everything that I got as opposed to being picky.

I didn’t know enough about the industry or know enough about myself to know what it is that I wanted to do, where I was setting my sights.

How do you get into character?

The script is everything for me.

I always go back to the script.

Even five years into “Lucifer,” what I do—and people say I’m crazy, but I’ve stuck to it because it works for me—is the script we’re working on at the time, I’ll go to work, I’ll film the scenes I have to do for that day, I’ll come back, and I’ll read the whole script again

FILM

Tom Hanks Sets His Sights on ‘Pinocchio’

ALLEGRA MESSINA

MARGAUX QUAYLE CANNON

By Casey Mink

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from start to finish. And I’ll do that every day that we film an episode, so then in my head I can start to connect the dots: We’ve done this and we’ve done that, and this was where I was going. Just bringing it back all the time, so I have a complete sense of what the story is and where we’re at in the story. Because it’s broken up, and it’s not all linear when we’re shooting.

What was it like to also play Lucifer’s twin, Michael, this season?

It was a new challenge to me, that’s for sure. What I realized is that I’ve played Lucifer for five years; it’s very easy for me to step in and out of Lucifer’s skin. Playing a new character—it messed with my head a little bit.

For a long time, I felt like a fraud to my friends and colleagues.

But it was nice to think about a different character for a while.

I had a certain set of rules that I had to work in. We’re always set up against time when we’re shooting. There’s so much to pack in, and we don’t have a lot of time. So in terms of Lucifer and Michael being different, I had to go old-school in that and figure out physicality and voice and how a character walks, as opposed to any sort of transformative prosthetics.

Want to hear more from Ellis?

Watch our full interview at backstage.com/magazine, and follow us on Instagram: @backstagecast.

IN CASTING NEWS THAT FEELS SO obvious it’s inevitable, Tom Hanks is in talks to play Geppetto in Disney’s upcoming live-action adaptation of “Pinocchio.” The project will be directed by Robert Zemeckis and features a script by Chris Weitz. Based on the 1940 animated version of the classic story, this will be the latest installment in Disney’s live-action canon, following the likes of “Aladdin,” “The Lion King,” and the upcoming “Mulan.” Should Hanks officially sign on, it would mark his fourth collaboration with Zemeckis, following “Forrest Gump,” “Cast Away,” and “The Polar Express.”

08.13.20 BACKSTAGE

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Meet the Maker

Cory Finley, “Bad Education” director

By Jose Solís

Hugh Jackman and Allison Janney in “Bad Education”

BACKSTAGE 08.13.20

embezzlement scandal in American history.

“Bad Education” takes a look back at what feels like too-recent history. The film, set in 2002, stars Hugh Jackman as Frank Tassone, the suave superintendent of Roslyn School District on Long Island, who, unbeknownst to his staff and students, is using school funds to pay for an extravagant lifestyle of custom suits, plastic surgery, and travel.

“I knew Hugh first as a superhero, then as an amazing singer and dancer,” says Finley.

“So one of the joys of this role was seeing him do something so different from what he’s best known for.” In Finley’s first film, “Thoroughbreds,” which he also wrote, two young women rekindle a friendship in order to commit

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a murder. That project’s tone displayed Finley’s ability to dig deep into characters without snapping to moral judgments.

He achieves the same with “Bad Education,” which never feels like a sensationalist look at the amorality of affluent suburbs, but instead is a humanistic take on how seemingly innocuous decisions can lead well-intentioned people down a path of crime. When he directs actors, Finley remains respectful of the screenplay (“Bad Education” was written by Mike Makowsky) but also allows actors room for improvisation.

In fact, one of the film’s most memorable moments—in which Frank, who’s following a strict low-carb diet, is teased by his co-worker Pam (Allison Janney, in top form), who dangles a sandwich in front of him—was

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JOJO WHILDEN/HBO

WHEN HE WAS IN HIGH school, Cory Finley starred as Sonny in a production of “Grease.” At the time, he didn’t care that he was playing “one of [lead character] Danny Zuko’s deadbeat friends,” he says, laughing. All he could see was how great it was to be the youngest member of the ensemble. He was a freshman or sophomore (he can’t remember which) and the rest of the cast were all seniors, “so, despite the minor role, I thought it was really cool to get to hang with the big kids,” he continues.

Almost two decades later, the now-31-year-old found himself back in high school. This time, his role was far from minor: He was directing “Bad Education,” the HBO film inspired by a reallife case that’s been described as the largest public school

completely improvised. That’s what happens when “you have these really pro, experienced actors riffing on each other,” says the director.

For the look of the film, Finley was inspired by “All the President’s Men,” which “finds real poetry in not traditionally pretty institutions.” Going back to 2002 also forced Finley to come to terms with the passage of time. “It was surprising going back,” he says. Before he and director of photography Lyle Vincent, costume designer Alex Bovaird, and production designer Meredith Lippincott began diving into the specifics of the look of the film, the time period felt closer than it was.

“As soon as we started looking back at old yearbooks and old photos and just seeing the fashion alone, [we realized] it was so deeply different from what it is right now,” says the filmmaker.

Vincent’s camera, guided

by Finley, captures moments in which the unremarkable fluorescent lights of diners and offices illuminate the complex beauty of people we only know about because they happened to do things that are either extraordinary or heinous.

“Bad Education” was screened at the 2019 Toronto International Film Festival, where HBO bought it for a whopping $17.5 million. The film, released in late April, showed the director that there could be a new kind of audience reaction. “It was there immediately for the whole world, [and] it gives me hope that we can still have sort of a communal experience around art and entertainment even when we’re all stuck in our homes on a Friday,” he says excitedly. “Although I hope it’s not the only kind we can have going forward.”

In The Envelope The Actor’s Podcast

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Craft

THE ESSENTIALISTS

How Kids Can Memorize Monologues

KRAMER MORGENTHAU director of photography

By Casey Mink done and go back to my earliest roots in doing documentary [film] and apply that approach.”

By Denise Simon

NO MATTER HOW GOOD A reader a child is, it’s only when they commit their lines to memory that their work becomes believable. That said, children can often feel overwhelmed by having to memorize a monologue. Here are some tips to alleviate the stress of memorization and make the process smooth and seamless.

Repetition is key. When children read their lines out loud over and over, eventually the words become second nature. This can be done with a parent or sibling reading with them and cueing them on their lines. They can also do it alone if they’re self-disciplined. Just be sure to remind them to only memorize the words, not the cadence or inflection they read them with. An actor needs to discover something new each time they read the lines, and this can only be done if they

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don’t approach the monologue with a predetermined way of saying them.

Break lines down into smaller pieces. Having a child tackle one long speech or even a few paragraphs in one sitting is counterproductive.

It makes the task seem more daunting than it has to be, and it can lead to frustration and disappointment. Break the piece down into smaller increments, either sectioning off a specific number of lines or an emotional beat. Then repeat that section until the child can comfortably recite it.

Eventually, they’ll be able to put the sections together.

Learn the lines by rote. In my classes, I often have my students rewrite their monologues by hand without any punctuation or stage direction.

This is because markings other than words on a script can

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How do you take a play and reimagine it as a film while still keeping it intact as a play?

For starters, you call director of photography KRAMER MORGENTHAU, who shot the Broadway play-turnedmovie “American Son” for Netflix.

“American Son” is like no project before it.

“It wasn’t a play and it wasn’t a film; it was

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lock the script into memory.

Memorization doesn’t need to be a struggle for young actors.

Given enough time and effort, it can even be enjoyable. But remember, memorization is only one part of learning a script.

Be sure to teach your child to think about their character and motivation, and encourage them to read the entire script to know what’s happening. When a child goes beyond the words they’re reading and analyzes their motivations, memorization will come more readily, as they’ll be able to anticipate what comes next.

Simon is an acting coach and a Backstage Expert.

Want more?

All our Backstage Experts can be found at backstage.com/magazine

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MEMORIZATION: FIZKES/SHUTTERSTOCK.COM; “AMERICAN SON”: DAVID LEE/NETFLIX

often lead a child to believe that they have to perform the piece by adhering to the intent of the writer. This can often lead a child to illustrate the words instead of being real and authentic. It’s completely OK for a child to interpret a text in their own unique way. Be sure your child isn’t associating any meaning or emotions with the words they’re memorizing. This will keep them from locking into one particular way of delivering the lines and allow them to be authentic and free when they’re acting.

Work on lines before going to sleep. Studies show that learning lines right before bed can really boost recall. Make sure working on memorization is one of the last things your child does before they hit the hay. Then, have them review again in the morning to help

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sort of a hybrid of the two different mediums.

Usually, when you do a film version of a play, you spend weeks shooting it—something like ‘Glengarry Glen Ross.’

Or you do something else, where you just film a play onstage. We only had five days to do this, but we didn’t want to just point the cameras at the stage. I had to, in some ways, reinvent anything I had ever

The actors had to adjust, too.

“The actors were so tight and so well-rehearsed because they had been doing this on Broadway for three or four months, eight times a week, so they didn’t need anything….

[But] it’s so different, projecting for the back row versus the camera [being] inches away from your face. The actors are such experienced television and movie actors that they also knew how to turn that switch themselves.

But [director] Kenny Leon really worked that muscle with them to get them in the right place.”

The Slate

The Actor’s Quarantine Resource We’re not letting creativity + productivity stop in the face of coronavirus. We’re taking you directly to industry power players through Backstage Forums AMAs, Instagram takeovers and Q&As, YouTube Lives, and most excitingly, Zoom-hosted seminars for interactive group classes!

Guests include: Casting Director Robert Ulrich Casting Director Linda Lamontagne Talent Agent Laura Thede Casting Director Avy Kaufman Casting Director Carmen Cuba Talent Agent Chaim Magnum UK Casting Director Sophie Kingston-Smith Makeup Artist Bridie Coughlin Voiceover Actor Laurie Burke Voice Teacher Andrew Byrne and more!

To get all the details and view the full schedule, please visit backstage.com/magazine.

culture +

Spotlighting the people and projects you need to know

Keep It Authentic

BACKSTAGE 08.13.20

have to go all in.

I have a crush on Scarlett Johansson, but I’m glad she was forced to step down from playing the trans lead in “Rub & Tug,” a feature that was supposed to be produced in 2018. The bad news is the movie never got made. The good news is it’s finally going forward as a TV series with a trans writer and lead.

Some would argue there are no transgender actors who are famous enough to open an expensive studio film. To me, that’s nonsense. I would argue that you could easily cast a transgender performer in that lead and then, if you must, surround that person with “name” actors who have box office muscle.

“You can give power to others without losing your own. Inclusivity isn’t a zero-sum game.”

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Katelyn Laird

By Franchesca Viaud Globetrotting actorproducer KATELYN LAIRD has gotten submitting to casting calls down to a science. Carefully cultivated over several years, roles, and time zones, her system has proven itself time and time again.

When given the green light to explore, do it.

“The [director] sent me sides for the [character] and asked for a voiceover audition. I asked him if I could try some different takes with various accents, and he really supported the idea of me playing around with the role, which was great.”

Regimens aren’t just for bodybuilders.

“I have a rule of at least five submissions every day. I often find a lot more roles I’m drawn to and end up going over that number, but it helps my daily organization and sustainability to have a baseline number to reach.”

Let Backstage give you a pre-audition boost.

“The articles are always really inspiring to read, too, and sometimes reading one right before filming an audition gives me a fresh twist or reminder to put into the work.”

TO SEE YOUR SUCCESS story in print, tweet @Backstage using the hashtag #IGotCast, or email us at igotcast@ backstage.com.

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ILLUSTRATION: SPENCER ALEXANDER; LAIRD: ED CLARK PHOTOGRAPHY

THIRTY-SEVEN YEARS AGO, Al Pacino played a Cuban character in “Scarface” and, 10 years later, a Puerto Rican character in “Carlito’s Way.” Ten years ago, Jake Gyllenhaal was cast as the Middle Eastern lead in “Prince of Persia.” And just seven years ago, Johnny Depp played the Comanche sidekick Tonto in “The Lone Ranger.”

I don’t see any of that happening today.

The recent push toward authenticity in casting is a welcome development. There are all types of people on this planet, and that should be reflected in our entertainment.

Visibility leads to progress.

