Backstage Magazine Digital Edition: September 3, 2020

09.03.20

Limitless Toni Collette

just keeps getting better

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Film Festivals 2020 How this year’s slate has responded to the COVID-19 pandemic + what it means for the future of awards season

6 Pages OF CASTING NOTICES

Michael Rainey Jr.

goes from villain to star for “Power Book II: Ghost”

Carrie Coon

on why no one wants to work with a “nice girl”

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Contents The Green Room 4 What film festival progamming

looks like in the age of COVID-19

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

7 Michael Rainey Jr. talks taking the

lead on “Power Book II: Ghost”

Advice 9 NOTE FROM THE CD

The film fest guide

10 #IGOTCAST

vol. 61, no. 21 | 09.03.20

Cover Story

What Can’t She Do? Toni Collette has been proving for years why she’s one of Hollywood’s most reliable—and versatile—performers page 12

Chris Nester

10 SECRET AGENT MAN Are film festivals for you?

Features 3 BACKSTAGE 5 WITH...

Carrie Coon

8 BEHIND THE FEST Eugene Hernandez and Dennis Lim, New York Film Festival directors 9 THE ESSENTIALISTS Rosemary Blight, producer 11 IN THE ROOM WITH

Kimberly Hardin

17 THE FUTURE OF FESTS Some speculation on an uncertain slate of 2020 film festivals and the upcoming awards season 24 ASK AN EXPERT Cam Faull on attending festivals that are showing your work

Casting 18 New York Tristate 19 California 21 National/Regional Toni Collette photographed by Noni Smith on Aug. 17 at the Hyatt Regency Sydney in Sydney, Australia. Hair by Renya Xydis.

Makeup by Noni Smith using Sisley Paris.

Cover designed by Ian Robinson.

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Backstage 5 With...

Carrie Coon

By Casey Mink

Carrie Coon admits she’s always had a great “mom yell.” But with “The Nest,” Sean Durkin’s psychological drama that premiered at Sundance earlier this year and will be released Sept. 18, Coon had one of her first opportunities to play a mother as a mother herself.

Here, the “Leftovers” actor reflects on the project, plus her decidedly less fulfilling days of “putting on pantyhose and a bikini” for commercial auditions.

What performance should every actor see and why? Gena Rowlands in “A Woman Under the Influence.”

ILLUSTRATION: NATHAN ARIZONA/PHOTO: MAARTEN DE BOER

What is the wildest thing you ever did to get a job? For me, the definition of that is putting on pantyhose and a bikini and parading around in a room with a bunch of women a foot taller than you are, and having people sort of comment out loud on your body while you walk. We all do that for commercial work.

It’s horrible. In fact, I was going in for a beer commercial when I got the call from Steppenwolf that I got “Who’s Afraid of Virginia Woolf?” but my phone rang just as I was going into the casting call, so I still had to go in.

occasionally. It was a pro-high-fructose corn syrup commercial that I shot in Decatur, Illinois—and don’t worry, I was punished.

God took my car. I spent all the money I made on a new car— well, a new used car. I would never buy a new car.

What advice would you give your younger self? Save your money! Oh, wait, I already knew that. To my younger self, [I would say] stop worrying about disappointing other people.

They’re not thinking about you, so stop worrying about what they think. That’s what I’d tell any young person…. [But] you grow up. One of the things I started to understand is that people don’t want to work with a good student or a nice girl.

They want to work with an artist. And I had to learn that my choices as an artist were valid; I just had to be brave enough to make choices, to not try to guess what someone wanted me to do or wanted me to be. And that made me a much more interesting actor.

What is your worst audition horror story? I have to say, I’ve generally had pretty good audition experiences. I mean, it was horrifying when I auditioned for “Gone Girl.” This was not a horrible thing, but I had never been to Los Angeles and I’d never been in a movie, and then suddenly I was in a room reading scenes with David Fincher. I didn’t even have an iPhone; I had a TomTom. How did you get your SAG card? It was my first national commercial; this one comes back to haunt me on Twitter

“We go along, living according to these unspoken agreements for years and years, and a lot of those marriages are sustained. I hadn’t really seen that dynamic explored in a film before.”

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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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have screened in person, and to encourage cinephiles to follow and support those selections wherever they may premiere.

Festivals

A Trying Hour for Festivals

The world’s biggest film festivals are finding ways for the show to go on during the coronavirus pandemic

By Jack Smart

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Telluride Film Festival (canceled; originally scheduled Sept. 3–7) The industry’s uncertain schedule and local health and safety precautions—the Telluride School District has denied access to its facilities, among other challenges—have unfortunately forced the Telluride Film Festival to cancel. However, it has joined forces with the Venice, Toronto, and New York festivals to jointly celebrate world cinema. “This year, we’ve moved away from competing with our colleagues at autumn festivals and commit instead to collaboration,” said a recent statement signed by the directors of all four events. Telluride organizers plan to release the list of 2020 titles they would

Here’s a handy roundup of major film fests’ changing plans in 2020.

Venice International Film Festival (Sept. 2–12) At Italy’s Lido di Venezia, the 77th iteration of one of the global film industry’s most glamorous and influential events will forge ahead this month. Although it’s been scaled back, with fewer screenings overall, the fest’s organizers at the Venice Biennale say that in-person gatherings can take place within the bounds of the country’s COVID-19 protocols.

Two outdoor arenas are being installed, and the fest is either forgoing or consolidating several areas of programming.

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New York Film Festival (Sept. 17–Oct. 11) Also expanding virtual and outside-the-box programming is Film at Lincoln Center’s NYFF, which is tentatively planning to offer indoor screenings depending on COVID-19 restrictions.

See this week’s Behind the Fest feature on page 8 for more info.

BFI London Film Festival (Oct. 7–18) London’s biggest cinema festival is also innovating with the launch of what they’re calling Virtual LFF. Up to 50 film premieres will be presented as both live and digital screenings, each featuring talks and introductions from talent. Many of LFF’s events, as well as all short film premieres, will be free to the internet-surfing public, and the fest’s closing awards show will be streamed live. A dozen new films from the lineup will be screened as in-person previews at a handful of venues around the U.K.

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FILM FESTIVALS ARE CHARacterized by some of the exact practices that scientific and governmental authorities have discouraged or outlawed amid the ongoing COVID-19 pandemic: namely, big crowds gathering indoors at crammed movie theaters and star-studded events. For some, an annual celebration of film is obliged to delay or be canceled entirely and look toward an uncertain future; the Tribeca Film Festival was rescheduled to June 2021 within weeks of New York’s initial lockdown, while summer’s Cannes Film Festival has been postponed indefinitely. Others, however, are adapting existing programming and past traditions in order to face these challenges.

Toronto International Film Festival (Sept. 10–19) The 45th edition of this famed Canadian fest is reducing its total number of premieres but adding virtual screenings and events to its repertoire. TIFF’s “role in the ecosystem of the film industry was the impetus to move forward, to deliver a film festival that inspires and engages audiences, and to serve as a beacon of hope for Toronto, for filmmakers, and for the international film industry,” said a recent statement. Press and industry access will be entirely online.

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.

“They Cloned Tyrone” After three friends learn that a sinister cabal of scientists is cloning Black people and conducting experiments on them, the trio commits to bringing down the organization responsible in “They Cloned Tyrone.”

John Boyega is officially on board to star in the Netflix feature, which has been described as a “pulpy, sci-fi mystery caper,” with Juel Taylor directing. Kim Coleman is casting the film, which will go into production as soon as safety measures can be ensured for the cast and crew in light of COVID-19 concerns— likely in November. Atlanta will host the shoot.

with Susie Farris Casting handling the staffing. The series follows a housewife in 1980s Southern California who’s stuck in a rut and finds her path to acceptance and power through the world of aerobics.

Byrne is currently the only actor attached to the show. While dates are flexible, the project is eyeing an October start, with shooting to continue through spring 2021. The series will film in Los Angeles.

Rose Byrne Gets ‘Physical’ An Apple TV+ aerobics dramedy is her next starring vehicle

By Rebecca Welch

restrictions and may change.

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

Please note that shoot dates are subject to state and county

“Physical” Rose Byrne will channel Olivia Newton-John on her next project, the Apple TV+ original dramedy series “Physical,” also known as “Olivia.” The new show is in the very early stages of development but has already signed Byrne for the lead role,

Get cast!

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

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TELEVISION

A New Missy Heads to ‘Big Mouth’

By Casey Mink

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“BIG MOUTH” HAS FOUND ITS NEW Missy. Two months after Jenny Slate said she will no longer portray the Black character on the animated series, Netflix has announced that comedian-writer-actor Ayo Edebiri will take over the role. Edebiri joins the cast in the midst of production on Season 4, which means viewers will start to hear her voice on its penultimate episode. (A premiere date has not yet been announced.) Edebiri will also be one of the series’ writers for its fifth season, a job she landed prior to being cast as Slate’s replacement.

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MARGAUX QUAYLE CANNON

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

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

MYLES ARONOWITZ

What’s Casting

“Scenes From a Marriage” Ingmar Bergman is about to have a revival, as Hagai Levi is adapting the legendary writer-director’s 1974 film “Scenes From a Marriage” into a miniseries for HBO. The updated version will follow a modern American couple throughout their lives, chronicling their relationship through years of love and turmoil. Aibel/Holbrook is casting the project, with Michelle Williams and Oscar Isaac starring as the troubled couple. The team is aiming to start production in November, with shooting taking place primarily in New York.

Michael Rainey Jr. on “Power Book II: Ghost”

The Slate

with more responsibility, and playing to the singular life circumstances of his character, Tariq St. Patrick.

Speaking Truth to ‘Power’

Taking over as the lead on “Power Book II: Ghost” was a challenge.

“Obviously, it’s a whole new responsibility for me. It’s a different type of workload, different call times, [and] a lot more scenes, so I kind of just wanted to approach it like it’s something new. At first I was a little nervous, but I’d seen a lot of old faces from the original series; even the new crew and the new cast, they made me super comfortable. Adjusting to get into that mode [of] being the leader of the whole crew and cast, being No. 1 on the call sheet—it made it a little easier for me to get into my groove.”

Michael Rainey Jr. talks bringing the buzzy “Power Book II: Ghost” to Starz

By Briana Rodriguez

The following interview for Backstage’s on-camera series The Slate was compiled in part by readers just like you! Follow us on Twitter (@Backstage) and Instagram (@backstagecast) to stay in the loop on upcoming interviews and to submit your questions.

TELEVISION

‘Social Distance’ Will Be a Family Affair

MYLES ARONOWITZ

MARGAUX QUAYLE CANNON

By Casey Mink

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AT JUST 19, MICHAEL RAINEY Jr. has already gone from starring on one of the most successful series on premium-pay television with Starz’s “Power” to leading his own spinoff show, “Power Book II: Ghost.” Backstage sat down with the young talent to discuss on-set relationships, contending

Rainey focused on playing the opposing elements in Tariq’s life.

“I try to keep it as natural as I can, but obviously, with this new season, new spinoff, it’s a different type of Tariq now. It’s definitely a different approach, because to me, he’s grown up. You see him making those grown man decisions now; he’s not the same kid as

“SOCIAL DISTANCE,” ONE OF A number of upcoming coronavirus-themed projects, has revealed its cast—and it includes a number of people actually related to each other. The Jenji Kohan series, an eight-episode anthology, will star married couple Dylan and Becky Ann Baker; Danielle Brooks (reuniting with “Orange Is the New Black” showrunner Kohan) and her real-life mother and brother, LaRita and DJ Brooks; and Daphne Rubin-Vega, along with her husband and son, Tom and Luca Costanzo. “Social Distance” will premiere on Netflix at some point this fall.

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he was on the original series….

The dynamic of Tariq happens in the streets to get money for [his mom’s] lawyer and then, obviously, him having to finish school, to graduate so he [can] get his [inheritance] from his father. So he’s playing those two sides. And the grittiness is still there; the realness, as far as the drug lords in New York, all of that stuff, is still there. But it’s also a different dynamic now, because Tariq, he’s in school, he’s young, he’s around kids his age, so they get to see Tariq be a kid now. They get to see him act around people his age and just be himself rather than trying to be that tough kid around all the adults.”

