Feature Films Shooting in Ohio and Surrounding States

DARE TO DREAM CASTING CALL FOR EXTRAS

To everyone interested in being considered for background work (extra) on George Clooney's film "Ides Of March".... Please submit a digital photo of yourself along with your contact information (Name / Home & Cell Phone #'s / Email Address) to:

daretodreamcastingextras@gmail.com

It may take several days as we have been inundated with requests... but we will get back to you. Thank you all for your incredible enthusiasm!

Local Production Company Brings Hollywood Talent to Columbus!

Three Dog Films, a Columbus-based production company will be working with known Hollywood actors for their upcoming film.

Columbus natives David Sabbath and Alex Esber are coming home and they’re taking a little bit of Hollywood back with them. In conjunction with Three Dog Films, Sabbath’s Columbus-based production company, writer/director Sabbath and producer Esber are bringing to life the “God Don’t Make the Laws” in the Ohio area. Filming wrapped on December 1st to the 22nd, 2010.

New York City-based Lucas Salvagno and Ella Rae Peck will star as the lead characters supported by a cast of big screen veterans: Paul Sorvino (Goodfellas, The Firm), Robert Prescott (Michael Clayton, Burn After Reading), and Bruce Davidson (X-Men, Runaway Jury). All additional roles will be cast with talent from Central Ohio and New
York City.

The story takes place in the small, picturesque town of Rockwell. It is the perfect place to live… almost. There is no crime, sickness or death in Rockwell. Everybody lives and nothing ever changes. But you can’t ever leave.

God Don’t Make the Laws is the first Sabbath screenplay to be made into a full-length movie and its production marks a homecoming for both Sabbath and Esber who are residents of the historic German Village, which will be a featured location in the movie. Filming will
primarily be in Licking County with locations set in Newark, Alexandria, and Granville. Additional filming will take place in and around Columbus.

Fox TV show to film in Pittsburgh

In an unprecedented month when three movies made locally hit the big screen, Pittsburgh's Hollywood on the Mon status shows no sign of abating. Cameras soon will roll on an upcoming Fox television series that will make Western Pennsylvania its home.

Fox's "Locke & Key" is based on a graphic novel written by Joe Hill, Stephen King's son, and network spokesman Jason Clark said the intent is to film a pilot episode in Pittsburgh and the surrounding area in January.

UPCOMING AUDITIONS

FILM AUDITIONS

“THE THICK WINDOW”

INDEPENDENT SHORT FILM
Films by Chris Short: http://chriswestfield.blogspot.com/

“A poignant drama about a father and son who survive in a small underground bunker after a cataclysmic world event. “

Please send resume and headshot to Chris Westfield via email: westfieldc@gmail.com

CHARACTERS:

MALE “MEL” – Late 30s to Late 40s, Father to Caden. Painter/Artist – Loves and protects his son from the reality of the situation, misses his wife. He has a difficult time conveying that love to his son. Takes pride in being the provider/protector.

BOY “CADEN”– 8 - 11, will try to play the character a little younger. Bookworm, plays video games, misses his mom, tries to be like his father but does not excel at painting. Sensitive and has a blind love for his father that only a son would have. (Parent must be on set during the shoot).

SHOOT DATES: 12 or 13 February 2011 (alternate date 5 or 6 March) a few miles west of Grove City area.

THEATRE AUDITIONS

MadLab Theatre is holding auditions for its twelfth annual THEATRE ROULETTE shorts festival. Auditions will take place at MadLab at 227 North 3rd Street in downtown Columbus from 10am-noon on January 22nd with callbacks on January 23rd. We will be casting multiple male & female roles from ages 18+. Auditions will be readings from the scripts.