But what about characters that are under the LGBTQ umbrella? Do those roles have to be played by actors who are in that group? The answer is yes. Why should those parts be any different? We can’t hedge our bets on inclusivity. We

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

There’s been more progress on the indie front, but do you remember when Felicity Huffman received an Academy Award nomination for playing a trans character in “Transamerica”? (It’s right there on her résumé, next to fraud.)

What would happen if that part were being cast today?

Sadly, there will always be people in this world who blame the advancement of others for their own lack of achievement. At a workshop I attended last month, one of the actors expressed his frustration at being straight and not being allowed to play gay characters. He felt it would limit his opportunities. I had to explain that you can give power to others without losing your own. Inclusivity isn’t a zero-sum game.

That said, despite the infinite wisdom I display in this column, I don’t always have all the answers. For example, what if a show wants to cast a gay actor in a gay role? As an agent, it’s my job to submit people who are right for that part, but this puts me in a tough spot. I can’t just ask clients if they’re gay. That’s not appropriate. So how do I handle this situation?

Another group that needs more respect is the disabled community. Over the years, I’ve met quite a few actors with disabilities who are super talented but cannot catch a break. So here’s some food for thought: Can sighted performers play blind characters? Should they?

You can find the answer in the column above.

The list of questions around authenticity in casting will only continue to grow—and that’s a good thing, because those questions will force us to deal with the issues at hand.

Acknowledging a problem is the first step toward fixing it.

culture +

Spotlighting the people and projects you need to know

In the Room With

Jessica Kelly and Rebecca Dealy

The casting team helped bring a new tone to “Ramy” with new characters on Season 2

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; LAIRD: ED CLARK PHOTOGRAPHY

HULU’S “RAMY” IS A FIRST-OF-ITS-KIND SHOW BASED ON COMEdian Ramy Youssef’s standup material, which is based on his life growing up in New Jersey as the son of Egyptian immigrants. Despite the specificity of its premise—navigating his secular American interests and his family’s Muslim traditions—the series has resonated with audiences from all walks of life. After our hero, Ramy, spent Season 1 tripping over romantic exploits, he set out on a more faith-focused path on Season 2 with the addition of new actors, including two-time Oscar winner Mahershala Ali as a wise and patient sheikh. The casting team behind the second season, Jessica Kelly and Rebecca Dealy of New York–based office Chrystie Street Casting, was also a new addition. They shared their process with Backstage and explained why actors always need to do all their homework.

What was your casting process like for “Ramy” Season 2?

REBECCA DEALY: In certain episodes, it’s not just that actors have to be Arabic-speaking, which is a smaller pool, but with this specific accented Arabic. There are also some

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actors you know are amazing, so you want them to do this part that has five or six lines, and maybe they’re used to doing a little bit more, but we could convince them because the show is so great. Ultimately, a lot of actors of a higher

stature said yes because they believe in Ramy [and] what the show does for their community and for the world beyond.

How did you work with Youssef during casting? RD: He tells you what he’s looking for, why something’s not right, or what he sees enough of that he can absolutely work with. He is really excited by new people; he loves giving people a chance—newer actors, people he saw do comedy or in a short, etc. I think because he’s been given such a great opportunity, he instills that spirit in the show. He would work with anybody he found interesting and natural and truly themselves, because he wanted it to feel really representative of

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New York City and [the] parts of Jersey where he’s from.

What makes an actor memorable in an audition? RD: Only one person gets the part, and there are so many reasons why somebody can get a part.

We notice that combination of training, presence, confidence, openness, and level of commitment. It might not be this role [that they book], but we’re going to keep searching for the one that is. Sometimes, that’s a part of our process of getting to know an actor, to know where to best place them or who to introduce them to in terms of directors or shows and have them create together. JESSICA KELLY: I think, also, it’s when they’re able to fit into the web of the entirety of the show and not just stand out in their bit part or one line. They leave their ego at the door and understand that their role is to fit in and not overshine or overpower a scene. I always think that’s interesting, when somebody comes in and [they] are OK with humbling themselves to be playing “regular people.”

What shouldn’t an actor do in the audition room? RD: You’d be surprised how many times in auditions I’d ask [actors] if they’d seen the show and they’d say no! I’m just like, “OK, noted forever.” Would you not crack open the book before you’re about to take a quiz at school?

JK: They spent the time learning the lines, working on the character, getting to our office in New York, sitting in the waiting room; if they actually really wanted the part, that one little extra step could do wonders.

Want more?

Read the full interview at backstage.com/magazine

08.13.20 BACKSTAGE

Always Starting Over

By Casey Mink

FOR JEREMY STRONG, ACTING IS LIKE tennis. It’s also like painting. Other times, it’s a lot like playing guitar. It really depends, at a given moment, on whomever it is he’s quoting.

“Everyone has said things better than me,” Strong insists with a laugh. “I rely on other people’s words, so I’m going to keep quoting things.” While he does cite everyone from Shakespeare to Bob Dylan to Federico García Lorca to Meryl Streep during our hourlong conversation, Strong has plenty to say himself, too—particularly about acting, the layers of consciousness it blends, and its metaphysical demands.

“I’m reading this book right now by Andre Agassi called ‘Open.’ It’s his autobiography, and it’s basically about how much he hated tennis and how he was locked in this endless mortal combat with

this thing he couldn’t stop doing, that he was obsessed with doing, but that caused him a lot of psychic pain,” Strong muses.

“I wouldn’t say that I hate acting. I have a ton of joy in the creative process. But the idea, to me, is it’s like you get to be a beginner forever. You have to have a beginner’s mind.”

The “beginner’s mind” is a reference, too, to Zen philosophy. But more on that later. The Agassi autobiography did not end up on Strong’s nightstand by chance.

“I’m reading it for the show, because it seemed it could be useful,” the actor says, referring to HBO’s “Succession.” “[Agassi] had a very difficult relationship with his father.” A similar through line can be found on the pitch-black satire about the Roys, a media family of billionaires; each character, including Strong’s Kendall, is

Photographed by Patrick Hoelck

in some way vying for the affirmation of iron-fisted patriarch Logan (Brian Cox).

Though the Jesse Armstrong–created series—which was mid-production on Season 3 when it was forced to shut down due to the pandemic—is an ensemble showcase in the truest sense, Kendall has become its best argument for a main character, antagonized by demons that could make even those of a tennis champion read like a bedtime story. Oscillating between helpless and dead-eyed destructive, there’s no wonder why the role just notched Strong his first Emmy nomination for Season 2.

“His needs are so oceanic, and his pain is—there’s, like, a grand canyon of hurt in him,” Strong says. He’s speaking via Zoom from his sunny patio in Los Angeles, where he appears to carry none of the anguish of his onscreen counterpart. “I always thought of myself as a character actor, and those were my heroes—the chameleonic actors who would travel somewhere far from who they are every time they did a role. But Kendall feels like the only way out is through. I have to practice the discipline of moment-tomoment honesty without any disguises.”

At the height of his career—and as a newly minted Emmy nominee for “Succession”—Jeremy Strong’s secret to success is to consistently start anew

Despite Kendall’s mercuriality, Strong maintains that in order to play a person who is endlessly at war with himself, it isn’t necessary for an actor to take a decisive stance on their character’s every motive or purpose.

A great performance instead comes from a visceral connection—or, as Strong once heard someone call it, “your belly mind.”

“Acting is not a theorem that you’re trying to solve. You don’t have to know those answers in an intellectual way,” he says. “You try and connect with the emotional physics of the character: What do they need? How are they in trouble? In one of the books I read about the Murdochs”—who are, let’s say, an influence on “Succession”—“there was a mention about how tightly James Murdoch would tie his shoes. That was a little detail that honestly gave me so much, that told me something about a tension level in that person.

“What I feel proud of on ‘Succession,’ ” he adds, “is that I’ve taken it as far as I know how to go as an actor and as a person, in terms of kind of endangering myself.”

If that sounds life-or-death serious, well, for Strong, it basically is. But that’s only BACKSTAGE 08.13.20

because acting is and always has been inextricable from his own personhood. When he was a kid in inner-city Boston, a self-proclaimed ham, his mother got him involved in a children’s theater group. Something clicked for him then, and it has kept clicking since.

“I was five, and I must have found it to be an escape and a release and all the things that it still is for me now, but for different reasons,” he says. “As adults, our creative selves and our social selves are pretty separate. And when you’re young, they’re fused. You’re just present and are an open channel to your imagination and instincts. And then as you get older, the world can muzzle that in different ways.”

As he grew up, Strong continued to do theater, feeling at home in a way that contrasted with the displacement he experienced in other areas of his life. As he explains, “I just had an elemental sense of sanctuary, and whatever I might have to offer, that’s where I wanted to offer it, on that altar.” He followed acting like a faith all the way to Yale, where he studied theater before switching to English, still performing in plays as frequently as possible. Eventually, as so many have before

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and after him, he tried his hand in New York City, where work as a waiter and in hotel room service subsidized what could generously be considered Off-Off-Broadway theater.

Still, his mind was one-track, and he kept knocking on the door even though it appeared bolted shut. “There were so many years where I’d be in the subway, on the F train, and I’d see someone on the cover of Backstage and I would think, Fuck, man, am I ever going to get a chance to work?” he remembers. “Am I ever going to get a chance to work at a level that feels exciting and meaningful? Am I ever going to be able to make a living doing this? Every actor is in a wilderness for some amount of time, and it tests your staying power and resolve and foolishness, in a way, because it’s a crazy thing to persist when there’s no evidence around you that suggests it might work out. And I guess something in you just keeps going. Something in me just had to keep going.”

As so rarely happens, things started to work out for Strong. He amassed a few reputable Off-Broadway credits in the early aughts, and in 2008, he made his Broadway backstage.com

“That pain is because acting is still a mystery to me. I love it, need it, am afraid of it; it constantly eludes me, and I think it is always only an imperfect attempt.� backstage.com

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debut in the Roundabout revival of Robert Bolt’s “A Man for All Seasons,” starring opposite Frank Langella. The production coincided with another turning point in the actor’s career: He began working regularly in film, while theater took a back seat. Still, the play’s director, Doug Hughes, gave Strong some of the best advice he’s received to date: “You have to forget where you’re going.” Now, whenever you see him on camera—in “Zero Dark Thirty,” “Lincoln,” “The Big Short,” or today on “Succession”—know he fought to be conscious of that with every take of every scene.

The mantra may well have planted Strong’s fascination with the concept of beginner’s mind, which, as he applies it here, is the idea that one can never really know “how” to act.

“People talk about craft, about technique, in a way that makes it sound like these are

known quantities, something that someone possesses, and I’ve certainly never felt that way,” he admits. “I wish someone had told me that. I spent many years thinking I was missing something, like some acting chromosome, because I didn’t have a sense of

On “Succession”

Styling by Jeanne Yang. Hair by Robert Lopez.

Shirts by Basic Rights, pants and jacket

by Andrew Driftwood, vest by Geoffrey B. Small, shoes by Gucci, watch by Rolex.

BACKSTAGE 08.13.20

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“SUCCESSION”: ZACH DILGARD/HBO

security in terms of, ‘I know how to do this.’

You have to perpetually be a beginner. Every scene, you’re starting from scratch again, and you don’t know what’s going to happen.”

There are, however, some controlled measures you can put in place to preserve your own beginner’s mind. For example, Strong is particularly thoughtful about where and when he reads a script for the first time. That way, “It can imprint itself on you the way it wants, because it will only do that once.”

Ultimately, he believes, there has to be a reconciliation of preparedness and continued blankness, of knowing exactly how your character would react while still having no idea how they actually will.

“It’s like you enter into some kind of creative state, and in that moment, all of your preparation and acuity of perception and intuition—hopefully, those things are all firing on all cylinders,” he says. “I have to do so much work and really saturate myself and my unconscious as much as I can through research, through attuning, in blind exploration and through deeply internalizing the material. You can change, almost molecularly, cellularly, who you are. And when all of those things are done, then you can drop all of it and have a beginner’s mind.”

While reading recently, this time a book about painting by Norwegian author Karl Ove Knausgård, Strong came across a passage that struck him like lightning, and he underlined it, by his estimation, 50 times. “He said that painting cannot merely reconstruct a moment. It must itself be a moment,” he says, relating the idea back to performance.

“It must not exist beforehand, but come into being in the moment it is expressed.”

It’s there that Strong signs off; but with just one last thing to say, he adds a coda via email the following evening. He knows he spoke about acting, specifically on “Succession,” in a way that makes it sound entwined with pain and endangerment. But he hopes to emphasize that in searching for that liminal space, in acting and in life, pain is just the cost of admission.