Solid on-set relationships yield the best results—and the best advice.

“Having a good relationship with everyone on set is so important when it comes to making TV shows and movies, because if you have a great relationship with everyone, nothing can really go wrong. One of the things that 50 [Cent] told me… this was Season 3, when Tariq and Kanan [played by 50 Cent] first started hanging out in the show, so me and 50 would have a lot of scenes together, and we were working. So we were in the trailer one day; we were just chatting it up. One thing he told me that always stuck with me was, ‘Never feel too entitled to something, because that’s when you deprive yourself.’ ” Want to hear more from Rainey? Watch our full interview at backstage.com/ magazine, and follow us on Instagram: @backstagecast.

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Behind the Fest

By Brandon Kirby

Eugene Hernandez and Dennis Lim

BACKSTAGE 09.03.20

festival, about how navigating it and experiencing it will be different,” says Hernandez.

NYFF 2020 will take place from Sept. 17–Oct. 11 with virtual, drive-in, and outdoor screenings at Lincoln Center, in addition to its new partnership with Rooftop Films’ Queens Drive-In at Flushing Meadows Corona Park and Brooklyn Drive-In at the Brooklyn Army Terminal. Per a release, the partnerships are “intended to act as a cooperative effort to bring films safely back to New Yorkers and to highlight the power of cinema to build community and camaraderie among our fellow citizens.”

What has it been like adding virtual and outdoor screenings? EUGENE HERNANDEZ: We know the festival in a very

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specific way, much like our audience. It’s a tradition. It has these traditional moments and this traditional structure that is very much rooted in the place. All of that said, we’re this almost 58-year-old festival, but in a lot of ways, this year is the first year.

We are mindful of the fact that the city we live in is undergoing a tremendous challenge.

Film culture is really struggling in many ways because of what’s happened in the last few months. And it’s with that kind of mindfulness that we’ve reimagined how to connect our audience and, frankly, how to connect new audiences, how to connect folks throughout the city with our festival. It’s an opportunity for us to engage new audiences. From the ground up, in every aspect of

What’s your No. 1 piece of wisdom for early-career filmmakers looking to submit a project? DENNIS LIM: I don’t know that there’s one piece of advice that applies to all filmmakers. It depends on the kind of cinema you’re interested in.

I actually think, as somebody who’s encountered film students a lot, watching films is increasingly underrated. I feel like people don’t do enough of it. One way to learn is to immerse yourself in as much cinema as possible, and also to encounter different forms of filmmaking, which might actually be entirely different forms of expression, but also entirely different economic models of filmmaking. That’s a useful thing for a young filmmaker to think about.

But on a more practical level, because filmmaking is, more than so many other art forms, such an intensely collaborative endeavor, having a support system is important in the forms of collaborators [and] people you trust. It’s not like you can go to your desk and write or paint or whatever. You need people, which is why I think a support network of those colleagues and collaborators is important to have early in your career.

What’s the best film you’ve seen recently? DL: I’m not just trying to plug our programming, but I’ve been watching submissions, and the film we announced as opening night I feel very, very strongly about.

I know Eugene does, too. Steve McQueen’s “Lovers Rock”... It’s a film in which the politics are sort of woven into everyday life in a way that I find incredibly powerful and moving.

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HENNY GARFUNKEL

LIKE THE REST OF THE FILM industry, the New York Film Festival, one of the cornerstones of awards season, has been rocked by drastic changes caused by COVID-19. Among them comes an unprecedented collaboration between NYFF, Venice, Toronto, and Telluride, all of which will be treating their festivals as a world cinema united front.

Eugene Hernandez and Dennis Lim, respectively the director and director of programming for NYFF, are ready to adapt the historic fest to a new reality. “Because so much is changing so quickly around festivals and the role of festivals and what festivals are, there are a lot of questions from filmmakers, from the industry, from the professionals in New York and [the people] who attend our

the festival, we’ve had to look at it differently.

ILLUSTRATION: NICK BERTOZZI; “I AM WOMAN”: COURTESY WESTEND FILMS

Eugene Hernandez + Dennis Lim, New York Film Festival directors

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Note From the CD

The Film Fest Guide

THE ESSENTIALISTS

ROSEMARY BLIGHT

By Marci Liroff

HENNY GARFUNKEL

ILLUSTRATION: NICK BERTOZZI; “I AM WOMAN”: COURTESY WESTEND FILMS

TRUTH BE TOLD, I’M A CREAture of habit and a rabid homebody. Traveling to a place I know is no problem for me—I relish it. That said, I’ve always had a horrible sense of direction, so going somewhere I don’t know, alone, has always vexed me. Here’s a cautionary tale about travel and film fests.

I arrived at the Toronto Film Festival a few years ago and didn’t think to investigate whether my cellphone would work there. Stupid move No. 1.

After I landed and tried to call to arrange my transportation, I got the alarming message that I would be billed for roaming charges and the pricing would not be friendly. I immediately called my phone company and changed my cellular package.

I then went for two whole days without my smartphone being even remotely smart. It wouldn’t connect to Wi-Fi, and I couldn’t retrieve my emails or use the GPS, which was not

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good for a directionally challenged person. I finally realized I had to add to my data plan so that I would get coverage.

Dumb and dumber.

I went on a two-day diet from all social media and apps. In retrospect, it was a good thing, as it made me connect with people face-to-face in real time, old-school.

I stayed about 20 minutes outside of downtown, which turned out to be another giant mistake. Pro tip: Stay close to town so you can go from event to event, and come home if you need to in between meetings and screenings.

Check out the festival’s website and plan ahead with your film, meeting, and party schedule. TIFF is a very well-run festival, and there are many events to attend in addition to the amazing lineup.

This was the one thing I did well, so I patted myself on the back for that. You should also

producer

ROSEMARY BLIGHT knew that the story of Helen Reddy deserved to be told. And when “I Am Woman,” a biopic about the singer-actor-activist’s life, was brought to her, the producer knew where it needed to premiere: the Toronto International Film Festival. Late last year, it did just that.

“I Am Woman” was made for Toronto. “[TIFF] is a festival you know audiences just adore. They line up and they’re obsessed, and they chase directors down the road and they cheer. And ‘I Am Woman’ is that sort of film. It’s an audience film. We had

By Casey Mink timed our production so it would fit into the time frame for Toronto, but of course [the question is] getting into Toronto. I did all sorts of crazy things. I went up to Toronto and had a couple of meetings with the programmers and just introduced the film to them, and we spoke about the audience participation that the film could have.”

Find the festival that’s right for you.

“Make sure it’s a festival you feel can energize your film and give you what you need. Some festivals are just great for connecting with other filmmakers, and

be flexible, because invariably the project that you want to see will be sold out.

As always, be nice and courteous to the staff and volunteers.

They are your lifeline, and many of them are working for free.

Wi-Fi can be hard to find; I was kind of amazed that most of the theaters did not have it. I became a Wi-Fi ninja.

Take time to eat and hydrate.

Some days, I saw three to four movies and didn’t have time to have a proper meal, which makes for a cranky filmgoer.

The filmmakers shouldn’t have to suffer because you haven’t factored in getting the nutrition needed to keep yourself awake.

Even though you have a ticket, show up early (at least 30–45 minutes beforehand) and be prepared to stand in line. Some lines wrap around the block.

You’ll likely have some very

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that’s also really valuable. I use Withoutabox for festival entrance, which a lot of indie filmmakers use. Whether it’s Sundance or [non-A-list festivals], there are a lot of not-for-profit film websites with all the festivals on them, and you can look through testimonials from people who’ve been and what the experience was like.”

interesting conversations with your line buddies.

See everything, not just the potential blockbuster films.

Take advantage of the opportunity to see some of the smaller indies and documentaries you wouldn’t normally see.

Most of the premiere screenings have Q&As afterward.

Make sure to stay and take advantage of them. After seeing Christopher Guest’s “Mascots” in 2016, most of the crew was there to answer questions. It was, as you can imagine, a riot.

Take my advice, and you’ll be a superstar at your next film festival!

Want more?

Read our full Note From the CD Want more? at backstage.com/ Allarchives our Backstage Experts can be magazine found at backstage.com/magazine

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Are Film Festivals for You?

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caught pneumonia there because I had to wait two hours in the freezing cold for a screening that was sold out.

That’s why you should choose a festival that’s smaller and easier to manage. There are plenty of options all over this country, from Maui to Anchorage to Atlanta; you just need to pick one that works for you. I still remember all the fun I had at the New Orleans Film Festival when I saw five brilliant films, signed one gifted actor, and gained 10 delicious pounds.

Once you’ve made your choice, figure out which movies appeal to you, then do your homework and look up the

The business of acting can be a slog, but film festivals are fun. Going to one will make you feel like you’re in the game.

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Chris Nester

By Franchesca Viaud When CHRIS NESTER connects to a part, he does so deeply. But that also means that if he’s not the right person for a role, he has no problem suggesting someone who is.

Spread the love. “[Backstage] is a great place to share roles with colleagues. If I see a great part but the breakdown isn’t my type, I might know someone who’d be great for it, and I’ll send it to them so they can submit. Backstage makes that easy.”

Find a story that speaks to you. “[For a recent project], I felt a [kinship with] the male lead when I read the character breakdown, and I loved the story. I had also worked with the assistant director before and trusted her as an artist.”

An actor’s tool belt should include Backstage.

“Use [Backstage] as a tool. Keep your profile up to date and only showcase your best work. Make your profile authentically yours.

I keep coming back because Backstage makes the submission and audition processes simple and efficient.”

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

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ILLUSTRATION: SPENCER ALEXANDER; NESTER: CHASE ANDERSON

ONE OF THE BEST PARTS OF my job is getting to attend film festivals. I find them invigorating. They give me the opportunity to meet actors who are on the rise, and I get to see groundbreaking work before anyone else. Spending time at one of these events reminds me there’s more to this business than my 10%. (I kid!)

Now, here’s the thing you need to know: Film festivals aren’t just for industry types. They’re for everyone. Actors like you can have a lot of fun at one while making promising contacts.

The key is to pick the right festival for your inaugural visit.

Major ones like Sundance sound exciting, but I would avoid them for your first go.

Invites to screenings and parties go quick. Accommodations are expensive and hard to find.

I remember when I almost

#IGOTCAST.

RAQUEL APARICIO

Secret Agent Man

filmmaker’s background and past credits. If you happen to meet them—and you will definitely try to meet them—it would be cool for you to mention their prior work in an informed manner. Trust me—they’ll be flattered and impressed.

You’ll also want to make sure you have plenty of business cards that you can hand out.

That’s important, because most people will respond by handing you one of theirs. I used to judge my success at these events by how many cards I could collect.

Now, here’s the golden rule: When you meet someone who just directed a movie you loved, don’t behave like a desperate actor. Don’t beg for a part in their next project. Don’t ask if you can send them your reel.

The moment you start asking for things is the moment you mark yourself as an outsider.

You should also make an effort to connect with some of the other guests. You never know when a stranger might change your life. I had a client meet another actor at Telluride, and the two of them ended up teaming up to produce their first film.

When the festival’s over, take a moment to pat yourself on the back for a job well done.

Then follow up with everyone you met, especially the folks who are in a position to help you. Just keep it light and don’t be pushy. Try to create a relationship before you make any bold moves, like asking for an introduction or a helping hand. Actors who are good at networking know how to play the long game.

The business of acting can be a slog, but film festivals are fun. Going to one will make you feel like you’re in the game. And who knows? You might just become best friends with the next Tarantino!

culture +

Spotlighting the people and projects you need to know

In the Room With

Kimberly Hardin

Auditions were a requirement to find the four young icons at the center of “One Night in Miami”

By Elyse Roth

RAQUEL APARICIO

ILLUSTRATION: SPENCER ALEXANDER; NESTER: CHASE ANDERSON

AFTER DIRECTING EPISODES OF “INSECURE,” “SCANDAL,” “THIS Is Us,” and more, it’s little surprise that Regina King would channel her Oscar-winning acting chops into a feature film directorial debut.