If you would like a copy of the scripts prior to auditions or have any questions, contact Managing Director Andy Batt at 614.571.3886 or at andy@madlab.net

Columbus Children’s Theatre will hold OPEN AUDITIONS
January 23 & 24, 2010 for STUART LITTLE

WHEN: Sunday, January 23rd 7:00 pm & Monday, January 24th 7:00 pm

WHERE: Columbus Children’s Theatre STUDIO 177 East Naghten St. Columbus, OH 43215

Callbacks will be on Tuesday, January 25th, 7:00 pm

• Actors should bring a current resume and a photo (snapshot is fine) and dress comfortably.
• Scripts are available at our offices (177 E. Naghten St. Cols, OH 43215) and may be checked out for 3 days with a $20 deposit.

Questions? Call 224-6673

Adult & Youth Roles
(Ages 12 and up) All adult actors are paid*!

*Must be 18 and a high school graduate

*This script is written to be performed by 7 actors playing multiple roles - as indicated below. (CCT may choose to cast more actors)

1st Actor: (male or female) Stuart Little

2nd Actor: (male) Mr. Little, Hank, Tige, Storekeeper, Superintendent

3rd Actor: (male) George, Leroy, Angie, Mr. Clydesdale

4th Actor: (male) Doctor, Snowbell, Bus Driver, Dr. Carey, Zeke,
Telephone repairman

5th Actor: (female) Mrs. Little, Reporter, Malty, Miss Swenson

6th Actor: (female) Neighbor, Bureau Chief, 1st Dog, Referee, Margalo

7th Actor: (female) Woman with newspaper, 2nd Dog, Babette, Pigeon,
Harriet Ames

CURTAIN PLAYERS Audition: January 9, 2011

Boy Gets Girl
By Rebecca Gilman
Directed by April Olt

Synopsis: When hard-working magazine journalist Theresa goes on a blind date with Tony, she is a little apprehensive about being out with a total stranger in New York City. Be prepared to feel the walls close in, as infatuation takes a sinister turn towards obsession in Boy Gets Girl by Rebecca Gilman, Pulitzer Prize finalist and recipient of a Guggenheim Fellowship.

When: Sunday, January 9, 2011 (One night only!)
• 6:30pm - Registration
• 7:00pm - Auditions begin
• Contact us if you need to arrange an alternate audition date.

Where: Gallery 202, Partners In Art, Inc. 38 North State Street (2nd floor), Westerville, Ohio 43081

Performance Dates:
April 1, 2, 8, 9, 15 & 16, 2011 at 8:00pm
April 10 & 17, 2011 at 2:00pm

What to Expect:
Auditions will be cold readings from the script (although actors are urged to be as familiar as possible with the script) prior to the audition. Actors will get the chance to meet with the director in advance of the audition to discuss the play, see the sides, hear the director's interpretation of the play and gain some handy tips for auditioning by cold reading.

Character Breakdown:

3 Women and 4 Men

The Women

Theresa Bedell: (age 35–40) Writer for The World magazine in New York. Attractive, independent, strong, and used to being on her own. (NOTE: This is a demanding role as the actress will be onstage for 95 percent of the play. Anyone with major conflicts during the rehearsal process will not be considered for this role.)
Harriet: (early 20s) Theresa's research assistant. Attractive, nervous, always tries to do the right thing. Harriet is a people pleaser.
Madeline Beck: (age 40–50) Police officer. Hardened, experienced, matter-of-fact, and college educated. She chose to work this detail because she wants to make a difference.

The Men

Tony: (age 20s–30s) Attractive, but not "smooth." He tries very hard to impress women, but always seems to go too far.
Howard Siegel: (50s–60s) Theresa's boss and mentor, editor of The World. He is a father figure to Theresa. Caring, attentive, but a member of the "men's club" and of "a certain generation" when it comes to dealing with women.
Mercer Stevens: (30s) Theresa's co-worker, a writer for the magazine. Competitive and the newest writer for the magazine.
Les Kennkat: (70s) Movie producer and director of low-budget, 1960's sexploitation movies. He is without pretense and takes pride in his work. Honest, forthright, and lonely.

STUDENT UPDATES

Click on the video posted below to see what projects some of our students are working on:

WHAT IS A CASTING DIRECTOR AND THE CASTING PROCESS?