“That pain is because acting is still a mystery to me. I love it, need it, am afraid of it; it constantly eludes me, and I think it is always only an imperfect attempt,” he says.

“I think the thing that has motivated me is a search for authentic experiences where you go beyond yourself. And acting just happens to be the closest way I know to do that—to go beyond yourself and to, at times, break your own barrier and come upon some form of genuine expression.

“Everything I do is oriented toward that search,” he concludes. “For the unexpected, authentic moment that comes only when you have prepared the ground in the right way and are giving it everything.”

Truly Outstanding

This is the only breakdown of the 2020 Emmy-nominated series you’ll need

By Jack Smart

IN A YEAR OF TUMULT AND UNCERTAINTY, IT’S NICE TO KNOW the 2020 Emmy Awards are still on track. Television Academy members are currently considering which of the 2019–20 TV season’s dramas, comedies, and limited series deserve the distinction of most outstanding. Whether you’re a voter on the 72nd Primetime Emmy Awards and need a refresher or are just looking for prestige TV-watching options in lockdown, read on for your cheat sheet to the 2020 Emmy-nominated shows.

Outstanding Comedy Series “Curb Your Enthusiasm” (HBO) Larry David’s “Curb Your Enthusiasm” returned after a hiatus, reminding us how to laugh at both Hollywood celebrities and ourselves. Now that it’s back, audiences may be in danger of taking it for granted. The distinct humor of this show, which pokes fun at and comments on current issues in a way that can only be described as David-esque, is at the exact degree of remove from reality we need in these chaotic times.

“Dead to Me” (Netflix) Season 2 of Liz Feldman’s darkest of dark comedies— seriously, every episode

Jamil, and Manny Jacinto play lost souls to Ted Danson’s friendly neighborhood demon, assisted by D’Arcy Carden’s charmingly all-knowing nonrobot—and expanded to encompass philosophical debates about human morality that are somehow both hilarious and touching.

features at least one emotional breakdown—about two wineguzzling frenemies getting away with murder in sunny Southern California earned far more Emmy recognition than its first outing.

And for good reason—Christina Applegate and Linda Cardellini plumbed new depths in the increasingly strong bond between their hilarious Jen and Judy.

“Insecure” (HBO) Adulthood can be bleak. As depicted by “Insecure” series co-creator and star Issa Rae, friendships, sex and romance, and career paths take on a gritty sense of naturalism. Yvonne Orji, Jay Ellis, Natasha Rothwell, and more continue to give funny, touching, and relatable performances. Rae is forging her own path through Hollywood, creating space for more artists like her while upping her own game on- and off-camera.

“The Good Place” (NBC) Imagine if “Parks and Recreation” were set in the afterlife or if “Lost” had a sense of humor.

Such was the twisty world of four seasons of “The Good Place.” Michael Schur’s hellishly clever comedy took an already ambitious conceit—Kristen Bell, William Jackson Harper, Jameela

“The Kominsky Method” (Netflix) Chuck Lorre’s homage to Hollywood and its wacky characters continues to find opportunities to show off the talents of an impressive cast.

Michael Douglas gives one of the most lived-in performances of his career as acting coach Sandy Kominsky, generating a kind of

RUSS MARTIN/FX

Natasia Demetriou, Kayvan Novak, and Matt Berry on “What We Do in the Shadows”

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onscreen magic opposite Alan Arkin’s dry Norman Newlander.

With Sarah Baker, Nancy Travis, and the many other actors playing Sandy’s students, Lorre and his cast continue to create frivolous, feel-good TV. “The Marvelous Mrs. Maisel” (Amazon Prime Video)

Three seasons into this streaming Emmy winner, we feel intimately connected to its cast of oddballs and the gorgeous, zany version of midcentury New York that Amy Sherman-Palladino has created.

There isn’t a moment of screen time when any of the actors— Rachel Brosnahan, Alex Borstein, Tony Shalhoub, Marin Hinkle, Luke Kirby, Jane Lynch, and now Sterling K. Brown, LeRoy McClain, and Wanda Sykes—aren’t at their heightened, hilarious best.

“Schitt’s Creek” (Pop TV) That this modest Canadian comedy from Eugene and Dan Levy had a small cult following in its early seasons and is now nominated for TV’s highest honor is a testament to its infectious hilarity. Following the one-percenter Rose family after they’re forced to file for bankruptcy and relocate to a backwater town, “Schitt’s Creek” has, throughout its six seasons, created characters who are both cartoonish and threedimensional—none more so than Catherine O’Hara’s Moira, who is a comedic masterpiece.

“What We Do in the Shadows” (FX) Based on his hit film of the same name, Jemaine Clement’s “What We Do in the Shadows” feels like the unlikeliest Emmy contender.

That isn’t to say it’s not worthy of the honor; it produced some of the most off-kilter, laughout-loud moments you could find on this TV season. But a wry mockumentary about modernday vampire roommates is strange enough on paper, even without the idiosyncrasies of stars Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, and Mark Proksch.

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Outstanding Drama Series “Better Call Saul” (AMC) This prequel to “Breaking Bad” is no longer just for fans missing that iconic series. Vince Gilligan and Peter Gould’s drama is a phenomenon in its own right, a triumph of writing, directing, and especially acting. In bringing to life Jimmy McGill, aka Saul Goodman, Bob Odenkirk coheres wonderfully with co-stars Jonathan Banks, Rhea Seehorn, Patrick Fabian, Michael Mando, and Giancarlo Esposito.

Together, they build a playground of moral ambiguity.

“The Crown” (Netflix) The Season 3 cast of Peter Morgan’s beloved prestige drama had to play real public figures while following in the footsteps of other actors. Olivia Colman is commanding and nuanced as Queen Elizabeth II, making the viewer understand the weight of the crown she must bear; Helena Bonham Carter brings her trademark charm to Princess Margaret; and Tobias Menzies makes us feel for the directionless Prince Philip.

Compelling supporters include Princess Anne (Erin Doherty), Prince Charles (Josh O’Connor), and Camilla Shand (Emerald Fennell).

“The Handmaid’s Tale” (Hulu) The dystopian world Margaret Atwood created in her 1985 novel—a military theocracy that uses female bodies as breeding vehicles—has always packed a political punch, but it takes a cast of nuanced performers to make the premise of “The Handmaid’s Tale” urgently distressing. Alexis Bledel, Madeline Brewer, Amanda Brugel, Ann Dowd, O-T Fagbenle, Joseph Fiennes, Max Minghella, Yvonne Strahovski, Bradley Whitford, and Samira Wiley do just that, with producer-star Elisabeth Moss, laid bare in a series of stunning close-ups, leading the revolution.

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“The Mandalorian” (Disney+) The Primetime Emmys and “Star Wars” have never had a chance to mingle, but the launch of Disney+ has allowed Television Academy members to consider a series that feels like both a prestigious, artfully made drama and pure mainstream entertainment.

Creator Jon Favreau crafted “The Mandalorian” to exist within the “Star Wars” galaxy but expand into other genres, namely the Western, to showcase Pedro Pascal’s masked warrior (and his adorable

Outstanding Limited Series “Little Fires Everywhere” (Hulu) Based on Celeste Ng’s hit pageturner of a novel, Liz Tigelaar’s “Little Fires Everywhere” proves to be far more than what it looks like on the surface: a star vehicle for producer-actors Reese Witherspoon and Kerry Washington. Supported by Joshua Jackson, Rosemarie DeWitt, Jade Pettyjohn, Lexi Underwood, and more, it’s a story of both petty drama and dangerous deceit, specific to its picture-perfect suburban neighborhood yet all too universal.

“Mrs. America” (FX) Dahvi Waller’s limited series, depicting the movement to ratify the Equal Rights Amendment in the 1970s, defies expectation at every turn. Rather than starting the story from the perspective of the colorful characters who made feminism mainstream—Gloria Steinem, Shirley Chisholm, Bella Abzug, and Betty Friedan among them, played by an all-star cast— we begin with Cate Blanchett’s shrewd conservative activist, Phyllis Schlafly. The series, like

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sidekick, popularly known as Baby Yoda).

“Ozark” (Netflix) Particularly on its explosive third season, middle-class American banality and the thrilling criminal underworld are woven together with increasing ambition by “Ozark” creators Bill Dubuque and Mark Williams. They also deserve credit for finding new depths in producer-director-star Jason Bateman—who plays a family man caught up with a Mexican cartel—and for showcasing the sheer darkness of Laura Linney as a steely matriarch and Julia Garner as a budding kingpin.

“Stranger Things” (Netflix) David Harbour and Winona Ryder are still magnetic on the Duffer Brothers’ binge-worthy ’80s adventure. But it’s the cast of kids, led by a heart-on-his-sleeve

Blanchett’s performance, is meticulously multilayered and gorgeous to look at.

“Unbelievable” (Netflix) Susannah Grant, Ayelet Waldman, and Michael Chabon’s adaptation of the real-life story of a serial rapist, told entirely from the perspective of a victim and the two detectives who hunted him down, is remarkable for what it balances: edge-of-your-seat suspense, heartbreaking trauma, and, most of all, outrage. Kaitlyn Dever, Merritt Wever, and Toni Collette give three of the most poignantly nuanced performances of this TV season, raising the bar for female-led stories and stirring depictions of resilience.

“Unorthodox” (Netflix) What makes Anna Winger’s “Unorthodox” such a worthy Emmy contender is how engrossing it becomes. The story of a 19-year-old Jewish woman named Esty, unhappy enough in her Orthodox community in Brooklyn to escape to a secular life in Berlin, doesn’t sound like the kind of experience that most people could relate to. But thanks to precise directing, insightful

Finn Wolfhard, who are the core of “Stranger Things.”

Noah Schnapp and Millie Bobby Brown are particular standouts, grappling with the supernatural in emotionally trying ways.

Caleb McLaughlin and Sadie Sink play off each other with ease, as do Gaten Matarazzo and Joe Keery, providing scenestealing comic relief with newcomer Maya Hawke.

“Succession” (HBO) A modern-day “King Lear” with a deliciously dark sense of humor, Jesse Armstrong’s satire about a family running a global media empire could succeed “Game of Thrones” as HBO’s buzziest drama about power and greed. Brian Cox’s aging patriarch, Logan Roy, coaxes the best and worst from his scheming family, brought to life by Jeremy Strong, Hiam Abbass, Kieran Culkin, and more.

Amit Rahav and Shira Haas on “Unorthodox”

writing, and a stunning star turn from lead Shira Haas, this is a miniseries for the ages.

“Watchmen” (HBO) Damon Lindelof’s miniseries spin on the classic graphic novel “Watchmen” challenges and expands what adaptations can accomplish, presenting a sequel, a remix, and a rethinking of a known property in the context of American racism. Yes, there are science-fiction and supernatural elements: Regina King kicks ass as a masked nun, Tim Blake Nelson is obsessed with the squids falling from the sky, and don’t even try to understand what Jeremy Irons is doing. But at its core, this “Watchmen” is an urgently relevant dismantling of what we value in America.

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ANIKA MOLNAR/NETFLIX

“Killing Eve” (BBC America) Women are empowering themselves in front of and behind the camera in more and more projects recently, but “Killing

Eve” may be the standard bearer of unapologetically feminist TV. Creator Phoebe Waller-Bridge has invited new female showrunners to continue Eve and Villanelle’s murderous exploits, while stars Sandra Oh, Jodie Comer, and Fiona Shaw bring to life women who remain endlessly surprising, dangerous, and fascinating.

Plays Musicals Film TV & Video Commercial Modeling Variety Voiceover Gigs Events

Submit a Notice |

New York Tristate Feature Films ‘Volte-Face’

• Casting “Volte-Face.” Synopsis: A neu-

ropsychologist kidnaps a domestic terrorist so she can experiment on him to find a cure for hate.

• Company: 3CK Media. Staff: Dana

Verde, writer-dir.

• Rehearses via Zoom; shoots Sept. 3-13

in NY.

• Seeking—Clarke: male, 25-35, White /

European Descent, a charming, manipulative psychopath who feels his purpose in life is to create chaos. Bakery Assistant: all genders, 18+, friendly and helpful with great customer service skills; can light up a room. Thug One: male, 18-25, White / European Descent, solider in a neo-terrorist group. A follower type. Thug Two: 18-25, White / European Descent, solider in a neo-terrorist group. A follower type. Jordy’s Mom: 50-65, Black / African Descent, a mother hen. She loves her baby boy and even though he is an adult and about to get married, he’s still her baby boy.