“One Night in Miami” is a fictionalized account of the night in 1964 when Cassius Clay, before he became Muhammad Ali, celebrated a title win with Malcolm X, Jim Brown, and Sam Cooke. The production tapped casting director Kimberly Hardin, whom King met at the beginning of her career, to find actors to play these young icons. To assemble the cast, which includes Kingsley Ben-Adir, Aldis Hodge, Leslie Odom Jr., and Eli Goree, Hardin searched for months and held several rounds of auditions to ensure the chemistry was strong enough to sustain the story’s premise. And it worked—the film was selected for premieres at the Venice International Film Festival and the Toronto International Film Festival this month. Speaking with Backstage, Hardin shares the challenges of populating a biopic.

What was the casting process for “One Night in Miami”?

Like with most biopics, it’s more challenging, because you’re looking for good actors but also someone to bring to life the real person they’re

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portraying. You’re trying to encompass a lot of elements within the character. It took a while. I literally looked all over the world. I really wanted to try to find the perfect combination of these gentlemen.

What were auditions like?

Every actor auditioned and read several times individually and in a chemistry read. This story takes place mostly within one set, just those four gentlemen, so they’re extremely important.

Each gentleman had a very strong voice and placement in the world. It was helping each actor feel comfortable in that time period, what was happening at the moment, and helping them perfect the way each character talked. Jim spoke a whole other way; Cassius had a certain physicality because he’s a boxer. It’s not just about good actors. Are you physically alike?

Can you do the dialect? Do you have the same mannerisms? It’s a list of things I had to go down to get the right contenders.

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What made casting this film different for you? Matching the real people. When you’re watching a biopic, you’re going to be expecting to see those real people come to life. Again, it started with the look, but I love the camaraderie, too.

All of the characters worked and helped and supported each other, which is what they wanted to do in real life.

I think, on every single level, they really tried to mimic the aspect of what was happening in that time period on that night. The chunk of the story is the four men and how they bounce off of each other’s energy, staying in character and learning what each actor had to do to help support the other ones to stay in those moments. I know all those things were important to Regina with the cast that we put together. We needed the actors to be supportive of each other.

What makes actors memorable in an audition? Most casting directors will say it’s about being prepared. Know your character, know your scene, [do] your homework, because it tells us that you’re taking this seriously. You’re not wasting our time and yours.

Only a really serious actor can come in and play. They’re going to be professional and will have at least reviewed the material enough [that] they’ll know where to pop, what lines work. Someone who’s not as trained and just winging it, they’re trying to figure it out in a room with you, and that definitely won’t work.

Want more?

Read the full interview at backstage.com/magazine

09.03.20 BACKSTAGE

BACKSTAGE 04.02.20

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backstage.com

What Can’t She Do LET’S TALK ABOUT TONI COLLETTE’S FACE. Few actors working today have such exacting control over their varied expressions, nor such a distinct capability to reflect every emotion under the sun. But Collette has long proven that in matters of performance, she can often do what others can’t.

Who else can claim, for instance, to have their visage embossed on enamel pins decorating film buffs’ backpacks, caps, and collars? (More than just a meme, her mama wolf–like snarl over the dinner table in “Hereditary” is a popular kitsch item in this writer’s Brooklyn neighborhood.) But beyond that horror flick’s wildfire of contorted grief and rage, Collette is a master at capturing all manner of emotions: frenetic shock and joy (her toothy smile and side-eyed tongue bite in “Muriel’s Wedding”), awe and heartbreak (her wide-eyed gasp and quivering chin in “The Sixth Sense”), no-bullshit world-weariness (her furrowed brow and hard-lined jaw on “Unbelievable”), airheaded self-righteousness (her pursed lips and unmoving brow in “Knives Out”), and now, in Charlie Kaufman’s new film “I’m Thinking of Ending Things,” violent neuroticism and unsparing maternal attachment. That’s not to mention

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Toni Collette has been proving for years why she’s one of Hollywood’s most reliable—and versatile— performers

By Benjamin Lindsay Photographed by Noni Smith

her uncanny embodiment of various split personalities in “United States of Tara,” a feat that earned her an Emmy and a Golden Globe for the series’ first season. The list truly goes on and on.

It’s a point she’s heard before—her elasticity as a physical performer. But calling from Sydney, Australia, last month, Collette dismisses the notion that she’d do anything

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as dramatic as studying herself in a mirror or mapping out an emotive game plan for a day on set.

“I never, ever, ever look at myself in the mirror checking at different things,” she says with a chuckle. “I don’t think about how a person looks; I don’t think about presenting ideas. I literally just feel it, and then it correlates externally.

“I’m aware of the context of the story and what a scene is about and what needs to be expressed at a certain moment, but I don’t consciously think about presenting in that way,” Collette continues. “If you’re talking about facial expressions, I don’t think, Oh, my face should be like this. If I think about showing a certain thing or highlighting a certain idea or feeling, it’s more internal.

Everything else just happens naturally.”

Still, she takes the compliment.

It all points to an instinct-based style of performance, one that’s guided Collette since her earliest days exploring the craft. She admits that the parameters and directives of traditional drama education never sat well with her. Yes, she shifted gears halfway through her teenage years from the standard high school curriculum to studying at the 09.03.20 BACKSTAGE

Australian Theatre for Young People—an opportunity that led to stage work, an agent, and her first feature film, “Spotswood,” at 17. But studying at the prestigious National Institute of Dramatic Art shortly thereafter fit her like shoes a size too small; she could— and would—make do, but if a better pair came along, she’d gladly step into them.

“Everyone says that’s the way to go. ‘You must go to drama school.’ And so I went! But drama school just became too dramatic for me,” she says. “I work very intuitively and I listen to my gut, and it just seemed like overthinking things. There were some aspects of it that I liked, but it just wasn’t for me.”

Collette dropped out a year and a half into her time at NIDA when offered the chance to act opposite Geoffrey Rush, a childhood inspiration, in a Neil Armfield–directed production of “Uncle Vanya” with the Sydney Theatre Company. She’d been studying Chekhov that semester, after all, so why not just go do it?

“There was just something so innocent about my bravery at that time.... I just didn’t think of failing,” she says. “I was so in love with acting that I couldn’t see that failure could be a part of it. It made me feel alive. It was like a new religion.”

Even in a world where that production of “Uncle Vanya” hadn’t opened doors—namely, her Golden Globe–nominated breakout role in Australian indie “Muriel’s Wedding”— Collette knew from that first curtain call that she’d made the right decision.

“I come from a really working-class background, and my parents came to see it,” she recalls. “They didn’t understand this new love of acting, or the world that I was moving in and exploring. Once they saw [the play], my dad looked me in the eye and just said, ‘I get it.

I see what you can do, and you have to follow your heart.’ That was really big for me.”

From that point forward, Collette was off to the races. The next 10 years saw

her making her American film debut in “Clockwatchers” opposite Lisa Kudrow and Parker Posey and logging must-see supporting turns in “Emma,” “Velvet Goldmine,” “The Sixth Sense” (which earned her an Oscar nomination in 2000), “About a Boy,” “The Hours,” and many others. Sue Brooks and Alison Tilson’s 2003 film “Japanese Story” heralded her return to stunning leading performances, and the years since have found her filling her résumé with women from all contexts and walks of life.

Most recently, her role as Detective Grace Rasmussen on “Unbelievable” earned her Emmy nomination No. 4.

One of the practices that makes Collette such an unforgettable onscreen presence is her ability to give each role full, textured life, no matter its size. With just one scene, she can communicate exactly who she is and why she’s there; and you’ll miss her when she’s gone.

“Actors use themselves.

It’s part imagination and it’s part you....

It’s a weird, blurry world of not really knowing where the ownership lies.”

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“If I’m coming in, I’m trying to bring in a whole person, no matter how much time they have onscreen,” she says. “When I watch a film, it’s really disappointing when the main characters are awesome and those relationships feel so real and good, and then a supporting character is a bit halfhearted or incomplete. You might as well not make the movie, because the entire world collapses. If one thing takes you out of the story, then the whole thing is negated. That’s how I feel.” So no matter the size of the character, she says, “I will absolutely do it the best I can, give 100%. It doesn’t matter where you are in the cast or how much time you have onscreen. It’s creating a person.”

The exact method of that creation, in conversation with Collette, remains bewildering.

It’s rooted in her surrender to moment-bymoment bursts of inspiration, involuntary reactions, and interplay with her fellow actors. It’s all ephemeral.

“Those are the most exciting moments,” she says, pooh-poohing the practice of over-rehearsing to the point of rigidity.

“There has to be a little bit of room to breathe and be a bit flexible. Even saying, ‘I can see how it needs to be,’ is more of a feeling.

Sometimes I don’t know how I’ll get there, but I do know that I will; there’s just an essence that is very, very clear.

“To be honest,” she adds, “actors use themselves. It’s part imagination and it’s part you, so it’s kind of all me, even though it really isn’t. It’s a weird, blurry world of not really knowing where the ownership lies.”

Even when faced with what she says can be the most intimidating part of a non-Australian role—the accent—she’s shied away from more practical training routes. For “Clockwatchers,” she sat with a dialect coach for all of an hour before self-consciously clamming up. Collette instead prefers an accent to make its way to her tongue by osmosis, “hanging out with the crew and being in the world” that she’s shooting in.

“It does tend to rub off,” she says matter-offactly. “You just need to get to a point where you don’t have to think about it. If you’re thinking about it, then you are not in the moment, and there will be no truth to what you’re doing. People can feel that, and that is devastating.”

It comes as little surprise, then, that she operates similarly when choosing what characters to inhabit next: If she gets a good feeling, she runs toward it. While there have been a few times when Collette had to consciously navigate what she wanted her career to look like (she turned down sad, schlubby roles for years after “Muriel’s Wedding”), she has otherwise led instinct-first.

“I know whether I’m meant to do something immediately, because I can feel it. It’s literally just a feeling; that’s all I run on,” she says. “It needs to move me. I need to be lost in the script to forget that I’m reading a script. I want to be the audience at that point and just be told a story and be swept up in it. There

With Abigail Breslin in “Little Miss Sunshine”

FESTIVAL LOVE FOR OUR ANNUAL film festivals spotlight, we asked Toni Collette for her tips on making the most of the festival rounds.

After all, “Muriel’s Wedding” had its world premiere at the Toronto International Film Festival, “Japanese Story” made a splash at Cannes, and “Little Miss Sunshine” became one of the biggest Sundance hits ever—and that’s just to name a few.

“First of all,” she says, “if you’re going with your own film, you never get to watch other films. If you have the freedom to go and do that,

BACKSTAGE 09.03.20

home to the family farmhouse. The film’s nonlinear timeline and fantastical treatment allow its actors to play to the rafters at different ages and emotional states. It’s a peculiar, arty film akin to Kaufman’s past credits (coincidentally, Collette ranks “Eternal Sunshine of the Spotless Mind” among her all-time favorites) that gifts its cast the creative space that actors crave.

“There was a real freedom to this one, because the ground keeps moving within the story itself—it was almost a bit of a free fall. You could do anything,” she says. When asked about the film’s specific, unnerving darkness, she doesn’t miss a beat: “I don’t

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mind darkness. It is just wild, and I love wild—who wouldn’t?”

As our conversation draws to a close, literal darkness has blanketed New York; the clock inches toward midnight here, and Collette prepares for an afternoon photo shoot in her Sydney hotel room. Leaving us with the best bit of advice she’s gathered in her storied career (a request that has her gamely exclaiming, “I’ll try anything once!”), she says to remember that the most important relationship you’ll ever have is with yourself.

“I don’t know why people run from themselves. People sometimes don’t even realize that they’re alive! In fact, a lot of the jobs that I take, I take them because they somehow illuminate the idea that you actually have a choice in how you live, and to remind people of that,” she says. “There are a lot of opinions out there. People will always want to tell you what to do, but you listen to you. You have to build that relationship with yourself, because you are the only one who knows what’s right for you. Your inner voice is the most important thing that you have. It will guide you.”