Most people have a huge misconception about the steps needed to take in order to get in front of that casting director or modeling agent. It is a much longer process than most would believe. It's really just like anything else, you can't be a surgeon if you have never been to school for it. There are very few if any in the last several years that have been discovered in a local pub or market. Even if that were to happen I'm sure that people would still ultimately have to attend some sort of class to know what was going on and have to proper technique and be efficient on the set, etc.

One of the most important things you have to do when starting out an acting career is make sure that you get your headshot to the right people - casting directors. Your headshot acts as your business card; it's the first thing casters look at when they choose someone to play a role. The most efficient way to get your headshot out there is to get an agent. It's also very important to pick a reputable agent, as some casting directors limit auditions to a few agencies. They have to go through thousands upon thousands of headshots and resumes, so it's understandable why they'd like to streamline the flow of paper that comes their way.

Once you've signed with an agent, you can sit back and let him do the work for you. He'll send your information to any and all jobs that you qualify for. You'll also get tips on improving your headshots and how to make your resume more appealing to casting directors. Once your agent lands you an audition, you'll need to bring more headshots with you. The preferred size is 8x10; some casting directors have been known to toss away headshots that are smaller. You want to be sure you are qualified to present yourself in front of a Casting Director. They are only looking for skilled, talented actors.

In the production of film and television, the following process is followed. However, especially for major productions, the process of selecting actors for sometimes hundreds of parts may often require specialized staff. While the last word remains with the people in artistic and production charge, a Casting Director or "CD" (and sometimes the Casting Associate) are in charge of most of the daily work involved in this creative filmmaking process during pre-production. A Casting Director is sometimes assisted by a Casting Associate; productions with large numbers of extras may have their own Extras Casting Director.

The "CD" remains as a liaison between director, actors and their agents/managers and the studio/network to get the characters in the script cast. Some Casting Directors build an impressive career working on numerous Hollywood productions, such as Mary Jo Slater, Mary Selway, Lynn Stalmaster, Tammara Billik, Marci Liroff, John Lyons, and Mindy Marin.

At least in the early stages and for extras, casting may be decentralized geographically, often in conjunction with actual shooting planned in different states, e.g. in Hollywood or New York (studio) and one or more exotic locations (e.g. Hawaii, the Far East) and/or budget locations, e.g. Canada, Ireland. Another reason may be tapping in to each home market in the case of an international co-production. However for the top parts, the choice of one or more celebrities, whose presence is of enormous commercial importance, may rather follow strictly personal channels, e.g. direct contact with the director.

Enroll in casting director workshops. These workshops require you pay a fee to participate. You will meet a particular casting director and hear a bit about her background as well as what she's currently casting. You'll then have the opportunity to ask any questions you have. After this informational portion of the workshop, the casting director will then hand out scenes and pair you up with a fellow actor. You'll be given about 10 to 15 minutes to rehearse your scene and then you'll perform it for the casting director. She may give you feedback or redirection on the scene. If she likes what she sees, she may call you in to audition for a future project.

Local Casting Directors You Should Know.

Editor's Note: Never call a casting agency. Go to their websites and follow their submission policies.

Ohio Casting Directors

Dare to Dream Casting

Talent Website: The Dare To Dream Casting "Talent Market" Website is up and running!

If you are talent.... go to: http://www.daretodreamcasting.tv/ and click on the link at the bottom right-hand corner of the page (The Talent Market) Register for the year and be considered first for the castings!

Pittsburgh Casting Directors

Donna Belajac Casting

109 Market Street, 2nd Floor,

Pittsburgh, PA 15222

http://donnabelajaccasting.com/talent.aspx

Blackbird Studios

3583 Butler Street • Pittsburgh, PA 15201

(412) 621-1160 P • (412) 621-1165 F

http://www.mossercasting.com/

DETROIT CASTING DIRECTORS

POUND AND MOONEY CASTING

1761 East Lincoln
Madison Heights
Michigan 48071

Mail a headshot and resume with your contact information,

also include any talent agencies you are registered with.

http://www.poundmooneycasting.com/contact-info.shtml

CRAFT NOTES by Ed Hooks

GOOD ACTING: ALLOWING OR CAUSING?