Jordy’s Dad: 18+, Black / African Descent, a John Witherspoon/David Keith type. Strong and commanding with a no-nonsense type of humor.

• Seeking submissions from NY. • Send submissions to dana.3ckmedia@

gmail.com.

• Pays $100 per day plus meals and trans-

portation provided.

Student Films ‘Saddest Vanilla’

• Casting “Saddest Vanilla,” a two-min-

ute short film about a cold shoulder being discussed over ice cream.

• Company: Feirstein Grad School. Staff:

Julia Zanin de Paula, dir.-prod.

• Shoots for two afternoons between

Aug. 29 and Sept. 8 in Coney Island. It is an exterior scene and we will be looking into forecast to decide when to shoot.

• Seeking—Queer Couple: transgender,

18+, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, backstage.com

SUBMIT YOUR CALLS FOR CAST AND CREW: Visit backstage.com/findtalent and click on “Post a Notice.”

Include all relevant project requirements, including any pay, fees, dues, costs, required ticket sales or nudity.

Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a double-role opportunity; BIPOC queer couple or two BIPOC queer friends that have been quarantining together, as the scene will require a kiss on camera. The two actors will be the only ones onscreen. Note: Include information about your partner (photo, description, acting experience) in your submission.

Casting picks of the week

BY LISA HAMIL

tv

‘Stranger Things’ Travel back to when monsters were the strangest thing we could imagine, in Atlanta, GA

• Seeking submissions from NY. • Send submissions to reachingjulia@

gmail.com.

• For consideration, submit your part-

national commercials

ners’ information as well as yours.

• No pay, but travel and meal provided.

SAG National Automotive Commercial Drive into the future in Los Angeles, CA

COVID safe set: masks at all times, very small crew of 9 people, exterior shots only, 6-hour shooting day.

‘Tether’

• Casting “Tether,” a student film for

tv

New York Film Academy. Synopsis: Taken hostage and forced to conduct experiments by a mysterious corporation, Jason Denzer attempts not only to understand, but to escape his captors before time runs out.

‘For My Man’ Recreate deadly relationships in Knoxville, TN for this true crime series

• Production states: “Crew of five. All

crew members have been recently tested for COVID 19. One crew member will be operating as COVID Compliance Officer to maintain the safety of all cast and crew.”

film

‘Volte-Face’ Cure hate in this psychological thriller shooting in NY

• Company: New York Film Academy.

• Shoots Aug. 17-18 in NYC. • Seeking—Jason Denzer: male, 25-32,

reality tv & documentary

Black / African Descent, an ex-military with an athletic build. He is quick-witted and loves to crack a joke, but beneath the surface he carries the pain of the friends he’s lost in the past. Waking up trapped with a strange device affixed to his hand, he develops a relationship with the scientist Nora, who is holding him hostage.

Nora: female, 20-35, a scientist working on the behalf of a mysterious corporation. She must convince Jason Denzer to carry out a test in order to reach the results she desires. As time passes she begins to let Jason in a bit, but always tries to keep him on task.

In the conclusion of the short, we discover that the experiments have been killing Jason slowly, and Nora has known all along.

Lego Branded Content Video Seeking kids 5-8 to show off their real life quarantine Lego creations over zoom

• Meals provided. SAG-AFTRA Student

Film Agreement.

• Seeking submissions from NY. • Send submissions to gregcontaldi@

gmail.com.

• No pay.

Reality TV & Documentary Clothing Documentary, Adults

• Casting adults for a documentary look-

ing to film a series of short interviews, discussing meaningful items of clothing. Synopsis: Think about a piece of clothing with a compelling story behind it and share what you remember.

• Company: Jackalope Productions.

Staff: Tallie Johnson, prod.

• Shoots Aug. 20-22 for 30 minute inter-

views at a Soundstage in Brooklyn, NYC. • Seeking—Yourself: 18+.

• Seeking submissions from NY. • Apply on Backstage.com.

• Note your availability. Upload a short

video of you talking about a clothing item that you have kept because it has meaning to you and the story behind it. (i.e. how you got the clothing item, why you kept it, what memories does it bring up for you, how do you feel when you wear it?) Be available on one of the following dates: Aug. 20, Aug. 21, or Aug. 22. The interviews will be 30 minutes. We will be following COVID safety protocols.

• This is a documentary series, so there

will be no payment.

CBS Daytime Talk Show, ‘Marriage Proposal Fails’

video depicting the trajectory of a man’s relationship with a woman in reverse, told through endlessly looping, impressionist vignettes. No speaking will be involved, so it will all be visual acting. Casting states: “If you are new to acting, that’s totally fine - the director is very open to discovering and working with someone new. If you’d like to be considered, there is a short video

• Company: CBSViacom. Staff: G.

25

18+, talk show guest who has experienced a marriage proposal fail.

Music Videos

riage proposal fails for a new CBS daytime talk show. Production states: “Did he get down on a knee on a bridge and drop the ring into the river below? Did she faint when she was asked to get married? Is this or someone you know?”

dent.nyfa.edu.

• Shooting begins ASAP. • Seeking—Talk Show Guest: all genders,

Scripted TV & Video • Seeking guests for a segment on mar-

• Seeking submissions from NY. • Send submissions to t.fugarino@stu-

Contaldi, casting.

British Band Music Video

• Casting the male leading role in a music

08.13.20 BACKSTAGE

casting California for you to tape based on a scene in the music video. The video audition should only take you a few minutes to record.”

• Company: Kate Antognini Casting.

Staff: Kate Antognini, casting dir.

• Shoots Aug. 16 in NYC. • Seeking—Man: male, 22-37, all ethnici-

ties, a guy with an intense face and a nervous energy. Woman: female, 22-36, all ethnicities; must be good with physical/silent acting and have an expressive face.

• Seeking submissions from NY. • Send submissions to kantogni@gmail.

com.

• For consideration, submit with your

interest in the project. Casting will reach out if interested; there is a short video for you to tape based on a scene in the music video. The video audition should only take you a few minutes to record.

• Pays $1000/up to 12 hr. shoot (man

role); $500/up to 8 hr. shoot (woman role).

Local Commercials Healthcare Branding Photoshoot

• Casting healthcare branding photos

and videos.

• Company: Dark White Studios. Staff:

Jacob Hersko, dir.

• Shoots Aug. 25-27 outdoors in Brooklyn

and Manhattan.

• Seeking—African American Senior

Citizen: 55-65, Black / African Descent.

Hispanic Senior Citizen: 55-65, Latino / Hispanic. Asian Senior Citizen: 55-65, Asian. South Asian Senior Citizen: 55-65, South Asian / Indian, Southeast Asian / Pacific Islander. Russian Senior Citizen: 55-65, White / European Descent. Caucasian Senior Citizen: 55-65, White / European Descent.

• Seeking submissions from NY. • Send submissions to nypixny@gmail.

com.

• Pays $300 stipend.

self tape auditions. For consideration, include a cover letter with your submission along with a reel and headshot.

• Rehearsals/meetings and shoot dates

TBD in early 2021 in L.A.

• Seeking—Natalie: female, 18-20,

Middle Eastern. Jalpa: female, 18-20, South Asian / Indian. Liz: 18-20, Asian.

Raj: male, 18-22, South Asian / Indian.

Ted: male, 18-20, Asian. Joseph: male, 45-58, Middle Eastern. Samira: female, 40-55, Middle Eastern. Sue: female, 40-50, Asian. Amir: male, 43-54, South Asian / Indian. Ben: male, 18-20, White / European Descent. Sarah: female, 18-20, White / European Descent.

• This will be a flat rate of $350.

Southern California

• Seeking submissions from CA. • Send submissions to laughingturtle-

Plays

films@gmail.com.

‘The Mystery Show’

• Self-tapes only.

• Pay dependent on role. Adheres to

terly performance of a whodunnit that even the actors have not read: each episode is a Hollywood send-up full of surprises, scares, and whiskey sodas.

Casting states: “We are currently organizing a version of this show in quarantine, and are looking for new members to join our company.”

‘Tweed’

guidelines of SAG-AFTRA Ultra Low Budget Indie Feature rates, and sometimes more than that depending on role.

• Casting “The Mystery Show,” a quar-

• Casting lead and supporting roles in

“Tweed,” a feature film.

• Company: Tweed Films. Staff: Michael

Roccio, prod.; Alexander Wraith, dir.

• Company: The Hollywood Mystery

Society. Staff: Kristin Walker, talent dir.

August; additional shows in September and paid gigs in October for Halloween. ethnicities, a hero who will unmask the villain and save the day. Often (in the Mystery Show), the Hero turns out to be the Villain, and the Villain simply a misunderstood Hero. Villain: all genders, 21+, all ethnicities, often, in the Mystery Show, the Villain turns out to be a misunderstood Hero.

• Seeking submissions from CA. • Send submissions to gkarber@gmail.

com.

• For consideration, submit a video of

you reading from Shakespeare’s Scottish Play (preferred) or a reel.

• A fundraising show that is free to

attend.

Feature Films ‘The Breakdown’

• Casting “The Breakdown,” a romantic

Online Commercials & Promos Telehealth Social Media Ad • Casting a social media shoot for K

Health, a telehealth service.

• Company: Social Method.

• There will be no in person rehearsals;

shoots Aug. 24-25 at an Airbnb in New York.

• Seeking—K Health Doctor: female,

35-47, main character playing a doctor.

K Health Patient: male, 20-35, main character playing patient with minimal lines.

comedy feature. Synopsis: High school band members join ballroom music/ dance with international students.

• Company: Lindero Edutainment. Staff:

Lindero Edutainment, prod.

• Films Aug. 19 in Laguna Hills, CA. • Seeking—International Students: all

genders, 18-24, high school students.

Bonus if talent can dance or play a jazz instrument. International Parents: 40-60. Australian Accent Girl: female, 18-24, must have Australian Accent.

Attractive, combative, challenging, but lets her guard down and laughs. Playful.

• Seeking submissions from CA. • Send submissions to gillianw0206@

gmail.com. provided.

‘First Generation’

• Casting “First Generation,” an indepen-

headshot and reel, if available. For auditions, come prepared for an intense ad lib scene being attacked by a monster.

• No in-person auditions; only accepting

• Company: Laughing Turtle Films.

AFTRA payment guidelines.

BACKSTAGE 08.13.20

dent feature.

• Company: MP Productions. Staff: Tyler

Skillings, dir.

• Shoots Aug.14 in Long Beach, CA. • Seeking—Young Adrian: male, 5-12,

White / European Descent, casting Young Adrian for a flashback sequence where the boy witnesses his father’s abuse of his mother; he’s distraught, confused, and scared. Cultist: 18-30, all ethnicities, One of the cultists involved in the “Group Therapy” that eventually summons something dark and horrible into the woods. People who on the surface seem friendly and inviting, but have a dark edge to them. Think the Manson family in “Once Upon a Time In Hollywood” or the people from Terminus in “The Walking Dead.”

• Must be available Aug. 14 in Long

• Seeking submissions from NY. • Send submissions to mia@social-

method.com.

must face his traumatic past as he encounters a demon that appears when he blinks.

• Seeking—Haley: female, 18-30,

• Seeking submissions from CA. • Apply on Backstage.com • For submissions, be sure to include a

• Unpaid. Screen credit and meals

• Casting “Blink.” Synopsis: A young man

• Seeking submissions from CA. • Send submissions to Tyler.a.skillings@

Ethnically Ambiguous / Multiracial, White / European Descent, a model; one tough fox; don’t let her beauty disguise her brains; this Magna Cum Laude 19-yrold might not be a scientist, but she’s a future Forbes 100 CEO; with a break from exams, she is ready to disappear from school and who better to explore an adventure with than her boyfriend.

Chloe: female, 18-30, Ethnically Ambiguous / Multiracial, White / European Descent, probably spends more time on her manicures and fashion accessories, then developing her brain, but this witty 20-yr-old prom Queen is built to party; she was made for adventures; she might not be the perfect camping companion, but what she doesn’t know in building a tent, she makes up for in fun. Chris: male, 18-30, Ethnically Ambiguous / Multiracial, a sharp 20-yr-old multi-disciplinary artist with his sights set on documentary film; following the discovery of the urban legend of Tweed, Chris is out to prove that this myth of folklore is grounded in fact.