It sounds like some hard-won wisdom, sure; but then again, we haven’t seen Collette’s gut lead her astray yet.

Makeup by Noni Smith using Sisley Paris. Hair

by Renya Xydis.

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FOX SEARCHLIGHT

are lots of elements that go into making a decision. But ultimately, all the hard work has to disappear, and I just need to be allowed to ride the wave into the beach. If that can happen, then I’m halfway there.”

And what a joy it is to see her wave cresting on the endlessly strange and beautiful “I’m Thinking of Ending Things.” Adapted

by Kaufman from Iain Reid’s 2016 novel, the Netflix feature is a dark psychological study of a pair of adults stuck in arrested development—and, on a grander scale, a look at the nature of time, life, and love. Collette plays the mother to Jesse Plemons’ Jake as he brings his new girlfriend (Jessie Buckley)

it’s such a luxury to just bathe in all those films. If you get to do it, I would, because eventually, you won’t be able to, because you’re just doing interviews the entire time. There are a lot of filmmakers at film festivals, so get amongst it! Get out there and meet people, and don’t forget that it’s fun. It’s something that you want to do because it’s fun.

That’s an environment that doesn’t take itself too seriously, and it’s slightly more relaxed.

Enjoy that. You never know what might come of bumping into the right person.”

The Future of Fests

Some speculation on an uncertain slate of 2020 film festivals and the upcoming awards season

LEV RADIN/SHUTTERSTOCK

By Jack Smart DEAR BACKSTAGE READER, I’m going to level with you. A return to film festivals, premieres, and industry events, at least as we have known and loved them, is not going to be possible until enough people can access a vaccine for COVID-19. Even the most optimistic timelines indicate that it will take many months to successfully create, let alone distribute, the only guarantee that industry professionals can’t spread the coronavirus at events on which the biz thrives.

But here at Backstage, we always look for the silver lining. As a fellow festivalgoing colleague put it to me recently: Do we really miss standing in lines that wrap

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around the block?

To be clear, the world’s most prominent film festivals are preparing events in accordance with public safety rules. In addition to virtual viewing options for press and industry attendees, programming for the 2020 Venice and Toronto International Film Festivals will include a scaledback number of public premieres for locals, and the New York Film Festival is among those featuring outdoor and drive-in showings.

Faced with consequences they never could have imagined, many fest organizers are rising to the challenge of keeping the film industry alive, and they should be

commended for their efforts.

It’s worth wondering, though, how such alterations—or outright cancellations—may affect the 2020–21 film awards season. Film festivals are where studios go to seek out projects to acquire and campaign Oscar contenders.

However they make their bids this year, they’ll have to navigate unprecedented distribution challenges. Festivals are also where filmmaking talent and professionals meet and network (and party), but with both production and moviegoing mostly stalled until the pandemic is under control, Hollywood must instead play an unending game of wait-and-see. Between the fact that most fall and winter films will be viewed from the comfort of movie buffs’ homes and that the Academy Awards ceremony is delayed until April 25, 2021, forcing many preceding awards shows to follow suit, we’re looking at probably the strangest festival and awards season in film history.

Perhaps the most important element that’s now missing is what people refer to as a project’s “buzz” factor. A film is simply more viscerally and palpably thrilling to see when you’re surrounded by cinephiles and

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celebrities at a world premiere.

Crying into my popcorn at the TIFF screening of “A Beautiful Day in the Neighborhood” or hearing the meticulous sound design in the vast theater at the premiere of Alfonso Cuarón’s “Roma”— with the stars of those films waiting in the wings to greet the audience’s standing ovation—are the kinds of magical experiences filmmakers, studios, and fest programmers aim to generate.

It’s not that we can’t enjoy on-camera storytelling from our sofas, but those are the lightningin-a-bottle moments that do more than just propel a project into the Oscar race; they remind us why we love cinema.

Side note: Isn’t it fascinating that Netflix’s recent disruption of Hollywood, which had everyone from movie theaters to Steven Spielberg up in arms about what constitutes “a real movie,” is almost a moot point in the age of quarantine? Particularly when in-person screenings are unavailable or perceived as dangerous, the sentiment is emerging that content is content, regardless of medium, genre, or platform. I wonder if, this year, the line between big and small screens—or even between Oscars and TV movie Emmy Awards—will be blurred enough to consider throwing such classifications out the window, or at least combining them in one way or another. Who cares about “real movies” when my only choice is which couch I watch something from? (Side note: Netflix announced that it’s skipping the 2020 film fest circuit.

A streaming giant designed for at-home viewing, it seems, is going full steam ahead with its own plans.)

For the foreseeable future, we can still have moviegoing experiences, just without the “going.” That’s both a devastating and a trivial prospect, depending on how you look at it. But this too shall pass. One day, this festival and awards season will be remembered as a reawakening, forever changing the course of cinema—I’m choosing to believe—for the better.

Sincerely,

Jack

09.03.20 BACKSTAGE

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

Submit a Notice |

New York Tristate Plays ‘It’s A Wonderful Life, Radio Play,’ AEA Video Submissions • Casting Equity actors for the

Connecticut Repertory Theatre prerecorded virtual production of the radio play adaptation of “It’s A Wonderful Life.” Note: Due to COVID-19 concerns, accepting video submission auditions in lieu of live Equity auditions.

• Company: University of Connecticut.

Staff: Michael Bradford, artistic dir.; Jennifer Scapetis-Tyer, dir.; McCorkle Casting. Pat McCorkle, casting dir.

• Rehearses Oct. 5-Nov.6, 2020; runs

Nov. 12-21 (pre-recorded) in Storrs, CT.

• Seeking—Actor One: 40-70, all ethnici-

ties, should have the capability to voice a variety of characters including the following: Potter - a hard-nosed, wealthy businessman; Mr. Gower; the druggist, young George’s employer; As Cast.

Actor Two: 35-55, all ethnicities, should have the capability to voice a variety of characters including the following: The Boss - the top hierarchy in Heaven; Tilly - Secretary at Bailey Building and Loan; Mrs. Bailey (George’s Mother); As cast.

Actor Three: 18-30, all ethnicities, should have the capability to voice a variety of characters including the following: Young George - George Bailey as an 11-year-oldchild; Any/all of the Bailey children (Peter, Janie, Tommy, Zuzu); as cast.

• Seeking submissions from CT. • Vide Submission Requirements: Limit

video submission to three minutes maximum. Prepare one contemporary comedic monologue of your choosing in the style of “It’s A Wonderful Life.”

Time limit includes your slate (your name, name of play, and character you will be performing). Upload your video audition to Vimeo and include a link for viewing in your email submission.

Youtube links are also acceptable, but Vimeo is strongly preferred. Do not share via WeTransfer, Google Drive, Dropbox, iCloud or other file sharing platforms. If the actor prefers, we will also accept the same material in audio format for this production. Follow the

BACKSTAGE 09.03.20

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. above guidelines for submission in this format as well. See breakdown for general self-tape suggestions. Email submissions the video or audio link and separate attachments of your headshot and resume to epa.submission@ mccorklecasting.com with the subject line “Full Actor Name/It’s A Wonderful Life EPA Submission” Submissions deadline is Sept. 9.

Casting picks of the week

BY LISA HAMIL

stage

• Pays $688/wk. (rehearsal/first week of

‘October Playlets’ Connect in this TX online Equity production

prerecorded performances); $229/wk. (subsequent pre-recorded performance week.) Equity URTA Agreement.

online commercials

Student Films

‘Martha & Marley Spoon’ Cook up a storm with Martha Stewart products in NYC

‘Cicada’

• Casting “Cicada,” a thesis student film

animation & videogame voiceover

for School of Visual Arts.

• Company: SVA. Staff: Kai Yang, dir.

• Rehearsals self-tape/remote; shoots

‘Just A Bite’ Chew up this remote voiceover role for a comedy video game

TBD in NYC.

• Seeking—Miles: male, 30-35, all eth-

nicities, a man who just died and he is having a conversation with the officer from the afterlife, about his life. Kate: female, 25-35, all ethnicities, a blind girl who just died, and she is talking with the officer of the afterlife. About her story. The officer: male, 18-25, the officer of the afterlife his job is to listen to other people’s stories.

multimedia

‘Vote In The Buff’ Get naked for this Comedy Central vote-early sketch in NYC

tv

• Seeking submissions from NY. • Send submissions to syang31@sva.edu.

• Pays $100/day.

‘Blacker The Berry’ Interview for this Los Angeles, CA production

Multimedia ‘Vote In The Buff’

a swimsuit would. Bernadette: female, 45+, a gentle and loving woman, she is politically active and studious about the issues; not one for labels she does her research and votes with her mind, body, and heart; a lifelong naturist (nudist), Bernadette’s priorities in life are family, civic duty, and relaxation; in that order; this role will require simulated nudity; all talent will be provided with nude-colored garments that will cover the same areas as a swimsuit would. Naturist: transgender, 30+, a handful of naturists (nudist) for a sketch about early voting in pandemic times; these are nonspeaking but screen forward roles; must be comfortable doing simulated nudity; no actual nudity is required; actors will be provided with nude-col-

• Casting ‘Vote In The Buff.” Synopsis:

Comedy Central’s digital team is casting for a vote-early digital sketch about absentee/mail-in voting, “Vote Naked!.”

• Company: Comedy Central. Staff: Greg

Washburn, dir.; Marc Lemoine, prod.; Tim Duffy, writer.

• Shoots mid September around New

York City and possibly New Jersey.

• Seeking—Earl: male, 45+, a sweet man,

a family guy who stays informed on the issues and does his best to vote early every year; a lifelong naturist (nudist), Earl’s priorities in life are family, fun, and relaxation; in that order; this role will require simulated nudity; all talent will be provided with nude-colored garments that will cover the same areas as

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ored garments that will cover what a swimsuit would.

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

• Indicate specifically that you are com-

fortable with simulated nudity. No actual nudity will be required. Men will have nude-colored shorts provided, women will have nude colored bikini area garments provided. When applying, include some video examples of your acting, preferably comedy!

• Depending on role, all talent will be

paid a day rate on a nonunion basis.

Minimum day rate is $200, maximum is $500.

Online Commercials & Promos ‘Martha & Marley Spoon’ (Martha Stewart)

• Seeking couples and individuals of all

ages who are interested in participating in a digital ad for Martha & Marley Spoon; a healthy, pre-portioned mealdelivery service sponsored by Martha Stewart. Production states: “We will be creating two ads; one targeted towards US audiences and one specifically for the Australian market, so Australian couples/individuals are encouraged to apply. Participants will be asked to cook a meal using Martha & Marley Spoon products and review them afterwards.

Social distancing and special protocols listed by the DOH will be followed to ensure safety on set.”

• Company: Motto Productions. Staff:

Allen Otto, prod.

• Shoots Sept. 8 or Sept. 9 in NYC. • Seeking—Various: all genders, 18+, all

ethnicities, couples and individuals of all ages; participants will be asked to cook a meal using Martha & Marley Spoon products and review them afterwards.

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

gmail.com.

• Send a photo and video application

answering the following questions.

State your name and age. What do you like about meal kits? How long have you been using meal kits? What are some of your favorite ingredients to cook with? What did you have for dinner last night? How would you backstage.com

California casting

describe yourself in the kitchen? How many trips to the grocery store do you make a week? How would you describe your partner in the kitchen?

(Couples only).

Stage Staff & Tech

NYPD Training Videos for Suicide Prevention

• Seeking AEA Stage Managers for “It’s A

• Pays $400/person - $800/couples.

• Seeking actors for a six-part training

video series for NYPD officers on suicide prevention. The project is endorsed by the NYPD. The project will feature dialogues between actors playing the roles of NYPD officers or other individuals, engaged in conversation, and will be used to train officers on characteristics to look for in potential suicide situations.

• Company: Lorray Digital Media Group.

Staff: Ray Lombardi, video prod.

• Shoots TBD in NYC. • Seeking—NYPD Officers: all genders,

18-45, each actor will portray a role depicted in one of six suicide training scripts. Some will be police officers, some office workers, a retired officer, and college students.