Every now and then, I get someone new in my acting class who is willing to work harder than anybody else. “Assign me three scenes and a monologue,” she will tell me. “I can do it!” As soon as I hear that, I know I’m in trouble. One does not become a good actor by working hard at it. Learning to act is not like learning how to build a garage. It’s not like weight lifting or doing sit ups. You can’t relax by working hard to relax.

Acting is a process of exposing, not hiding, of allowing, not causing. It takes more courage to be honest than to tell lies, and that is the primary ingredient in a worthwhile performance. Acting is an art that gets more difficult the better you get at it. It is like telling secrets about yourself in front of a group of strangers.

Tension is the number one enemy of good acting. Lee Strasberg and Sanford Meisner made up a whole bunch of relaxation exercises designed to cope with tension. I don’t work like that. I have discovered that, when an actor is confident, she is naturally going to be relaxed. Tension is a factor of self-doubt. If you feel you belong on the stage and that the audience is there to hear and see what you have to say, you will project relaxation and confidence. Play fully an action in pursuit of an objective while overcoming an obstacle, and you’ll be as relaxed as it is possible for you to be, even if the scene is tense.

In case you haven’t guessed, I don’t much like relaxation exercises, even though I realize that some top teachers adore them. Back when I used to take acting classes as a beginning actor, I didn’t think relaxation exercises did me much good. Later, when I started teaching, I tried them for a while because my teachers wanted me to. Everybody in the class would lie on the floor and feel heavier than a rock and then lighter than a feather, and they would be aware of their toes and their ears. Then they would get up off the floor, and they still couldn’t act! They became very expert at doing relaxation exercises.

Are you destined to be an actor? Do you belong on the stage? When you are acting, do you feel that you are drawing the audience to you, or are you chasing the audience? One of my many psychiatrists once said that a man should aspire to being a “desirable target”, which is a good concept for acting in my opinion. You get into trouble when you feel you have to “chase” the audience.

Acting is doing something – playing an action in pursuit of an objective while overcoming an obstacle. Emotions are automatic value responses. If you come at acting emotion-first, you are guaranteed to be in trouble. Emotions are not actable. If I asked you right now to act “sad”, you couldn’t do it. “Sad” is not actable. “Sad” is a value reaction and, in response to it, you DO something about it. Acting is doing. If you feel sad because of the circumstances of the scene, you will do something about that. Perhaps you will try to hide the fact that you are sad, for instance.

Acting doesn’t necessarily require a lot of physical movement, but it absolutely requires that you do something. If I ask you to sit as still as possible and multiply 28 x 146 in your head, your eyes will move. You’re not going to be able to do it with no movement at all. If you are bad at math, you are going to have a pretty big obstacle to overcome. The audience will see you trying to do the multiplication, and they will empathize with you.

Do not deny your feelings. They are automatic value reactions, and they are true. Be honest about it. The script will tell you what to do about it.

BOOK OF THE MONTH

The Actor's Encyclopedia of Casting Directors: Conversations with Over 100 Casting Directors on How to Get the Job

Karen Kondazian has compiled insider information and intimate profiles from talking to premier casting directors in film, television, theatre and commercials from Los Angeles to New York. Casting directors speak on the record with expert advice on how to get in the door and, once in, how to prepare effectively for an audition. Each interview contains a photograph, credits, contact information and personal profile. Find out from casting directors what they like ... and what they don't.