Kody: male, 18-30, Ethnically Ambiguous / Multiracial, might not be the best running back or tennis pro, but he can handle his own. He’s still an all-around jock; this 21-yr-old doesn’t mesh well with his best friend Chris, but knowing someone for over 15 years must mean something; this jock is one thrill seeking adventure nut and he is ready for a good time, before he has to snooze through another 4 months of classes. Sheriff: male, 30+, Ethnically Ambiguous / Multiracial, this backwoods police officer is not trustworthy; his entire persona is suspicious and creepy; this is the last person you want protecting you.

• Seeking—Hero: all genders, 21-35, all

‘Blink,’ Feature Proof of Concept

• Shoot dates TBD in Sept.-Oct. in the

L.A. area.

• The next show will be at the end of

Short Films

• The production plans to follow SAG-

26

biola.edu.

Beach.

• Pays $330/10 hrs.

Student Films ‘Match’

• Casting “Match,” a student short film.

Seeking actors based in CA, shoot will be remote.

• Company: USC. Staff: Cassie Howell,

dir.; Josh Greene, prod.; Anjuli ArreolaBurl, DP. • Works remotely Aug. 29-30 and Sept.

4-5.

• Seeking—Sadie: female, 15-21, all eth-

nicities, to play 13; athletic, insecure, afraid of upsetting or disappointing people which leads to a complicated and ultimately inappropriate relationship with her adult soccer coach, Bryan.

Sadie is a goalie on her middle school girls’ soccer team; has big aspirations but struggles to form relationships with teammates due to shyness and insecurity. Bryan, her coach, takes a disturbing interest in her. When his inappropriate behavior is exposed, he is promptly fired. This short depicts a FaceTime call between the two after Bryan has been ousted from the school and team. Sadie must decide if she will continue the relationship or risk losing one of the only people who has ever made her feel special. Note: Actress should be prepared to discuss the complicated nature of a relationship between an adult and an adolescent.

Parent should be informed and consenting (in case of a minor). There is no sexual content discussed or displayed on screen. Production also requires a reasonable amount of actual filmmaking on the part of the actress, from setting up shots to recording their own sound. List any gear/technology you have access to or any prior filmmaking experience in your response. No experbackstage.com

California casting

tise is required, merely the desire to collaborate. Bryan: male, 32-51, all ethnicities, to play 51; desperate, lonely, in a downward spiral after his advances towards one of the adolescent girls on his soccer team are exposed. Bryan is a middle school girls’ soccer coach who struggles with pedophilic attractions.

He fixates on his team’s goalie, Sadie, an outcast with crippling insecurity.

Their relationship starts innocently enough, with rides home from practice and ice-cream trips, but when other parents on the team take note of his increasingly inappropriate behavior he is fired from the school. The short covers a FaceTime call between the two where Bryan tries to rekindle their relationship. He has already lost everything and cannot bear to lose her as well.

Note: Actor should be prepared to discuss the complicated nature of a relationship between an adult and an adolescent, keeping an open mind and researching the nature of pedophilic thoughts and attractions. There is no sexual content discussed or displayed on screen. Actor will need access to some sort of pet (cat or dog) and should have a car they can film in. Production also requires a reasonable amount of actual filmmaking on the part of the actor, from setting up shots to recording their own sound. List any gear/technology you have access to or any prior filmmaking experience in your response. No expertise is required, merely the desire to collaborate.

Emmett: male, 30-50, all ethnicities, 47, auditioning 30-50; hardworking, a man of few words, Emmett struggles to connect with his daughter Sadie and is therefore ignorant of her continued contact with her former soccer coach with whom she had an inappropriate relationship. Emmett is a janitor at a local elementary school; works long hours to provide for his daughter Sadie, being the house’s only source of income. Though he supports and loves her, he has trouble connecting with her emotionally. When he arrives home and Sadie is on a FaceTime call with her former soccer coach, the audience is left in suspense as to whether he will discover their continued contact. Note: This part is voiceover only. Production is entirely online and will require the actor to record their own sound. Please list any gear/technology you have access to or any prior filmmaking experience in your response. No expertise is required, merely the desire to collaborate.

• Seeking submissions from CA. • Send submissions to cassandraclaire-

howell@gmail.com.

• For consideration, list prior filmmaking

experience in your response. Indicate if you have worked on an online/Zoom production before or if you have worked on an SCA or 310 production in the past. List potential availability this month for rehearsals.

• No pay. Copy and credit. Actor’s lunch

will be compensated on shoot days.

SAG-AFTRA Student Film Agreement.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

‘My Mother’s Voice’

together, inspires love and challenges conventional thinking. We’re all about embracing empathy.”

• Casting “My Mother’s Voice,” a short

student film about a Black mother who worries about her son.

• Company: Jubilee Media. Staff: Kendra

Okereke, casting prod.

• Company: FreeWill CW/DawkinsMedia.

Staff: Chrishenda Dawkins, dir.

• Tentatively shoots Aug. 14 in Los

Angeles, CA. Note: This will be an inperson shoot following the CDC guidelines.

• Rehearsal and blocking on Aug. 17;

shoots Aug. 21 in Tarzana, CA.

• Seeking—Charlotte: female, 30-55,

Black / African Descent, African American female to play 30-40 years old. Mother of Malcolm. Plays a vital role in worrying about her son whenever he leaves home. Role requires voiceover work. Malcolm: male, 18-30, Black / African Descent. Genesis: male, 18-34, Black / African Descent, Ethnically Ambiguous / Multiracial. Officer extra: all genders, 18-40, Asian, Ethnically Ambiguous / Multiracial, Southeast Asian / Pacific Islander, White / European Descent, This role is offered for those who currently own a officer uniform already!

• Seeking—5-10 Year-Olds: all genders,

5-10, all ethnicities, outspoken, outgoing, and comfortable being on camera, a competitive and fun spirit.

• Seeking submissions from CA. • Send submissions to Casting@jubilee-

media.com.

• For more info on the type of work the

company does visit www.youtube.com/ watch?v=CD7UmmLhFR8&t=372s to see “Odd Man Out.” • Unpaid. Production states: “We do all

our content on a volunteer basis which means we are unable to offer payment or cover the cost of travel and accommodation. This has been consistent with cast members throughout all of our videos since Jubilee started. We feel we do really great work here at Jubilee and how we do that is by primarily working with people who fall in line with our vision of bridging people together, inspiring love and challenging conventional thinking. We feel this would be a really great opportunity to share your story as we have a positive platform and generate anywhere from hundreds of thousands to millions of views on our videos consistently. Since we are unable to pay, a small thing we do is feature the social handles of people in our videos. This does not apply for minors though.”

• Seeking submissions from CA. • Apply on Backstage.com.

• Audition will be held via Zoom.

• Credit and meal provided.

Scripted TV & Video ‘Chicken Girls’

• Casting Season 7 of our Brat TV show

“Chicken Girls.”

• Company: Brat TV. Staff: Brat TV, talent

coord.

• Shoots Aug. 22-Sept. 6 in Los Angeles,

CA.

• Seeking—Deborah Sharp: female,

35-50, Latino / Hispanic, White / European Descent, the mother of one of our leads.

National Commercials

• Seeking submissions from CA. • Send submissions to brat-talent@brat.

com.

SAG National Automative Commercial

• Pays $150/day rate including courtesy

breakfast and lunch.

• Casting a major automotive commer-

cial. Seeking a family: a Mom (36+), Dad (36+) and Son (18-25).

Reality & Documentaries

• Company: Asjai Lou Casting. Staff: Asjai

Lou, coord.

• Shoots Aug. 22 for a full day in Los

Angeles, CA.

• Seeking—Mom: female, 36+, Black /

‘Convince Me’

African Descent, Latino / Hispanic. Dad: male, 36+, Black / African Descent, Latino / Hispanic. Son: 18-25, Black / African Descent, Latino / Hispanic.

• Casting 5-10-year-olds for “Convince

Me,” a Youtube series. Production states: “Two people on opposing sides of beliefs/identities will try and convince 3 kids from different age groups, with no strong opinion on either topic, to be on their side. These topics so far include: Vegan Vs. Meat-Eater, ProTrump Vs. Pro-Biden, Monogamy Vs. Polyamory and Christian Vs. Atheist.

Note: This is not an acting role. You will not be required to ‘perform’ a character or anything else. Be aware of this before applying. We are looking for people who personally identify with the topic/role in their personal lives. Jubilee Media is a digital media company based in Los Angeles with over 5.4 million subscribers on Youtube. Our goal is to create content that bridges people

• Seeking submissions from CA. • Apply on Backstage.com.

• Pays $700/person for one day shoot

and residuals.

Online Commercials & Promos Baby Bottle Commercial

• Casting families (Moms, Dads, Toddlers,

Babies) to be in a commercial for a new

27

baby bottle that is coming to the market. Casting states: “Moms and Dads must be comfortable acting and have a general outgoing and friendly personality on camera. We’re looking for real moms and dads who are able to have their children in the commercial with them, using the baby bottle.”

• Company: Pure Cinema. Staff: Luke

McCain, prod.-dir.

• Shoots Aug. 18 or 19 in San Diego, CA. • Seeking—Mom: female, 24-40, all eth-

nicities, our ideal mom will have real children who are able to be in this commercial with her; a mom with a baby(s), and/or toddler(s); we are not looking for Moms who do not have babies. Dad: male, 25-45, all ethnicities, our ideal Dad will have real children who are able to be in this commercial with him; dads who have baby(s) and/or toddler(s).

• Seeking submissions from CA. • Send submissions to luke@purecinema.

tv.

• Audition details will be sent to select

candidates after headshots and reels are submitted.

• Pay is $500/half day, $1k/full day (per

family.)

Camper Van Commercial

• Casting promotional content for a com-

pany that makes modified vans for camping. Producer states: “We will shoot a family of four enjoying the van in several scenarios - camping, hiking, sleeping, and working.”

• Company: Bernwood Productions.

Staff: Matthew Eastwood, dir.

• Shoot is TBD in or near Los Angeles.

• Seeking—Family of Four: 5-50, ideally

an actual family of four for this role (and a dog, ideally!). We wouldn’t normally do things this way of course, but at the moment casting four separate actors to sit together in a van doesn’t seem smart. So we are putting this up to see what we can find.

• Seeking submissions from CA. • Send submissions to productions@ber-

nwood.tv.

• Pays $1000 total ($250/person), plus

meals will be provided.

Financial Literacy Spot

• Casting “everyday people” who have a

good energy, are bubbly and smart, and care about their financial literacy. This is a 15-20 minute piece for a major retailer to be used internally for employees and promoted externally online.

• Company: Roosterly. Staff: Michael

Benti, coord.

• Shoots TBD dates in the Santa Monica,

CA area (potentially outdoors and at a studio).

• Seeking—Everyday Person with Good

Energy: all genders, 30-60, all ethnicities.

• Seeking submissions from CA. • Send submissions to irfan@roosterly.

com.

• If you can send a sample video clip of

work you’ve done in addition to headshots that would be great.

• Pay provided.

Mental Health Social Spot, Depression

• Casting for a social spot for a mental

08.13.20 BACKSTAGE

casting National/Regional health and counseling service.

Company states: “This spot centers around dealing with depression, and part of our concept is visualizing how depression feels. Our story follows a woman who falls into a darkness as she does more depressive things (ex. Not getting out of bed, ignoring texts, not eating, etc). Mental health is a very serious issue and can be difficult to convey on screen. If you have experienced depression, or have had a family member or close friend deal with depression please let us know. We believe having first hand experience with depression will lead to on screen authenticity. Our biggest goal with our casting is to properly represent mental health issues in a respectful and relatable way.”

• Seeking—Caroline: female, 18-40, all

tape of your experience with panic and anxiety. Even though this isn’t a testimonial piece, we’d like to know where you’re coming from and how you’d approach the role. We’d also love to see any past roles that are relevant to these topics. Limit your past work submissions to two pieces. Due to the high number of submissions, we will not be able to review more than that.

• Note: Submissions that contain both a

Harty, exec. prod.; Alexander Gilbert, dir.

Angeles.

submit your day rate.

• Shoots Aug. 18-23 (one day) in Los

• Seeking—Amy: female, 18-40, all eth-

nicities, main character who is experiencing depression. As she falls into a more depressive state, we visualize that transition by the character falling into a dark shadow. Light begins to return when her counselor reaches out.