• Seeking submissions from NY. • Send submissions to lorraydesignstu-

dio@gmail.com.

• Each actor will portray a role depicted

in one of six suicide training scripts.

Some will be police officers, some office workers, a retired officer, and college students.

• For consideration, submit confirma-

tion that you accept the rate of pay, your cell phone #, your email address, a selfie no more than 7 days old, your typical weekday, daytime availability, the borough or area of the city you reside in. Note: Profiles missing this information will not be considered.

• Each actor will be paid $200 flat rate.

Room Online and Social Media Video

• Casting males and females ages 20s-

50s of all ethnicities for an online and social media video (non-union) for Room.

• Company: Anneliese Kristedja. Staff:

Matthew James Thompson, dir.

• Shoots Sept. 11-14 (one or two days

between this range TBD ) in NYC.

• Seeking—Women: female, 20-60, all

ethnicities, refined, cool, authentic, with a great and outgoing personality.

Men: male, 20-60, all ethnicities, refined, cool, authentic, with a great and outgoing personality.

• Seeking submissions from NY and NJ. • Send submissions to casting@casting-

double.com.

• To apply visit http://castingdouble.

com/room. Note: For more info, visit www.matthewjamesthompson.com, or the client’s website, https://room. com/ • Nonunion. Pays: $500/session day

(plus 20% agency fee if applicable) + $1200/buyout (plus 20% agency fee if applicable). Usage: video for online, social media and exhibition/ two x years / worldwide.

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

backstage.com

‘Phantom Power’

• Casting “Phantom Power,” a three-

page short horror film. Synopsis: An overlooked sound mixer must silence an eerie voice she discovers when capturing room tone.

‘It’s A Wonderful Life, Radio Play,’ AEA SM

• Company: Forest Films. Staff: Sam

Brown, writer-dir.; Scott Larson, cinematographer.

Wonderful Life, Radio Play.” Note: All stage manager positions are filled for this production. Accepting submissions for future consideration.

• Rehearses and Pre-Vis Sept. 13 in

Orange, CA; shoots 8-10 hours overnight Sept. 19 into Sept. 20 (8 p.m.-6 a.m.) in Orange, CA.

• Company: University of Connecticut.

Staff: Michael Bradford, artistic dir.; Jennifer Scapetis-Tyer, dir.

• Seeking—Sound Mixer: female, 18-35,

• Rehearses Oct. 5-Nov.6, 2020;runs

Nov. 12-21 (pre-recorded) in Storrs, CT. • Seeking—Equity Stage Manager: 18+.

• Seeking submissions from CT. • Submit by Sept. 9, 2020 to alana.

conti@uconn.edu.

• Pays $688/wk. (rehearsal/first week of

prerecorded performances); $229/wk. (subsequent pre-recorded performance week.) Equity URTA Agreement.

Southern California

‘50/50’ Scene

man.edu.

• Seeking—Adam: male, 20-30, all eth-

• For consideration, include your avail-

ability in your submission. The project will be completed by Oct. 7.

• No pay.

‘Anti-Venom For A Snake’

• Casting “Anti-Venom For A Snake.”

Student Films

Synopsis: Set at the height of the AIDS epidemic, “Anti-Venom for a Snake” is an experimental drama immersed in emotional realism that explores queer love and loss at the height of the AIDS epidemic. The film follows Marcos, the man behind the rising drag queen Evita Envy, as he copes with the recent loss of his soulmate, Santi, and his own weakening body.

‘50/50’ Scene

• Casting “50/50.” Synopsis: Adam’s a

27-year-old push-over living in Seattle.

When he’s diagnosed with cancer and given a 50/50 chance of surviving, he learns to stand up for himself — all while discovering who truly matters in his life. Description: Actors needed for a one-semester comedy directing class led by two-time Emmy award winning director Barnet Kellman. Auditions, callbacks, rehearsals (all conducted through Zoom) will be held for a twoperson scene from the film “50/50” (2011) as well as a final filming with virtual production.

• Staff: Cameron Kostopoulos, dir.; Alex

Jiang & Val Tan, prod.; Deeksha Marla, assoc. prod.-casting; Gerardo Garcia, writer.

• Rehearsals Sept. 29-Oct. 23 in Los

Angeles, CA; runs Oct. 24-25, Oct. 31-Nov. 1, Nov. 7-8, and Nov. 14-15 in Los Angeles, CA. • Seeking—Marcos/Evita: male, 24-35,

Latino / Hispanic, a self-made artist with a certain sprezzatura; holds a deadly bite, but only when attacked; raised in a Latino household heavily embedded in machismo, Marcos uses his own sexual liberation, and his construction of the provocative royalty Evita Envy, to avoid confronting his own suppressed emotions; this is an LGBTQ+ role. Santi: male, 24-35, Black / African Descent, Ethnically Ambiguous / Multiracial, Latino / Hispanic, an aspiring radio host with dreams bigger than his fears, Santi would lower his own casket to avoid feeling like a burden; a gruff façade with a gentle soul; comfortable with the life has liven, he cracks jokes in the face of death just to put a smile on another’s face.

• Company: USC School of Cinematic

Arts. Staff: Vigneshwar RB, casting dir.

• Rehearses Sept. 18-Oct. 5 and Oct.

9-27 via zoom for three to four hours with director; In-class rehearsal over zoom Oct. 8 and 29; final recorded rehearsal and recording of the scene (director will be on Zoom and actors will self-record themselves) between Oct. 30 and Nov. 15; final screening of the recorded Scene in the class Nov. 19 via zoom. nicities, a happy-go-lucky guy who is diagnosed with a rare form of cancer in his lower spinal cord; his personal circle of people is few; he lives with his girlfriend Rachel; their relationship has been weird after his cancer diagnosis; he has one best friend, Kyle, who really looks out for him; he has a smothering mom who cares a lot (annoyingly so) and a dad who has Alzheimer’s; Adam comes across as someone who is coping up with the cancer treatment by being in full denial of the same at the same time forcefully cheerful. Alan: male, 60-70, all ethnicities, a cheerful person who suffers from Stage 3 Lymphoma; lives life as if everyday is his last day; he lives with his supportive and loving wife Catherine; they don’t have children but they lead a happy life; he was diagnosed a year ago; he is going strong with a great attitude and a loving support from his wife; oh and he likes Macarons(filled with weed), made by his wife!

• Two during-class rehearsals Oct. 22

• For consideration, include your size

• Seeking—Adam: male, 18-30, all eth-

nicities, is risk- and conflict-averse; he’s kind, but often to a fault — the type of person who apologizes after you step on his toe; sure, he can take a joke from his best friend Kyle, but he won’t dish it back; he and his girlfriend, Rachel, don’t see eye to eye on their relationship, but he doesn’t want to address it.

It’s only after he’s diagnosed with cancer that he slowly begins to unleash his suppressed emotions. Kyle: male, 18-30, all ethnicities, a great friend who

19

a true story, a comedy centered on a 27-year-old guy who learns of his cancer diagnosis and his subsequent struggle to beat the disease.

• Seeking submissions from CA. • Send submissions to vigneshwar.usc@

and Nov. 12 sometime between 2-6 p.m.

(PST); out-of-class rehearsals will also be held at flexible times; shoots TBD via zoom. Note: All rehearsals and final filming will be held virtually through Zoom.

meals.

• Casting “50/50.” Synopsis: Inspired by

• Company: University of Southern

California. Staff: A. Beck, coord.

• Seeking submissions from CA. • Send submissions to zhijiaji@usc.edu.

• Pays $125/day, plus credit, copy and

• Seeking submissions from CA. • Send submissions to becka@usc.edu.

• No pay.

a member of the sound department, usually disregarded, hears a static frequency when capturing room tone as the last step before wrap; alone in the home, she must silence the voice that warns her to not come any closer; an emotive performance, little dialogue, must be able to convey the subtleties of fear. Director: male, 18-35, devalues the idea of room tone at first, trying to wrap as soon as possible; he raises the stakes by trying to rush the sound mixer, and he is the first to discover the abandoned boom and mixer - cares more about the production than anyone working on it.

• Seeking submissions from CA. • Send submissions to sambrown@chap-

Short Films

will always try to bring you up, but will rarely consider if he’s actually bringing you down; Kyle is unapologetically crass; he calls it as he sees it; he’s facetious, and it shows when he exposes Adam’s girlfriend’s disloyalty to him; if he told you, “I got your back,” you’d want to look over your shoulder — not to see if he was there, but to ensure he wasn’t messing anything up.

gmail.com.

cards and demo reel. Accepting submissions through self-tapes between Aug. 31 and Sept. 7. Callbacks and confirmation of Casting (via Zoom) between Sept. 11-15.

• Copy and credit provided.

‘50/50’ Scene Workshop

• Casting two actors to workshop a scene

from the movie “50/50” in a comedy directing class taught by Barnet Kellman.

• Company: USC School of Cinematic

Arts. Staff: Danny Rogers (USC Graduate Film and Television Production Student), dir.

• Rehearses September, October, and

November outside of class (“virtually”); required “in-class” Zoom rehearsals on

09.03.20 BACKSTAGE

casting California Oct. 15 and Nov. 5. Final screening on Nov. 19. All casting, rehearsing and performing will be remote.

• Seeking—Adam: male, 18-30, all eth-

nicities, a Seattle-based radio journalist who lives a simple, healthy life until he is blindsided by a rare spinal cancer diagnosis. When he learns his survival odds are 50/50, this existential crisis cloud looms over him while he manages his closest relationships and begins to break out of his emotional shell. Kind, old soul, risk-averse, hardworking, introspective, witty. If nice guys finish last, then Adam would wait a step before the finish line just to make sure no one needs help in the final stretch of the race; note: scene might involve being shirtless. Kyle: male, 18-30, all ethnicities, Adam’s coworker and best friend. He does whatever he can to help his best bud fight cancer and make the most of the situation, whether it’s driving Adam to hospital visits, giving him unsolicited pep talks or helping him get laid. Kyle is jovial, goofy, personable, loyal, protective and foul mouthed. His default state of being is generally horny and ready for fun.

• Seeking submissions from CA. • Send submissions to daniel.clark.rog-

ers@gmail.com.

• For consideration, submit a self-tape.

Slate your name, geographic location and availability (see mandatory dates listed in description). Use the provided audition sides under additional materials for your self-tape.

• Rehearsal and final performance foot-

age provided for your reel. Plus an opportunity to work with renowned television director Barnet Kellman, who teaches the class. Director states: “Essentially a free USC acting workshop over the course of the fall semester.”

‘The Headliner’

• Casting “The Headliner,” a short film.

Synopsis: An up-and-coming stand-up comedian attempts to incorporate harrowing and sometimes gruesome experiences as a paramedic at an open mic night. His shocking set and worldview are shifted when his everyday life is unexpectedly and forever changed.

• Company: Zabell Films. Staff: Max

Zabell, writer-dir.

• Rehearses late December and January;

shoots mid-February in the Los Angeles, CA area.

• Seeking—Quincy Lapidus: male, 18-24,

White / European Descent, a paramedic and an up-and-coming stand-up comedian. He and his dad, Howard have developed his tight 5 in hopes to get him noticed. Stand-up comedy has always been Howard and Quincy’s thing, but as Quincy grew he found an interest in medicine. He now splits his time between comedy, and being a paramedic. Jewish roots. Howard Lapidus: male, 35-45, White / European Descent, had dreams of becoming the next George Carlin. But when his son Quincy was born he had to put his dreams on hold. When he sees his son Quincy is a natural comedian they start working on standing up together and get closer than they ever had in the past. Jewish roots. Morty Altman: male, 70+, White / European Descent, a well-

BACKSTAGE 09.03.20

known comedian who was known for going on week-long benders after his shows. Now Morty is retired and fell from the spotlight into obscurity. As of late Morty’s need for alcohol turned into a pill dependency and his pill dependency. He is now wasting away in his Hollywood mansion trying to relive his glory days in private. Jewish roots.