Hanani had an acting class yesterday in LA taught by Michael Testa. He is the casting director for Cold Case. There were about 15-20 students in the class and Hanani was the youngest by far. Michael Testa read with her and he was so surprised. He said that Hanani's interpretation and performance was the best out of everybody. He wanted to keep her headshot. All of the other actors congratulated her. Nobody expected that out of her. She had another class last Monday with an acting coach, Carnetta Jones. Look her up on Google. Carnetta also said that Hanani was exceptional. Hanani is really good... even by Hollywood standards. Your coaching is why! The Richard Mason method works!!!! (-:

-Robin Stith, Hanani's Mother

WEDNESDAYS, JANUARY 19, 2011 7:00-9:30PM $200

Sunday, January 16, 2011 1:00pm - 8:00pm $175

Learn how to audition for and break into the local commercial and industrial industry. You will learn how to make the first contact with the agents. By taking this class you have the opportunity to show the agents that you are serious about pursuing this type of work.This workshop will give you experience with the actual audition process:

You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason.

Script analysis skills: We have written our own textbook that breaks this process down and makes it simple.

Comfort in front of the camera: How do you stand? How do you hold the script? How do you deal with your partner and the camera at the same time? What is a slate? What do you do with your hands?

Practice at doing all types of commercials: Scene work, improv, one-liners, bite and smiles, handling products, etc. You'll also learn how to market to the casting directors, all about pictures and resumes, how the unions work, etc.

Saturdays, beginning January 15, 2011 - March 5, 2011 10:00am-12:00pm $150

This on-camera intensive is designed to enable the actor to handle commercial auditions, film and TV sides, scenes, and monologues for film. Working with the camera, actors will break down scenes to discover the humor, emotional moments, pacing, beats and more. The class will also explore the fundamentals of film and commercial auditioning, including slating and how to interview effectively, while exploring the entire audition scenario. The class will focus on strengthening performances and working with confidence in front of the camera during cold readings as well as prepared sides.

All exercises and scenes are video-taped with playback critiques an essential part of class time. All students will receive a DVD DEMO REEL of their work at the conclusion of this workshop.

Friends and family members are invited to attend the WRAP PARTY on Saturday March 5, 2011 12:00pm for the screening of Student's DEMO REELS.

Saturdays, beginning January 15, 2011 - March 5, 2011 2:00pm-4:00pm $250

Here is your chance to see yourself on the big screen! An intensive on-camera workshop to prepare the teen actor for working on a film or television set. Students will concentrate on the development of acting skills through working on a film based on 12 ANGRY MEN, a 1957 film directed by Sidney Lumet.

Our modern adaptation, of this film, will allow each student to be cast in a substantial role. This class will guide the student, step by step, from the audition process, through preparation and rehearsal to actually filming on a set. In addition, students will also learn industry etiquette and terminology.

Students, friends and family members are invited to attend the WRAP PARTY and SCREENING of the film on Sunday March 20, 2011 2:00pm at the Gateway Film Center. Students will receive a DVD of the film.

The Student's film will also be screened for regional Casting Directors, Agents and Filmmakers.

Mondays, January 17 - March 7, 2011 7-9:30 $250

An intensive workshop to prepare the actor for working on a film or television set and to produce a clip for their demo reel. Students will concentrate on the development of acting skills through working on a film based on 12 ANGRY MEN, a 1957 film directed by Sidney Lumet. Our modern adaptation of this film will allow each student to be cast in a substantial role.

This class will guide the student, step by step, from the audition process, through preparation and rehearsal to actually filming on a set. In addition, students will also learn industry etiquette and terminology. We will be shooting with two cameras and a film crew to produce a product worthy for the actors' demo reels.

Students, friends and family members are invited to attend the WRAP PARTY and SCREENING of the film on Saturday November 20, 2010 6:00pm. Students will receive a DVD of the film and a individual clip for their demo reels.

The film will also be screened for regional Casting Directors, Agents and Filmmakers.

Thursdays, January 20 - March 10, 2011 7-9:30 $200

Whether you’re an acting enthusiast who is ready to jump into the action or a professional looking to liven up their next performance or audition, this is the right course for you!

It’s a Scene Study class – with a difference. Everyone in class works on scenes from the same author. The plays (or screenplays) are chosen for their complexity, challenge, depth, and for containing the great roles that actors dream of playing.

Each student will also have the chance to work on two monologues during this eight-week workshop. We will help you choose the best material to showcase your talents or you may work on material already in your repertoire.