• Seeking submissions from CA. • Apply on Backstage.com.

• For consideration, submit a video self

tape of your experience with depression. Even though this isn’t a testimonial piece, we’d like to know where you’re coming from and how you’d approach the role. We’d also love to see any past roles that are relevant to these topics.

Limit your past work submissions to two pieces. Due to the high number of submissions, we will not be able to review more than that.

• Note: Submissions that contain both a

video self tape and relevant work samples will be reviewed and considered.

Do not reach out directly to the production company, producer, or director.

• Nonunion. Day rate TBD. Feel free to

submit your day rate.

Mental Health Social Spot, Panic + Anxiety

• Casting for a social spot for a mental

health and counseling service. This spot centers around dealing with panic and anxiety. Company states: “Our story revolves around a woman who is experiencing panic and anxiety surrounding speaking in front of her peers. As panic and anxiety start to set in, she moves to the bathroom and uses a grounding technique in combination with texting her therapist to calm down. Mental health is a very serious issue and can be difficult to convey on screen. If you have experienced depression, or have had a family member or close friend deal with panic and anxiety please let us know. We believe having these first hand experiences will lead to on screen authenticity. Our biggest goal with our casting is to properly represent mental health issues in a respectful and relatable way. “ • Company: Long/Division. Staff: Erik

Harty, exec. prod.; Alexander Gilbert, dir.

• Shoots Aug. 18-23 (one day) in Los

Angeles, CA.

BACKSTAGE 08.13.20

female, 25-30, Ethnically Ambiguous / Multiracial, Latino / Hispanic, a woman lounges by the newly renovated pool at the Hotel Del Coronado. Female - Sun Deck Scene 1: female, 30-40, White / European Descent, three girlfriends enjoy a girls’ weekend at the Hotel Del Coronado where they lounge by the newly renovated pool and enjoy drinks by the fire on the Sun Deck. Female Sun Deck Scene 2: female, 30-40, Ethnically Ambiguous / Multiracial, Latino / Hispanic, three girlfriends enjoy a girls’ weekend at the Hotel Del Coronado where they lounge by the newly renovated pool and enjoy drinks by the fire on the Sun Deck. Male - Sun Deck Bar: male, 30-40, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a couple enjoys a sunset drink at the newly renovated Sun Deck at the Hotel Del Coronado. Family - Beach Scene: 4-40, Black / African Descent, Ethnically Ambiguous / Multiracial, looking for a real family of four (4) to be featured models for a shoot at the Hotel Del Coronado. In the scene, the family will be enjoying the beach, beach cabanas and playing in the water.

Submit a recent photo of your family for consideration. Family - Pool/ Cabana/Lunch: 5-40, all ethnicities, looking for a real family of four to be featured models for a shoot at the Hotel Del Coronado. In the scene, the family will be enjoying the newly renovated pool and cabanas as well as playing in the water. The family will also have a fun lunch at the new Italian restaurant on the property as well.Submit a recent photo of your family for our consideration. Male - Older Couple (Dinner): male, 50-65, all ethnicities, photo/video shoot of an older couple enjoying a sunset dinner at the Hotel Del Coronado. Female - Older Couple (Dinner): female, 45-65, all ethnicities, photo/video shoot of an older couple enjoying a sunset dinner at the Hotel Del Coronado. Couple - Oceanside Cabana/Dinner: 27-35, all ethnicities, looking for a real couple for a photo/ video shoot at the Hotel Del Coronado.

The couple will help showcase the newly renovated oceanside cabanas as well as enjoy a romantic dinner at the resort’s signature restaurant. Submit a recent photo of yourself and your significant other. Couple - Hotel Bar Scene: 27-35, all ethnicities, looking for a real couple for a photo/video shoot at the Hotel Del Coronado. The couple will help showcase the newly renovated hotel bar while enjoying some of their signature cocktails. Submit a recent photo of yourself and your significant other for our consideration. Female Roller Skating Scene: female, 21-35, all ethnicities, two friends roller skate down the beautiful boardwalk at the Hotel Del Coronado. Submit a brief video of rollerskating proficiency.

Marilyn Monroe Look Alike: female, 25-35, White / European Descent, looking for a Marilyn Monroe look-alike to help recreate some of the most iconic images taken of her while filming “Some Like It Hot” at the Hotel Del

• Seeking submissions from CA. • Apply on Backstage.com.

• For consideration, submit a video self

video self tape and relevant work samples will be reviewed and considered.

Do not reach out directly to the production company, producer, or director.

• Company: Long/Division. Staff: Erik

• Seeking—Female - Pool/Cabana Scene:

ethnicities, main character who experiences panic and anxiety after a triggering work situation.

• Nonunion; day rate TBD. Feel free to

Pharma Commercial, Swimmers

• Casting African American swimmers in

Northern CA for a commercial for a Pharma company. Seeking submissions this week.

• Company: Kristen Beck Casting. Staff:

Kristen Beck, casting dir.

• Shoots Aug. 21-22 (1-2 days needed) at

Lake Tahoe, CA. Note: A safety official will be on set according to SAG rules and Covid protocols will be followed.

• Seeking—Water Lovers & Enthusiasts:

all genders, 30-50, Black / African Descent, water enthusiast that likes to swim in Lake Tahoe or jump from the rocks; approx. 30-50 years old, live within two hours of the Tahoe area.

• Seeking submissions from CA. • Send submissions to kbbcasting@

gmail.com.

• For consideration, submit your name,

contact number, email and location (must live within 2 hours of Lake Tahoe), JPG photos (a full length & smiling closeup; wear your bathing suit if possible) and a short note about yourself (what you do for work and like to do for fun.

Tell about your swimming experience.

Do you like to jump into lakes or feel comfortable jumping?) and include video if you have it.

• Casting this week. No in-person

interviews.

• Screen Actors Guild wages apply but

participants may be non-union.

Commercial & Fit Modeling Hotel Del Coronado Promotional Shoot

• Seeking talent for a photography and

video shoot highlighting the amenities and new renovations at the beautiful and historic Hotel Del Coronado.

• Company: WeCreate Media. Staff:

Jeremy Bustos, photographer; Logan Moore, cinematographer.

• Shoots Sept. 22-26 at the Hotel Del

Coronado (1500 Orange Ave.) in Coronado, CA.

28

Coronado.

• Seeking submissions from CA. • Send submissions to logan@wecreate-

media.com.

• In your cover letter, indicate your avail-

ability for the shoot.

• Compensation varies depending on full

day, half day, and single shot bookings.

In addition to monetary compensation, all models will receive high res images and video from the shoot for their professional portfolios and reels.

National/ Regional Feature Films ‘De Gringo A La Tumba’

• Casting the independent feature film

“De Gringo A La Tumba.” Project description: “A race-against-time drama, set along Mexico’s most lethal Northern borders.”

• Company: Screenwriting Staffing.

Staff: Jacob N. Stuart, dir.

• Shooting TBD in El Paso, TX & Juarez,

Mexico.

• Seeking—Paloma: female, 5-8, Latino /

Hispanic, born into a life of crime, sharp little girl, only speaks Spanish.

• Seeking submissions from TX. • Those interested in the listed roles

must have a passport. Submit only through this form: www.screenwritingstaffing.com/casting.

• Some pay. SAG-AFTRA Ultra Low

Budget agreement.

Short Films ‘Battle of Gonzales’

• Casting “Battle of Gonzales,” a short

film about the Battle of Gonzales. Santa Anna wants to take back the cannon he gave to the town of Gonzales for protection. The townspeople have heard of Santa Anna’s increasing cruelty and decide to stand their ground and keep the cannon.

• Company: Texas Public Policy

Foundation. Staff: Cecilia Stevenson, prod.

• Shoots Aug. 24-25 in Austin, TX. • Seeking—Narrator: male, 35-45, all

ethnicities.

• Seeking submissions from TX. • Apply on Backstage.com • For consideration, submit a video audi-

tion reading the sides for the Narrator.

• Pay provided.

‘Love is Wrong & Love is Right’

• Casting “Love is Wrong & Love is Right,”

a short film. Synopsis: An everyday love story about how we choose the person we want to be with over the person we need to be with.

• Staff: Julian Vann, prod.

• Shoots Aug. 15-16 in Plainfield, IL.

backstage.com

National/Regional casting

• Seeking—Tasha: female, 29-45, Black /

African Descent, Latino / Hispanic, to play wife or girlfriend.

• Seeking submissions from IL. • Send submissions to jjvann01@aol.com.

• Pay TBD.

‘Remember This Night’

works to help his friend piece together his memories of the past. *Urdu or Hindi language preferred changes can be made for the right actor.

• Seeking submissions from GA. • Apply on Backstage.com.

• Pay provided.

• Casting “Remember This Night,” a

short film. Synopsis: At what point does new love turn into long lasting companionship? “Remember This Night” hopes to capture this transitional moment through well choreographed, and timely, action. A short film intended for web, festival & promotional campaign distribution.

Student Films ‘Mismatched: Twelve RealLife Bad Date Stories’

• Casting “Mismatched: Twelve Real-Life

Beau Batchelor, prod.; Daniela Goncalves, dir.

Bad Date Stories,” a student film that is 7-10 minutes in length. Logline: A woman finds herself on a date with someone who is a total mis-match.

Harvard, MA.

Cinema. Staff: Ajit Dias, dir.

• Company: Bearwalk Cinema. Staff:

• Shoots Aug. 16 (10 a.m.-8:30 p.m.) in • Seeking—Luna: female, 18-35, all eth-

nicities, compassionated, understanding, and slightly dominant; Luna guides Sadie (her co-star) through the journey after Sadie expresses reservations about love and what it means to her.

LGBTQ orientation preferred. Sadie: female, 18-35, all ethnicities, intelligent, thoughtful, slightly reserved; Sadie expresses her problems right from the beginning, shading doubt on what she believes and questioning what could come of her feelings; it isn’t until Luna guides her through her feelings does she begin to open up. LGBTQ orientation preferred.

• Seeking submissions from MA. • Send submissions to Beau@thebear-

walk.com.

• Self-tapes only.

• Pays $150 flat. Catering provided and

not included in $150 payment. Travel expenses not included.

‘The City He Forgets’

• Casting “The City He Forgets,” which

follows a developer as he grapples with his declining health and the ethics of the choices he’s made in life.

• Company: SCAD. Staff: Tashina

Southard, prod.; Rehab Maqsood, writer-dir.

• Shoots weekends Sept 18-20 and 25-27

in Atlanta, GA. Note: Roles will shoot one-four days falling on those weekends.

• Seeking—Arya: female, 18-30, South

Asian / Indian, radical, compassionate, and brave, Arya heads an NGO that focuses on environmental issues in urban spaces; equally at home at a cocktail party or unruly protest. Cierra: female, 18-26, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, privileged, well connected, and knows it; creative and socially active in the local art scene. Arnold: male, 29-40, all ethnicities, obsessed with success, not worried about ethics; wins at everything. Michael: male, 26-45, South Asian / Indian, Michael, A hard-working, perseverant man with a desire to make the world a better place.

He is a formerly radical activist who VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

backstage.com

• Company: Feirstein Graduate School of • Shoots remotely via Zoom.

• Seeking—Briona: female, 18-25, Latino

/ Hispanic.

• Seeking submissions worldwide.

• Send submissions to ajitdiasfilms@

gmail.com.

• Auditions will be held Aug. 14 (1 p.m.

EST) online via Zoom. A reasonable internet connection is recommended.

• Credit and footage for reel will be

provided.

‘Pasos de Color’

• Casting “Pasos de Color,” a student

short film. Synopsis: With their mother’s last savings, siblings Antonio and Luisa embark on an adventure to get supplies for their household in the middle of the city, but what begins in a simple task quickly devolves in a call for hope from the pair of siblings.

• Note: Casting will be held over online

meetings due to COVID-19 guidelines, video submissions accepted.

• Company: Lacuna Pictures - The Art

Institutes. Staff: Ahytana Alencar, student film prod.-dir.; Ana Diaz, casting dir.; Manuel Del Puerto, DP; Yerlin Ortiz, AD; Lij Watson, DP assistant; Victoria Hernandez, art dir.; Adelaida Crews and Santiago Schneider, crew.

• Two virtual script readings in Aug.;

rehearsals TBD in Sept.; shoot dates TBD in late Sept./early Oct. in South Florida (North Miami to Homestead).