Minni Lapidus: 35-45, Ethnically Ambiguous / Multiracial, dreams of building a real estate empire by the ground up. She is always there for her family and takes pride in being a homemaker and tries to be a nuclear household and be as normal as possible.

Frank Sorola: 45-55, Latino / Hispanic, a paramedic when he was younger and has seen it all. An injury he had when he was younger and on the field has made working in the field hard so he took a job where he drives rigs. Zoe Lewis: female, 25-30, Black / African Descent, a loner. She took the EMT course during high school and became a paramedic shortly after. Being a paramedic is her life. The only friends she has are the ones she makes on the job. She lives and breathes EMT. Firefighter: 18-50, all ethnicities. Police Officer: 18-50, all ethnicities. Open Mic Comedian: 18-75, all ethnicities. Younger Quincy Lapidus: male, 7-10, White / European Descent, a younger version of our short’s lead. Quincy and his father have a special bond. Comedy. Quincy is a nervous wreck but when he and his father listen to stand up Quincy feels safe. Jewish roots.

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

• Pays $100/day plus travel and meals

provided. Actor must be able and willing to quarantine for two weeks prior to filming.

Scripted TV & Video ‘Blacker The Berry’

• Casting “Blacker The Berry.” Synopsis:

Three strangers arrive at an interview for dark complexion men and leave as best friends.

• Company: Invein Productions. Staff:

Sam Buckner, writer-prod.

• Shoots Sept. 28-Oct. 3 in Los Angeles,

CA.

• Seeking—Celly: male, 24-34, Black /

• Seeking submissions from CA. • Send submissions to maxzabell@alum.

calarts.edu.

• Auditions will be remote. Make sure you

have a device with a stable connection.

Don’t hold the laptop or phone while doing the audition. For Quincy and the “Open Mic Comedian” come with a 1-5 minute comedy routine.

• Pays $100 flat, plus copy, credit, and

meal provided

‘The Last Mermaid’

• Casting “The Last Mermaid,” a student

short film. Synopsis: A dark comedy about a mermaid, Ophelia, who left the ocean years ago to pursue a singing career but is now confined to a bathtub while her marriage to former creative partner, Declan, crumbles under the pressures of confinement, control, and creative difference.

• Company: CalArts. Staff: Sophia

Seraphim West, dir.

• Rehearses in Oct. (remote), two weeks

of quarantine for cast and crew starting Nov. 4; shoots Nov. 18-22 in the L.A. area. Male lead will not be needed on set for the full shoot.

• Seeking—Declan: male, 47-65, over-

worked, tired, and still trying to make his big break into the music industry. He struggles with his wife’s former success and the pressures of supporting her through her current depression. The ideal person for this role is someone who likes to work collaboratively with a director to build a character, and who can navigate both the sympathetic and sinister nuances of a complex relationship and character.This role requires a kiss, most likely to the forehead.

African Descent, Marcel Wiggins AKA Celly, 30, a self effacing, working class, dark skin brother; he looks like the kind of guy who wears suits everyday of his life but without the neck tie; athletic build; very self aware although he doesn’t always like to show it; loves his complexion but hates it at the same time; a perfectionist; slightly neurotic.

Nina: 24-34, Black / African Descent, a beautiful black woman; she very clearly has her life together at first glance; classy yet ratchet. Kin: male, 24-34, Black / African Descent, humorous, irresponsible, good looking, darkskinned man; he’s the type of guy who wants more out of life but doesn’t want to work for it; has a childlike complex of the little boy who won’t quite grow up.

Aaron: male, 24-34, Black / African Descent, a smooth dark skin brother, with a ton of charisma; he is very chill and drama free; a likable and reserved personality; the guy all the ladies want and all the guys want to be, the only problem is he knows it; kind of a playboy. Mama Rapids: female, 40-55, but doesn’t look or act it, a vivacious, beautiful and quick-witted Brown-skin woman; gentle and nurturing. Dami: female, 24-34, Black / African Descent, 24 to 34 years old, African, Black/ African American female; 29, a beautiful, polite, Nigerian woman; she is Nigerian, not black, and she will definitely let you know that at any and all times. Raj: male, 18-25, South Asian / Indian, a 19-year-old Indian-American boy who wears supreme shirts and Jordans; not a culture appropriator, just a cool ass Indian American boy. Grace: female, 6-8, Black / African Descent, 6, a cute, innocent, intellectual princess.

School Principal: male, 40-55, White / European Descent, school principal; an oblivious racist; very kind; loves black women. Josh: male, 24-34, Black / African Descent, 28, your everyday friendly barber. Director: male, 50-60, White / European Descent, Steven Spielberg type. Kelly: female, 24-34, White / European Descent, 20s, white, a kind, wealthy temptress with a temperamental split. Miracle: female, 10-14, Black / African Descent, 12, black, very blunt; a class clown in need of guidance. Secretary: female, 35-45, White /

20

European Descent, 40s, white, bubbly and polite; outspoken. Little Black Boy: male, 10-14, Black / African Descent, timid yet very expressive in his actions.

Jerome: male, 50-60, Black / African Descent, 50’s, black, a wiseman, the owner of the barbershop. Trent: male, 13-18, Black / African Descent, 15, black, cool and intellectual. Laquiviontae: male, 24-34, Black / African Descent, 30, light skin, a pretty boy, ladies man.

Shirley Wiggins: female, 50-60, Black / African Descent, a down home, southern woman,. Hotep Barber: male, 30-40, Black / African Descent, a comedic and peaceful Afrocentrist. Loud Woman In Line: female, 24-34, Black / African Descent, brash, and outspoken.

Security Guard: male, 30-40, all ethnicities, 30-40s, open ethnicity, athletic build, kind. Lamarcus: male, 10-13, Black / African Descent, 10, black, silent, well disciplined.

• Seeking submissions from CA. • Send submissions to s.buckner@stu-

dent.nyfa.edu.

• Pays $125.

Online Commercials & Promos Dietary Supplement Lifestyle Promo Video • Casting nonspeaking roles in a dietary

supplement lifestyle promo. Actors will perform some sort of outdoor activity as determined by the producer, from biking, to walking, to being by the beach. All scenes will involve one to two actors maximum and all COVID-19 precautions will be followed.

• Company: Wanderlust Entertainment.

Staff: Tom Cohen, founder-exec. prod.

• Shoots Sept. 16-17 in Monterey/Pacific

Grove, CA.

• Seeking—Male 1: male, 57-60,

Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, white, late 50s.

Will be part of a couple with a woman in her late 40s. Female 1: female, 46-50, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, White / European Descent, late 40s, part of couple in an outdoor scene. Female 2: female, 31-40, Asian, South Asian / Indian, Southeast Asian / Pacific Islander, Asian, 30s. Part of a couple in outdoor scenes. Male 2: male, 31-40, Ethnically Ambiguous / Multiracial, White / European Descent, White, mid30s. Part of a couple in outdoor scenes.

Female 3: female, 30-40, Black / African Descent, Ethnically Ambiguous / Multiracial, Black. In outdoor scenes.

Female 4: female, 31-40, Ethnically Ambiguous / Multiracial, Latino / Hispanic, Middle Eastern, Latina. In outdoor scenes. Male 3: male, 55-63, Black / African Descent, Ethnically Ambiguous / Multiracial, Black, late 50s.

In outdoor scenes.

• Seeking submissions from CA. • Send submissions to tmc629@gmail.

com.

backstage.com

National/Regional casting

• Submit a recent headshot.

• Pays between $200-$350, depending

on number of scenes.

Eyeglass and Sunglass Promo, Models

• Casting people to model eyewear and

discuss the ordering process.

• Staff: E. Kennedy, casting.

• No rehearsal. Shoot date is TBD in

September and flexible. We are shooting both in studio in Los Angeles and remotely for this gig.

• Seeking—Female Models: female,

18-50, all ethnicities, pretty women, to model eyeglasses and sunglasses and discuss the process of on-line ordering.

No prescription is necessary. Male Models: female, 18-45, all ethnicities, attractive, to model eyeglasses and sunglasses and discuss the process of on-line ordering. No prescription is necessary.

• Seeking submissions nationwide.

• Send submissions to casting@tube-

science.com.

• Pays $150 for in studio shoots in Los

Angeles or remote shoots for those outside the Greater Los Angeles Area.

Non-union, all media buyouts.

Madison Reed Hair Dye Ad

• Casting an online ad for Madison Reed,

• Shoot date(s) TBD in a safety-conscious

work environment in Downtown L.A.

• Seeking—Great-Looking Man: male,

20-42, all ethnicities, confident, very attractive, and very fit man with a good personality to demonstrate and discuss men’s skincare products in-studio. Must be comfortable working in a studio shower in a bathing suit. science.com.

• Pays $250. Nonunion, all media buyout.

female, 25-30, all ethnicities, must be nonunion/SAG eligible with light colored hair willing to dye their hair on camera. The color of dye will be picked out by you from this brands selection of high-end dyes, all ethically created with quality ingredients. Actress will color their own hair, talk about the process, and model the results. We are currently shooting with actors remotely through video call -- must be energetic; comfortable with testimonials and lifestyle shots. A script and shot list will be provided and we will be sending you a package of their product. Older Women with Gray Hairs (Willing to Dye): female, 45-60, all ethnicities, Must be nonunion/SAG eligible with a lot of gray hair (about one inch) willing to dye their hair back to their original color, preferably a brunette or black shade. The color of dye will be picked out by you from this brands selection of high-end dyes, all ethically created with quality ingredients. Actress will color their own hair, talk about the process, and model the results. We are currently shooting with actors remotely through video call -- must be energetic; comfortable with testimonials and lifestyle shots. A script and shot list will be provided and we will be sending you a package of their product.

Morris, VP of marketing.

• Shoots the week of the Sept. 14 at our

studio in Anaheim, CA . Note: About three hours of work.

• Seeking—iHeartDogs Apparel Model:

female, 31-60, all ethnicities.

• Staff: E. Kennedy, casting dir.

backstage.com

Gu, coord.

• Rehearsals mid-September; shoots

Sep. 26-27 in Boston, MA.

• Seeking—Kai: male, 18-24, Asian, a

clean and exquisite Chinese student, cares about the situation of COVID-19 and protects himself safely from COVID-19; because of the quarantine at home, he gets along with his roommate every day; he finds himself falls in love with his roommate, but he is about to leave America for China. Jeffery: male, 18-24, White / European Descent, a casual-looking American student, doesn’t care about COVID-19 at first; after getting along with his roommate Kai, he starts to protect himself from COVID-19; he finds it hard to part from his roommate when his roommate is about to leave America for China; this role requires half-naked. Brad: male, 45-55, White / European Descent, is a very mean mid-age man; he calls COVID-19 Chinese Virus and looks down on the leading role Kai. Ms. Wang: female, 50-60, Asian, a controlling Chinese Mom; Ms. Wang buys several fly tickets for her son, Kai, and cannot wait to let her son go back to China.

National/ Regional Plays ‘October Playlets’

• Seeking video submissions from actors

of all ethnicities for roles in “October Playlets.” Note: Local actors particularly encouraged to submit.

22 and Nov. 12 in addition to various remote online rehearsal sessions. The filming takes place sometime between Nov. 14-17. All rehearsals/ production will be conducted virtually over Zoom.

nicities, a young radio station journalist who is recently diagnosed with a rare spinal cancer. The diagnosis has sent his tranquil life upside down. While struggling with his conditions - as well as his relationship with his lover, friends, and family - this kind and docile character must learn to take agency of his own life. Kyle: male, 18-32, all ethnicities, Adam’s flaky but loyal best friend. The two have known each other since high school. While living a carefree, frivolous lifestyle, he worries deeply about Adam’s condition - although sometimes too much to the point of becoming selfish and manipulative.

• Seeking submissions nationwide.

• Send submissions to wangz@usc.edu.

• Potential candidates will be contacted

for either a self-tape or in-person audition.

• Copy and credits provided.

Ramy ‘Strawberries’ Student Scene Exercise • Casting a student scene exercise from

the series “Ramy.” Synopsis: A reimagining of a scene from “Ramy” episode “Strawberries” where Young Ramy is in a dreamstate with Osama Bin Laden while he explains the reasoning for 9/11 through strawberries. This will be seen by other directors in class at USC SCA as well as professor Director Robert Townsend. All done online through self tape and zoom.