• Seeking—Antonio Diaz: male, 9-16,

Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, Birthday: 05-24-1987; 12 y/o.; dark brownish eyes; brownish skin; curly brown messy hair; tall for a 12-year-old; slim but strong. Older brother for Luisa, only son of Maria. He goes out of the way to help his Mom and sister.

He’s loving, charismatic and brave for his sister, he defends her until the end.

Over the adventure he learns the meaning of trust and care. Luisa Diaz: female, 5-12, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, Birthday: 06-17-1991; 8 y/o.; dark eyes; brownish skin; dark medium length hair. Small but tenacious little sister to Antonio, she understands and helps him on supporting their small family, she’s stubborn and brave for a little girl, and also very sassy some-

times. She’s a kind and careless at the same time but has a heart of gold.

Maria Diaz: female, 25-40, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, White / European Descent, Birthday: 08-071967; 32 y/o; hazel eyes; light brownish skin; long messy dark hair; medium height. Mother to Antonio and Luisa, she guides them in the essentials of life, she counts on them to help her with the daily tasks and the small job she has as a mother. She caring and loving and tries to keep her kids safe, even if she have to ask them to do some favors from time to time. Hunter: 11-16, White / European Descent, Birthday: 11-06-1986; 13 y/o; light colored eyes; Caucasian; light short hair, could be a ginger boy; Medium height.

Sassy, little brother for a member of a small gang of the town, they just like to mess up with everybody. Hunter is cocky and likes to molest people around in town, always taking advantage of newcomers or innocent ones.

Max: 18-24, Ethnically Ambiguous / Multiracial, White / European Descent, Birthday: 06-17- 1980; 19 y/o; light skin, Caucasian; dark blonde short hair.

Hunter’s brother, tall and with a deep voice, he alongside with Louie conform the town’s small gang, getting into trouble a lot. Cole: 18-24, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Birthday: 06-17-1981 18 y/o; brownish skin; dark short hair.Max’s friend, part of the town’s gang. Is almost a brother for Hunter as well. Gets into trouble a lot, but charismatic.

• Seeking submissions from FL. • Send submissions to ahytanaaalencar@

gmail.com.

• The casting will be held during an

Online Meeting via Zoom. Video submissions accepted if necessary.

• No pay, food and transport will be pro-

vided for shooting. All following COVID19 guidelines.

Scripted TV & Video ‘For My Man’

• Casting for season six of the TV One

series “For My Man.” Project description: “Real woman in real relationships that will do anything for their man.”

Casting director notes: “ This series is true crime recreation. Role may include mild, scripted violence or sexuality.”

• Company: The Hive Casting, Jupiter

Entertainment. Staff: Julie Turner, casting dir.

• Shoots Aug. 16-17 in Knoxville, TN. • Seeking—Store Clerk: male, 21+, Black

weight. Talent must reside within driving distance of Knoxville, TN. In light of the current climate in our nation, we are taking extra precautions to abide by the 10 or less gathering suggestion, and will limit people on set. Social distancing will be practiced and the crew will take extra precautions for sanitation. Do not submit if you are not comfortable wearing a mask on set -you may be asked to leave if you do not follow mask wearing protocol, and therefore won’t be paid.

In addition to local talent only, all talent must be prepared to do their own hair/ makeup and wardrobe styling for this shoot.

• Pays $100/day.

Skincare Company, Female Spokesperson 35+

• Seeking women over 40 with great skin

to create video ads for social media for a topical anti-wrinkle product.

• Company: Significant Life LLC. Staff:

Keith Cannone, CEO.

• Due to COVID-19, videos will most likely

shoot remotely from home or at a location close to where talent is located.

• Seeking—Video Spokesperson: female,

35+, White / European Descent, female spokesperson, ages 35+, with great skin.

• Seeking submissions nationwide.

• Send submissions to kcannone@gmail.

com.

• Pay varies based on length of script.

CEO states: “We are also open to supplying product in exchange or as partial payment if you are interested.”

‘Stranger Things’

• Casting season four of the Netflix TV

series “Stranger Things,” starring Winona Ryder and David Harbour.

Project description: “When a young boy disappears, his mother, a police chief, and his friends, must confront terrifying forces in order to get him back.”

• Company: Netflix, Casting Taylormade.

Staff: Matt & Ross Duffer, exec. prods.; Heather Taylor, casting dir.

• Shooting dates TBA in Atlanta, GA. • Seeking—Russian Types: all genders,

18+, Russian decent (or similar look), must be open to having hair cut.

Gymnastics or Aerobics Types: all genders, 18-22, all ethnicities, 18 to look younger; notate your experience.

General Background: all genders, 18+, females ideally should have shorter hair lengths or open to hair cut, males ideally have longer hair lengths and are open to hair cut.

• Seeking submissions from GA. • To apply, complete the online applica-

tion at www.castingtaylormade.com/ adult-casting-call-18100yrs.

• Pays $80/8 hours.

/ African Descent. Pawn Shop Employee: all genders, 21+, Black / African Descent. Defense Attorney: male, 30-60, Black / African Descent, clean cut, must own professional attire.

Reality TV & Documentary

hivetv.com.

• Seeking pet lovers to appear on camera

• Seeking submissions from TN. • Send submissions to Julie.turner@the-

Daytime Talk Show, Pet Lovers

• Include your name, location, current

on a new daytime talk show with their pets to ask the resident vet some com-

photos (face & body), height, and

29

08.13.20 BACKSTAGE

casting National/Regional mon questions about their pets! No animal is too big, small, or bizarre! If you’re a pet lover, this segment is for you.

• Company: CBS. • Shoots between late August-Early

September. Note: Final dates are still being solidified.

• Seeking—Pet Lover: 24+, all ethnicities,

tell us what kind of pet you have, and if you have any questions about your pet that only a Vet could answer! Also, include your phone number for easy contact.

families who have overcome serious financial situations (bankruptcy, debt, foreclosure, etc).”

• Company: Georgia State University.

Staff: Thea Washington, casting dir.

20-25 remotely. Note: Following with health guidelines of the COVID era we will consult and direct each actor to shoot the video remotely, in their location. So we are essentially casting some technology and locations as well as actors. We will work with you to find an appropriate location in your home or in a convenient socially distant location available to you. You should have either an iPhone, or other cellphone, iPad, laptop or webcam that has the capability to shoot relatively high quality video.

• Company: Thea Washington Casting.

area.

• Seeking—Interracial Couple: all gen-

• Seeking submissions nationwide.

• Send submissions to hwilsoncasting@

• For consideration, include your phone

VA.

number in your cover letter, and if possible, include a photo of your pet.

• No pay, but production will tape place

remotely.

LEGO Branded Content Video

• Casting LEGO lovers ages 5-8 for a

LEGO branded content video.

Production states: “Should love LEGO’s and be really creative and talkative. If selected we’ll send you a bunch of LEGO’s and let you create some cool stuff.

• No actors. This is a real people casting.”

• Company: Andrew Hecht Media, Inc.

Staff: Andrew Hecht, casting dir.

• Shoots virtually Aug. 21 via Zoom.

• Seeking—LEGO Kids: all genders, 5-8,

all ethnicities, should love LEGO’s and be really creative and talkative; should be real LEGO lovers, not actors.

• Seeking submissions nationwide.

• Send submissions to andrew@andre-

whechtmedia.com.

• For consideration, include photos of

your child and any LEGO creations that he/she has built.

• Compensation: TBD; nonunion.

Toy Model Cars Short Documentary

• Seeking a seasoned veteran stunt

driver (non-union) who can explain the art and science of stunt driving using branded toy model cars. The finished product will run as a spot on a major cable network and will live online on a short form documentary site.

• Company: Andrew Hecht Media. Staff:

Andrew Hecht, casting dir.

• Records remotely via Zoom on Aug. 14.

• Seeking—Veteran Stunt Driver: all gen-

ders, 25-55, all ethnicities, a veteran stunt driver (non-union) who can explain the art and science of stunt driving using toy model cars.

• Seeking submissions nationwide.

• Send submissions to ahecht1@gmail.

com.

• Pay TBD.

Demo & Instructional Videos Financial Video

• Casting a financial video. Project

description: “Currently casting real

BACKSTAGE 08.13.20

• Rehearses Sept. 17-19; shoots Sept.

• Shooting this summer in DC, MD & VA

ders, 25-50, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, married couple, engaging, honest, transparent, with children between the ages of 8-12, interracial couple (one parent or both will be black/latinx).

gmail.com.

Staff: Garrett DeHart, multimedia designer-prod.

• Seeking submissions from DC, MD and • Send submissions to castbythea@

gmail.com.

• Seeking—Voice Over Instructor:

• For consideration, include your names,

ages, location, occupations, phone, email, 4-6 photos of family, and a summary of financial issues and how you have overcome and are overcoming (video preferred but open to summary).

• Pays $3,600 for approximately two

days and a buyout option.

Furniture Assembly Videos • Casting furniture assembly videos.

Production asks: “Have you ever assembled a piece of furniture from IKEA? If yes, you could be the perfect actress for our series on assembling various pieces of baby furniture. You’ll have offscreen assistance, but it would be great if you feel somewhat comfortable wielding simple tools.”

• Company: Gemini Creative Agency.

Staff: Edan Cohen, creative dir.

• Tentatively shoots in late August.

• Seeking—Female Lead: female, 28-40,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, to represent every mother who is shopping for cribs, bassinets, etc. They’ll look to see how easy it is for you to assemble the furniture.

There is no dialogue, we’ll be close up on your hands for a lot of the video as the assembly of the furniture is the most important aspect of these videos.

• Seeking submissions from PA. • Send submissions to edan@geminicre-

ative.agency.

• Pay provided.

‘Vote Like Your Life Depended On It’

• Casting remote talent for “Vote Like

Your Life Depended On It,” an innovative, education project promoting voting.

• Production states: “A local university

is casting an innovative, interactive narrative experience that will inform and educate citizens on the procedures necessary to vote. The narrative follows six characters in a light hearted and funny, small university lead zoom/webex style election essentials workshop. The workshop attendees will interact with each other as they learn all of the essentials steps in the process of voting. We understand that this is an unusual casting, but that is what the times call for. It should be an interesting and fun shoot and will be part of a project that will help to educate students and the public on the proper way to ensure their vote counts.”

female, 20-40, voiceover; must be able to produce high quality sound recording at your location while directed through WebEx.Production states: “Script Sample: Question Animation V/ OOK. You’ve gone to the SOS registration page. Their records are saying you are NOT registered. WHHAAAAT??

What’s your next move? It’s cool.

They’ll figure it out. Government always runs a little slow right? Get the Secretary of State on the phone.

Double check to make sure you entered all your information correctly.

Yo, that’s not cool. If it’s been two weeks and you are still not recognized on your My Voter Page there’s a problem with your registration. First you should make sure that you entered your information and your county correctly. Hold up, Not just yet. First you should make sure that you entered your information and your county correctly.That’s right. If your registration was not located and you think you are registered, make sure you entered your information and your county correctly. If you are still having problems there are a number of reasons your registration might not have been accepted. Keep in mind that common reasons for not being recognized are that you may have moved and not updated your registration information, your hyphenated last names do not match the names on your registration, or you got married, changed your last name and have not updated your registration information.Your My Voter Page will give you a few options for resolving the issue, including contacting the Secretary of State Elections Division office or your county’s board of elections. Or you can re-register. As with every aspect of the voting process.”

Desiree (Older Student/Voter): female, 60-75, Black / African Descent, older voter: This older student is new to college but is quickly the matriachal figure for the group. As a young girl she lived through the civil rights movement in the south. She has voted in every election but is new to GA and is a bit nervous about the process here.

She is also dreadfully ill equipped to navigate the technological aspects of communications in the COVID era.

Seree Graduate Assistant Workshop Instructor: female, 21-28, Black / African Descent, Latino / Hispanic, a confident and understanding political science graduate student teaching this

30

course as part of her assistantship.

She is excited and inspired to be teaching students how to vote, though she is not immune to the frustrations of students who do not seem to share her inspiration. Tia: Excited First Time Voter: female, 18-25, Asian, Black / African Descent, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, very excited to have the opportunity to cast her first vote but naive to the entire process of voting. Tia is a freshman political science student and is here to learn everything she can starting from 0. She’s bubbly and friendly and can’t wait to vote. Felix Smooth Tech Nerd Mystic: 18-23, Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, something of a young, burnout tech mystic who is a bit nervous about voting and the government in general. Hunter (Likable Country Student/Voter ): male, 26-38, White / European Descent, a salt of the earth, funny, southern farmer. He feels a bit out of place in college with all these young city folk but is excited and interested in getting the information necessary to vote. He’s decided he should add his voice to our democracy.