• Student states: “I wanted to reimagine

what this could look like with nonbinary, women, trans-women of color with direction from myself over zoom. I am a queer Samoan woman and am in school to tell more stories of the complexities of identities that have been told in monolithic ways.”

• Company: USC School of Cinematic

Student Films

Arts. Staff: Jean Melesaine, dir.

• Works remotely.

• Seeking—”Osama”: all genders, 31-56, Black / African Descent, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a reimagining of Osama Bin Laden’s character into a maternal figure instead. So not exactly Osama, but the character of which he represents into a maternal figure.

Ramy’s episode “Strawberries” as a maternal figure. Ramy: 9-14, Black / African Descent, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander, a reimagining of Young Ramy’s character in Ramy’s episode “Strawberries” as a young person.

• Seeking submissions nationwide.

• Send submissions to leasiola@usc.edu.

• Note: Scripts are available at Stage

‘50/50’ Scene

the actual scene.

• As these performances will occur virtu-

“50/50” for a directing class with celebrated comedy director Barnet Kellman.

• Company: Allied Theatre Group Inc.

Staff: Dana Schultes, exec. prod.

• Rehearsals begin Sept. 28, 2020 (Mon.-

Sat.); runs Oct. 8-18 (Thurs., 7:30 p.m.; Fri. & Sat., 8 p.m.; Sun. 3 p.m.) online via a virtual platform. Cast and team will use their own home, equipment, clothing, etc. Rehearsal times will be solidified & confirmed based on cast & production team availability.

• Auditions will be held by appt. Sept. 13

• Seeking—Equity Actors: 18+, all

from 12-3 p.m. (Virtual or In-person still TBD.) in Boston, MA 02215.

• Seeking submissions from TX. • For consideration, use the sides pro-

Meals provided.

ethnicities.

Men’s Skincare Line Studio Shoot skincare line studio shoot.

• Company: Boston University. Staff: T.

dia.com.

West. Call box office to make an appointment to read a script at (817) 784- 9378.

• Casting L.A.-based men for a men’s

Set against the backdrop of COVID-19 pandemic and consequential aggravated racial prejudice, “4 a.m. Irrational” tells the story of Kai, a Chinese college student in the U. S. who struggles to find a flight back to China, while realizing he’s falling in love with his American roommate, Jeffery.

• Company: Homelife Media. Staff: Tyler

tiveads.com.

• Pays $100 flat.

• Casting “4 a.m., Irrational.” Synopsis:

ecommerce apparel line.

vided at stagewest.org/auditions to record a video submission and use WeTransfer (wetransfer.com) to email headshot, resume, and video audition to dana@stagewest.org. Submission deadline is Sept. 12.

• Seeking submissions from CA. • Send submissions to jackie@narra-

‘4 a.m., Irrational’

• Casting a lifestyle and studio shoot for

• Pay provided.

• Works remotely.

• Seeking—Woman Willing to Dye Hair:

• Seeking—Adam: male, 18-32, all eth-

Short Films

Model For iHeartDogs Apparel Shoot

Ng, casting dir.

• Company: Narrative Ads. Staff: Jackie

tion. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

• Pays $263/wk. Equity SPT Contract.

Commercial & Fit Modeling

• Seeking submissions from CA. • Send submissions to jodi@homelifeme-

• Two in-class rehearsals will be held Oct.

• Equity’s contracts prohibit discrimina-

• Seeking submissions from CA. • Send submissions to casting@tube-

a hair dye company.

equipment and clothing for rehearsals and performances. We will do our best to work with anyone who may need assistance in this regard where possible.

• Send submissions to tiecheng@bu.edu.

• Pays: $14-100/day depends on the role.

• Casting a two-person scene from

ally, performers who are cast should be willing to reliably use their own home,

• Company: USC School of Cinematic

Arts. Staff: Robin Zhongyu Wang, dir.

21

• Submit a self tape. The sides will be of • No pay.

‘Sound From the Heart’

• Casting “Sound From the Heart,” a

short student film. Synopsis: John, a 17-year-old who suffers from sudden

09.03.20 BACKSTAGE

casting National/Regional deafness, one day angers two mafia drug dealers who mistakenly think John hears their secret. They want to kill John, but he is saved by his mother, who has been protecting him secretly.

• Session fee for one video with no

coord.

additional versions or cutdown: $500.

Usage - 1 year internet: $1000 plus p&h. Note: This is a SAG-AFTRA production operating under the low budget digital waiver in the commercials contract.

GA.

‘Reading with Grandma’

ties, a young boy who suddenly becomes deaf. Has a sensitive heart and strong self-esteem. Needed four days (Sept. 19-20, 26-27). John’s Mother: female, 36-50, all ethnicities, needed three days (Sept. 19, 20, and 26). John’s Girlfriend: female, 14-20, all ethnicities, needed one day (Sept. 27).

John’s Young Sister: female, 2-5, all ethnicities, needed one day (Sept. 19).

Passersby: male, 19-46, all ethnicities, needed one day (Sept. 26). Tom: male, 13-20, all ethnicities, needed two days (Sept. 26-27). Jim: male, 13-20, all ethnicities, needed two days (Sept. 26-27).

Old Man: male, 50-70, all ethnicities, needed one day (Sept. 26). Herman: male, 25-35, all ethnicities, needed one day (Sept. 27). Carl: male, 25-35, all ethnicities, needed one day (Sept. 27).

read & record a story from home.

• Company: SCAD. Staff: Chloe Chen,

• Shoots Sept. 19-20, 27-28 in Atlanta, • Seeking—John: male, 13-20, all ethnici-

• Seeking submissions from GA. • Send submissions to augustiiouo@

gmail.com.

• Pay $50/day.

Demo & Instructional Videos ‘Dandruff Do’s & Don’ts’ Demo Video

• Casting “Dandruff Do’s & Don’ts,” a

short video for a retail website product page.

• Company: Marina Maher

Communications LLC. Staff: Brittany Winderman, prod.

• Works remotely. Shoot date TBD, tenta-

tively planned for the week of Sept. 14.

• Seeking—TBD: male, 35-45, all ethnici-

ties; approachable personality & ability to improv/add their own take on a script; wholesome, relatable Dad-type / someone who looks like they would shop at Costco; should be fit but not looking for an overly muscular build.

Must have dark hair with a hard part.

Prefer talent with a close shave so scalp can be seen. Must have healthy hair that looks flake-free in close-up shots. Open to different hairstyles, including fades. Production states: “Need someone who is comfortable shooting their own video using their phone. We would send helpful accessories, but this is supposed to feel like it was self shot and due to the pandemic we will be operating with all direction completely remote via video chat platforms, etc.”

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Submit a video audition of the sides

provided, a resume of past work, and note your current active social media handles.

BACKSTAGE 09.03.20

National Commercials

tings for an electric scooter or hoverboard.

CheckSammy Commercial

• For consideration, include a recent

• Casting a 30-second commercial for

CheckSammy, a start-up company with a passion for sustainability in the junkremoval space. The commercial, CheckSammy’s first national commercial, tells the story of a father teaching a son to ride a bike.

• Seeking diverse grandmother types to • Company: LoveBug. Staff: M. Gorman,

kids music dir.

• Work dates are flexible.

• Seeking—Grandmother: female, 65+,

• Company: Badcolors Productions.

Staff: Lane McCall and Kit McCall, prods.

all ethnicities, to read a short children’s book, and possibly sing a song.

You do not have to be a professional singer. We want authenticity, warmth, charm and charisma. We will be selecting several different grandmother characters. We would love to include multicultural grandmothers... possibly with authentic cultural attire if you come from a non-US country.

For example, a grandmother from India could wear a traditional sari. Not required.

• Shoots Sept. 19 in the Houston, TX area.

• Seeking—Son: male, 5-10, all ethnici-

ties, learns to ride a bike in the spot.

Actor should already know how to ride a bike. Very minor bike riding involved in the actual production. Father: male, 28-45, all ethnicities, teaches his son to ride a bike in the spot. CheckSammy Representative: male, 18-35, all ethnicities, will wear a company shirt and hat.

Appears toward the end of the spot, carrying away the old bike. Older Son: male, 15-18, appears at the end of the spot. Time has passed. The son is now older and riding a larger bike.

• Seeking submissions worldwide.

• Send submissions to mary@lovebu-

gandme.com.

• Pays between $15-25 per story

• Seeking submissions from TX. • Send submissions to casting@badcol-

recording.

ors.com.

• Send a headshot and at least a video

slate (can be a cell phone video). A full video reel is not required, but you are welcome to submit one. There are no major scripted lines in the commercial, but there will be some natural, adlibbed, situational lines for different moments between the father and his son learning to ride the bike.

Multimedia Backstage TikTok Video

• Casting Backstage talent to create

videos for Backstage’s TikTok (@backstagecasting). Are you our next TikTok star? We want to see your creativity and feature you on our page!

• Pays $250 day rate and $750 buyout

($1000 total) for two main roles (Father and Son). Two smaller roles have flat rates including buyouts of $250 and $400. Craft services provided for all.

Nonunion.

• Company: Backstage. Staff: Alysa

Cirelli, social media marketing assoc.

• Records remotely.

• Seeking—Backstage User: 18+.

• Seeking submissions worldwide.

• Apply on Backstage.com.

• Choose one of the articles below and

describe that piece in a video the best way you can. You may want to use voiceover, music, and/or titles. Be creative. Example: If you choose #1, record a video of yourself showing how to set up for a virtual audition. Record the video on TikTok, save it, and submit it.

Online Commercials & Promos

article/a-talent-managers-advice-forlive-virtual-auditions-71391/

• Casting on-screen talent for an upcom-

“How To” Training Series

• 1. www.backstage.com/magazine/

ing project ready to film in the next 14 days. Talent will be in a small studio setting running through set up and demonstrating basic functions on a series of electric scooters and hoverboards. The mass majority of the shots will be close up featuring just arms and legs. Client is looking for a person between the ages of 20-30 and would prefer no arm tattoos be visible.

• 2. www.backstage.com/magazine/arti-

cle/ work-from-home-tips-for-writersother-artists-71074/

• 3. www.backstage.com/magazine/arti-

cle/ how-facial-expressions-emotions-canhelp-you-connect-in-audition-69192/

• In your submission, note the article you

picked, your TikTok handle, and your Instagram handle. Note: Your video clip should not be longer than 60 seconds.

• Company: Carbon Film. Staff: J.

LeGrand, casting.

• Shoot is TBD (approx. 2 days) in Atlanta,

GA.

• Amazon gift card provided for usage of

selected video.

• Seeking—Demonstrator: all genders,

18-35, Ethnically Ambiguous / Multiracial, Mostly looking for athletic build, prefer none hairy arms, and will be demonstrating basic functions like calibrating, charging, or adjusting set-

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

22

• Seeking submissions from GA. • Send submissions to casting@carbon-

film.tv.

photo for client reference.

• Pays $200 a day for two days. Net 30.

‘June Oven’

• Casting “June Oven,” an online promo-

tional video to communicate how amazing and simple cooking can be in the kitchen.

• Company: Gung Ho. Staff: Sam Windell,

dir.

• Shoots Sept. 9 or 10 in Denver, CO. • Seeking—Kitchen Man: male, 25-45, all

ethnicities, a man that knows his way around the kitchen and enjoys relaxing around the home.

• Seeking submissions nationwide.

• Send submissions to samuel.windell@

gmail.com.

• For consideration, submit self-tapes to

be seriously considered for this role.

Script and boards are attached.

• Pays $750 + travel and meals.

Narrative Style Ad For NonProfit

• Casting an ad for a non profit. Synopsis:

Lens End Media is filming a narrative based advertisement for a non-profit that provides interest-free loans to students in need. For their latest campaign, they will be providing 13 Black/ African-American high-school students around the country with an interest free loan towards their college education. This advertisement is meant to spread awareness for this initiative.