Dominic (Excited First time voter): male, 18-25, Black / African Descent, very excited to have the opportunity to cast his first vote but naive to the entire process of voting. Dominc is a freshman political science student and is here to learn everything he can starting from 0. He’s cool, friendly and can’t wait to vote.

• Send submissions to jdehart1@gsu.edu.

• Submit you video reel and resume for

consideration.

• Remote auditions Sept. 11-15.

• Pays between $100-$1000. The shoot is

remote at your location so there is no travel.

Multimedia Epicurious, Cooks Of All Levels

• Casting people of all levels of cooking for

Epicurious. Note: Must have enough space in your home for a big table.

Honorarium provided. Fill out the casting form below to be considered. Epicurious casting - Epicurious is an American digital brand that focuses on food and cookingrelated topics. Casting people of all levels of cooking for Epicurious! Seeking: Home Chef: a total beginner - that has recipes they want to try. Home Chef: a good home cook - knows their way around the kitchen, and/or a pro without being professional.

• Company: Conde Nast. Staff: Nicole

Ford, casting dir.

• Shoots two days remotely in late

August/early September.

• Seeking—Home Chef - Beginner: 18+,

all ethnicities, home chef: a total beginner - that has recipes they want to try.

Home Chef - Experienced: all genders, 18+, all ethnicities, a good home cook backstage.com

National/Regional casting

knows their way around the kitchen, and/or a pro without being professional.

• Seeking submissions nationwide.

• Send submissions to nicole_ford@con-

denast.com.

• For consideration, fill out the casting

form: https://bit.ly/EpiHomeChefs. This video will live on the Epicurious YouTube page, the Epicurious channel has well over 2 million subscribers. Our videos are beautifully produced, feature amazing quality, and are highly engaging – this project will follow that direction.

See our YouTube page, to get a feel for our aesthetic: https://www.youtube. com/user/epicuriousdotcom. 4 Levels: epicurious.com/video/series/4-levels.

• Pro Chef & Home Cook Swap

Ingredients: https://www.youtube.com/ watch?v=KGAj8IhnR3c&t=10s.

• Honorarium provided.

National Commercials Chevy Commercial

• Casting a SAG-AFTRA Chevy TV

commercial.

• Staff: Yong Yun, casting dir.

• Shoots Aug. 21 in Moab, UT. • Seeking—Real Families: all genders, 1+,

Latino / Hispanic, mom, dad & three or more kids, Hispanic, great if you are the outdoorsy type family.

• Seeking submissions from UT. • Send submissions to yuncasting@

gmail.com.

• Include your names, ages, phone num-

ber, and family picture.

friends--young, hip, cool, fun, current, smart, and confident. Examples: A strong, confident, naturalista woman; a cool, intelligent guy; a stylish, hip woman; a confident guy; etc. Especially seeking friends/family members who fit the descriptions who have been quarantining together to allow for more interaction on-camera.

• Pays $1,000+/person. Can accept Taft-

Hartley non-SAG talent.

Local Commercials

• Seeking submissions from GA. • Apply on Backstage.com.

• Submit a current photo of yourself.

Company Branding Videos

• Casting actors for a multiple spot pro-

duction over several days. Synopsis: These will be non-speaking roles, on location.

Submit an audition video with the following: slate--state your name, city where you are from, and where you currently reside; tell us why you think there’s a coin shortage in the country (use your imagination/creativity); and perform the role of Control User using the attached sides.

• Company: Clum Creative. Staff: Sara

Brick, prod.; Kirk Norris, creative dir.

• Shoots TBD three days in Cleveland,

Ohio.

• Seeking—Promotional Sign Guy

/”Other Store” Associate: all genders, 35-60, this role will play a sleazy salesman as well as a promotional sign twirler; we’re looking for ale or female talent to play both roles. Customer: 30-46, this will be a three day long role covering several concepts; talent will play the customer of a large retailer in a handful of different scenarios. Soccer Extras: 18+, looking for a handful of extras to play a crowd at a local soccer game event.

Healthcare Commercial

• Casting a national healthcare commer-

cial. Project description: “National SAG commercial filming Wednesday, September 2 in Pittsburgh.”

Investment Company Branding Video

• Casting an online ad for an investment

banking company. The lead actor will be interrupting the supporting actors to tell them that they can go further with their investments.

62-72, White / European Descent, real couples are great but can be individuals as well, must live in Pennsylvania or Ohio, must be willing to travel to Pittsburgh for the shoot, if cast, and must have no trips to hot spots or beaches planned at least two weeks prior to the shoot date.

• Seeking submissions from PA. • Send submissions to mossercasting.tal-

ent@gmail.com.

• For consideration, include name, age,

location, a current individual picture of each person submitting from the waistup, and a current individual picture of each person submitting that is fulllength. If submitting as a couple, also send a couple pictures of you together.

The photos should not include hats or sunglasses, and they should be clear and in good lighting. Also include if have you been featured in a healthcare or hospital commercial in the past two years. If yes, what and when? Is it still airing? backstage.com

Must be available all three days.

• Seeking—Real Families: all genders,

1-49, seeking real families with parents 30-40s & children 1-7 years old.

• Seeking submissions from MA. • Send submissions to bostoncastingsub-

mit2@gmail.com.

• To apply, submit a family photo, the

names and ages of your family members, with your contact information.

• Pays $1,000/adult, $800/child.

• Pays $500/full day, $350/half-day (for

Control Card Commercial

stone.com.

possible. Do not contact Clum Creative directly. Considering submissions through Backstage only.

• Pays is all-in (includes day-rate, usage,

full buyout, travel, any applicable agency fees, etc.). Extras pay will be $100 for the day.

Online Commercials & Promos • Casting a non-dialogue web video for

• Company: Arts+Labor. Staff: Scott

Hamilton, exec. prod.

• Shoots Aug. 14 at an apartment com-

plex in San Antonio, TX.

• Seeking—Dad: male, 35+, all ethnici-

ties. Mom: female, 35+, all ethnicities.

12-Year-Old Daughter: male, 10-15, all ethnicities. 8-Year-Old Son: male, 6-10, all ethnicities.

• Seeking submissions from TX. • Apply on Backstage or send headshots

to scott@artsandlabor.co. some roles).

• Seeking submissions from MD. • Send submissions to sammy@hack-

• Casting a commercial for Control Card.

• Company: Condraversy Films LLC.

• Submit a video reel and headshot.

Submissions without video samples will not be considered. Only submit if you are available the week of Sept. 7.

Staff: Condra Magee, prod.

• Shoots Aug. 26 in Atlanta, GA. • Seeking—Friend at Lunch: all genders,

• Pay varies based on role. Usage: Online

20-35, Black / African Descent, seeking actors to portray an eclectic mix of

advertising (no broadcast). Seeking local talent only. Nonunion.

31

Animation & Videogame Voiceover “Dodendans,” a stop-motion animated short film about an elderly man who’s losing his memory and soon loses his only companion. He challenges Death to a dance-off to the beat of Danse Macabre in order to bring his wife back.

nicities, speaking role. Pays $1,200.

Three local locations, one day. Steele is the strong, lead actor of this commercial. He is the suave, cool guy everyone wants to be. Think the Old Spice guy.

Audition lines: “When you were a kid, did you have a poster of a minivan on your wall? No. You didn’t. Because nobody dreams about being average.

People dream about big things. They dream about ‘going farther.’” Golfer: male, 25-55, all ethnicities, nonspeaking. Pays $200. Putts or tees off on a golf course. Actor will not actually be hitting a ball. Must be familiar with the sport and have golf course-appropriate attire. The Boss: female, 35-55, all ethnicities, speaking role. Pays $400 for the role. Banters back and forth with the lead actor while she offers her employee a raise. Sara: female, 24-40, all ethnicities, speaking role (one line).

Pays $200. Sara is sitting with her boss and is being offered a raise. Line: “Thank you.” Gate Agent: all genders, 25-50, all ethnicities, speaking role.

Pays $400. Banters back and forth with the lead actor at an airport gate as a couple walks up to buy tickets. Audition line: “Sir, do you have a boarding pass?

He doesn’t have a boarding pass. How did you get through security without a boarding pass? Sir! Sir!” Tourist: all genders, 25-40, all ethnicities, nonspeaking. Pays $150. At an airport gate waiting to buy a ticket from the gate agent.

ADT Smart Home. Executive producer states: “There will be extensive COVID19 safety procedures enforced.”

• Company: Boston Casting.

• Shoots Aug. 26, 27 or 28 in Boston, MA.

• Shoots the week of Sept. 7 in Baltimore, • Seeking—Steele: male, 25-50, all eth-

• Include a headshot and full-body shot if

• Shoots Sept. 2 in Pittsburgh, PA. • Seeking—Senior Couple: all genders,

opportunity.

‘Dodendans,’ Voiceover

MD.

ative.com.

ADT Web Spot

Mosser, casting dir.

• Casting real families for a print

• Company: Hack|Stone Film Group.

Staff: Sammy Knight, prod.

• Seeking submissions from OH. • Send submissions to sara@clumcre-

• Company: Mosser Casting. Staff: Nancy

Real Families Print Project

• Pays $500.

• Pays SAG-AFTRA scale; Travel and hotel

in Moab, UT provided (arrive Aug. 20; shoots Aug. 21).

Print Modeling

• Casting voiceover talent for

• Company: Columbia College

Hollywood. Staff: Abraham Herrera, dir.

• Records remotely from home.

• Seeking—Narrator: 60+, ideally the

voice of an elderly male, but open to other voices. This voiceover is needed for the film’s midpoint, which will be provided to chosen talent.

• Seeking submissions worldwide.

• Send submissions to aherrera@colum-

biacollege.edu.

• Submit an audio reel.

• Copy for reel and credit in film

provided.

E-Learning Modules, Voiceover

• Casting a voiceover actress for ani-

mated e-learning modules.

• Staff: A. Woest, casting.

• Currently in production.

• Seeking—Hispanic Female: female,

18+, female with a Hispanic accent.

Accent must be such that it is apparent the character has a foreign origin, but not too thick as to obfuscate the material being taught. Should be nonunion, available immediately, familiar with e-learning tonality, and able to submit a demo with the accent requested by the client. Should have own recording set up, be able to record professionally, and be able to navigate file delivery.

• Seeking submissions worldwide.

• Apply on Backstage.com.

• Pay rate will be negotiated with

voiceover actor. Nonunion only.

VISIT BACKSTAGE.COM/CASTING for full character breakdowns, script sides, and more casting notices

08.13.20 BACKSTAGE

Ask An Expert Acting Auditions Film Headshots Television Theater Unions Voiceover

Q:

Is there a right acting technique for each person? If there is, how do you find it?

—@ClevaChloe

Our Expert Joanne Baron is an acting coach.

*Submit questions for our Experts on Backstage’s Facebook or Twitter accounts or via our forums page at backstage.com/forums!

The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of Backstage or its staff.

BACKSTAGE 08.13.20

32

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; BARON: COURTESY JOANNE BARON

A critical aspect of an actor’s journey is to find the acting technique that works for them. There may not be just one right technique; it may end up being a single technique or an amalgamation of several techniques.

No one should tell anyone what is right for them, but a technique that has proven effective over decades for many actors can be a good place to start.

A good way to approach figuring out what technique might be right for you is to look at the actors you admire most and identify which ones have come out of a particular school. It’s helpful to see if there’s a proven method that has resulted in the acting you admire and created successful careers. For example, many people who have come out of the Neighborhood Playhouse working in the Meisner technique have achieved very high-quality work and enduring careers. Some Meisner actors, such as Robert Duvall and Diane Keaton, have taken that training and built their careers on it for decades.

Once you’ve chosen a place to study, it’s important to completely allow yourself to take in the information. It’s only by fully committing to learning and trusting the school or teacher you’ve chosen that you will be able to evaluate, after a substantial period of time, if what you have chosen truly is right for you.

So is there one right way for you to train and one technique that has the greatest potential to lead you to a professional career? This will vary from person to person. Seek to study those techniques or at those schools where actors you like and wish to emulate have gone before you. And once you choose, fully commit to learning!

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