• Company: Lens End Media. Staff:

Ibrahim Zafar, founder and CEO.

• Rehearsals will be conducted via Zoom

prior to filming; shoots Sept. 12 (and potentially Sept. 13) in the DMV area; keep both days available.

• Seeking—Mother: female, 45+, Black /

African Descent, a Muslim mother who is the primary caretaker of her daughter that is applying for colleges.

Daughter: female, 16-21, Black / African Descent, a teenage Muslim girl who is in the process of applying to colleges.

• Seeking submissions from DC. • For consideration, submit a headshot

as well as a video reel to izafar@ lensendmedia.com.

• Pays $100/day and meals provided on-

set. Credit and copy provided.

Theme Parks Disney Californa Adventure® Park, Genera Okoye of the Dora Milaje • Seeking online submissions for actors

to portray General Okoye of the Dora Milaje in a new experience at Disney California Adventure® Park.

• Company: The Walt Disney Company/

Disney Parks Live Entertainment. Staff: Janet Spidell, casting dir.

• TBD in the Anaheim, CA area.

• Seeking—General Okoye: 18+, Black /

African Descent, strong actors to portray; 5’4”-6’0”, has an athletic build and backstage.com

National/Regional casting

a powerful presence. She is the leader of the Dora Milaje, Wakanda’s formidable female fighting force from the 2018 “Black Panther” film. General Okoye performs with a shaved head.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, visit www.disneyau-

ditions.com.

• Talent for this upcoming offering are

covered under the terms and conditions of a collective bargaining agreement with the American Guild of Variety Artists (AGVA). All those auditioning for the roles below must be eligible and willing to join AGVA or be a member in good standing.

Disney California Adventure® Park, Professional Stunt Talent • Seeking online submissions from pro-

fessional stunt talent with significant experience for an upcoming live action show at Disney California Adventure® Park. These stunt professionals will use unrivaled experience and athletic skills to amaze and astound our guests every day through high intensity stunts such as stage combat, weapon combat, tumbling and more.

• Company: The Walt Disney Company.

Staff: Janet Spidell, casting dir.

• Rehearsals and performances TBD in

the Anaheim, CA area.

• Seeking—Black Panther: 18+, Black /

African Descent, stunt performers with extensive training and experience to portray Black Panther; 5’10”-6’2” has an athletic build. This role is based off of the character from the 2018 “Black Panther” film. Ideal candidates should be highly proficient in hand to hand combat and be able to demonstrate a series of physical skills based on the role. Skills may include, but are not limited to: acrobatics, tumbling, bo staff handling, and wall climbing. Captain America: 18+, stunt performers with extensive training and experience to portray Captain America; 5’11”-6’3”, has an athletic build. Ideal candidates should be highly proficient in hand to hand combat and be able to demonstrate a series of physical skills based on the role. Skills may include, but are not limited to: acrobatics, tumbling, and sword/shield combat. Black Widow: 18+, professional stunt performer with extensive training to portray Black Widow. Black Widow (5’4”-5’8”) has an athletic build. Ideal candidates would be highly proficient in hand to hand combat and be able to demonstrate a series of physical skills based on the role. Skills may include, but are not limited to: acrobatic skills, tumbling, stunt baton wielding, and repelling.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• For consideration, visit www.disneyau-

ditions.com.

• Talent for this upcoming offering are

covered under the terms and conditions of a collective bargaining agreement with the American Guild of Variety Artists (AGVA). All those auditioning for the roles below must be eligible and willing to join AGVA or be a member in good standing. backstage.com

Animation & Videogame Voiceover

Ethnicity: 1st or 2nd generation Latinx.

• Seeking submissions nationwide.

• Send submissions to admin@vio-

lethourmedia.com.

• For consideration, submit one mp3 file

for each scene (there are two). Files should be named: Character name_ your name_audition_Setting (autoshop , kitchen, etc.).

‘Just a Bite’

• Casting voiceover roles in “Just A Bite,”

a comic video game with a variety of big personalities.

• Pays flat rate of $250 for the role in an

8-episode podcast series. Total payment is $250, not $250 per episode.

Non-union only.

• Company: DEG. Staff: Amanda Gardner,

casting director.

• Records remotely in late Sept.

• Seeking—Free Spirit: female, 18-35,

breezy, untethered to the world, and ready for adventure; a daredevil and a sage, she is elemental in nature.

Possibly Egyptian accent, WOC encouraged to audition.Sample Lines: “The stars, they told me about you. It’s alright - I can keep your secrets. I could read your palm, but it wouldn’t tell me anything I didn’t know. It’s all there in your eyes. Come on, let’s go!

The night awaits, and we have so much to see.” Seductive Rival: male, 18-35, he would do anything to get to the top, including step on the toes of those he pretends are friends; he may seduce you, he may use you, but regardless, he is getting what he wants. Possibly faint Japanese accent.

POC encouraged to audition.Lines: “What have we here? I think things are about to get more interesting.Come, sit down. We haven’t had any time to get to know each other. Why have you come here, truly? What is it you’re searching for? I may...be of service.”

Stage Staff & Tech Cleveland Playhouse Script Development • Seeking a Stage Manager for our

remote Zoom workshop script development of a new play Sept. 24 & 25, 2020, as well as an SM for a separate, second remote Zoom workshop script development of new play Oct. 20-23, 2020.

• Company: Cleveland Play House. Staff:

Tyler Jacobson, dir. of prod.

• 1st play development workshop runs

Sept. 24-25 and second development workshop runs Oct. 20-23 via Zoom.

• Seeking—Stage Manager: 18+, to work

with the director, playwright, cast and CPH staff. Duties include: Communicate key information with artists and staff; plan, distribute and manage daily schedule; run rehearsals and possible internal CPH reading; create and distribute daily rehearsal reports; manage Zoom platform, possibly including breakout rooms, supported by CPH staff; manage script edits with dramaturg and playwright. Note: There will be no presentation of these workshops to a public audience.

• Seeking submissions nationwide.

• Apply on Backstage.com.

• Include several takes of these lines,

accented and non-accented. Feel free to riff/play with the lines.

• Pays $451 for two hours, plus 16%

Health and Retirement Contribution.

Falls under Low Budget Video Game Agreement scale by SAG-AFTRA.

• Seeking submissions from OH. • For consideration, submit a cover letter

and resume including three (3) references to Tyler Jacobson, Director of Production at cph_production@clevelandplayhouse.com. Indicate in the cover letter how you heard about the position. Submissions deadline is Sept.

6.

Radio & Podcasts ‘The Elmwood Strain’

• Pays $180/day min. plus $10. Equity

LORT C Casual Employment Rider Agreement.

• Casting “The Elmwood Strain,” a bio-

logical horror story with roots in Lovecraftian soil and modern violence.

Think “Color Out of Space” meets Karyn Kusama’s “The Invitation.”

instead of waiting in line for the phone to ring.

• “We know these are very tough times

and we understand the value in having an artistic community. With that said, we would like to announce that Theatre 68 is holding virtual auditions for our L.A. and New York chapters for new members around the world. We are also in discussion to continue on even after the world opens up, in a virtual chapter, to which you will have the opportunity to be grandfathered in.

• “Every Monday night from 7-10 p.m.

PST or EST, respectively, we meet via Zoom on what we call our ‘Actor’s Gym’ on both coasts. This is where we work out as actors, doing improv, cold reads, prepared scene work, etc. It is much like a structured class but without a ‘teacher.’ Everybody has a voice and you are given a space to create every Monday. We are minimally assigned two writing assignments a year, one being a monologue to be performed in events such as our annual Bi-Coastal Monologue Jam and our One Act Play Festival.

• “We’ve taken our Monday Night ‘Actor’s

Gyms’ to the virtual stage. Since March, not only has business been as usual with scene study, cold reads, improv, etc., but we’ve made the most out of this virtual experience and have taken our work to another level in ways we couldn’t have imagined before. We have also been honored to have special guest speakers such as Joe Mantegna, Neil LaBute, and casting director Donna McKenna, to name a few.”

• Company: Theatre 68. Staff: Ronnie

Marmo, artistic dir.

• Group meets every Monday night (7-10

p.m. EST or PST) via Zoom.

• Seeking—Actors/Writers/Directors/

Producers: 18+, dedicated, openminded, and talented individuals interested in acting, writing, producing, and directing.

• Auditions will be held by appt. Sept. 13

at 10 a.m. (10 a.m. PST via Zoom) in Los Angeles, CA. • For consideration, submit a headshot

and resume to theatre68@gmail.com.

Once you submit for an audition, you will receive a time slot and a Zoom link. Prepare a monologue (one-two minutes max.). Note: Actors will have a quick chat with the Artistic Director, Ronnie Marmo, and a few members of the company.

• If you are not available for the time slot,

Groups & Membership Companies

• Company: Violet Hour Media. Staff:

Cassie Jozefov, CEO of Violet Hour Media; Anthony Ladesich, dir.

• If cast, all actors will be recording

their own performances from home studios. Director will direct over zoom.

Actor must have professional recording equipment and home studio set up.

Theatre 68 Virtual Auditions

• Seeking—Crystal: female, 18-35, a

• Seeking New York- and L.A.-based

passive aggressive party girl who lived in Paige’s shadow as a teenager and resented her for it. Pragmatic to a dangerous degree, i.e. determined to thrive by any means necessary.

Blisteringly funny. Sharp wit. Sharp tongue. Sharp manicure. She’s grown into a manipulative, violent adult whose own mother lives in fear of her.

actors, writers, directors, and producers to join Theatre 68.

• Artistic director states: “We are look-

ing for dedicated, open-minded, and talented individuals interested not only in acting, but in writing, producing, and directing as well. Theatre 68 nurtures artists in all aspects of theatre. We believe in creating your own work

23

email theatre68@gmail.com with a selftape monologue and answer the following question on video: Why do you want to be a member of Theatre 68?

• In your email submission, title your sub-

ject line, “Full Name, Backstage Submission, NYC or L.A. Chapter” (i.e.

John Doe, Backstage Submission, L.A. Chapter).

• For more info on Theatre 68, visit www.

theatre68.com.

• Theatre 68 is a dues-based company

($100 per month for L.A. chapter; $75 per month for New York chapter).

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

09.03.20 BACKSTAGE

Ask An Expert Agents Auditions Film Headshots Television Theater Unions Voiceover

Q:

How important is it to attend festivals to which your projects are accepted?

—@Wiscoactor23, Backstage Community Forums

Our Expert Cam Faull is an actor and 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 09.03.20

24

backstage.com

ILLUSTRATION: MARGARET RULING/SHUTTERSTOCK.COM; FAULL: COURTESY CAM FAULL

In short, it’s crucial. There are a number of reasons why you must attend.

Over the past two years, a web series I created has been accepted into 10 international festivals around the globe. I was able to attend festivals in Toronto and New Zealand, as well as participate online in one that was based in Santa Monica. In all three of these festivals, I was nominated for best actor. If acting is your chosen profession and you’ve been nominated in an acting category, attending that festival is the biggest opportunity to meet all your future buyers in one place at the same time. Casting directors, producers, directors, and content creators at every level are always looking for more new talent. The people you meet could be your potential collaborators, future employers, or pathways to career advancement.

There is another major, far more important (and less self-serving) reason to attend festivals. Making content is a challenging journey, often with very little reward for the unsung heroes who sweat bullets behind the scenes. Festivals are where the achievement of having made something can be celebrated with fellow artists. It’s a community, one you should immerse yourself in if you wish to have a long and rewarding career. The actors I’m more likely to work with again are not only talented; they also genuinely support the projects I set out to make. They share the excitement, join in at festivals, and celebrate our achievement as a team.

In the current climate, in which physically being there isn’t possible due to COVID-19, festivals are streaming online. We all wish this was different, but having attended an excellent online festival this year, I highly recommend it. As an actor or creator, you should always take the opportunity to expand your network. Whether in a chatroom or in person, the experiences you’ll have are invaluable.

When the opportunity next presents itself, don’t hesitate to attend. I promise you it’s way more enjoyable than you’d expect. It could also have a positive impact on your relationships and career.

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