BTH

Casting Breakdown

Components of the breakdown

The casting breakdown should begin with general information about the production:

Title and show number
The name of the director and producer
Shooting date(s) and time(s)
Brief description or logline that includes the genre

It should then continue with character breakdowns for all lead and supporting roles:

CHARACTER NAME (in all-caps)
Gender (if it matters)
Size of the role (Lead or Supporting)
Age range. It is how old someone looks on camera that counts, not how old they really are. Give a range. However, the younger the person needs to be, the smaller the range should be.
Ethnicity (if it matters)
Sexuality (if it matters)
Pertinent facts about the character: What are the given circumstances that shape this character? This can also include physical qualities that are necessary for the part but cannot be fudged on camera, like height for a basketball player. Remember, beards, tattoos, and hair color can all be grown in, glued on, or changed.
Distinguishing characteristics: What makes the character special or different. What drives them as a character? Never use the words ordinary or generic!
Special requirements of the role: If there will be any kind of nudity or sexual intimacy, it must be stated and described. If the actor must work with pets, babies, children, potential allergens, or adverse conditions, they must be described. Also, if the actor must perform any physical feat that is “out of the norm,” it must be described.

At the end of the casting breakdown, list any smaller roles and extras. You do not need a full breakdown for bit parts or extras, and in most instances a simple list will suffice. Only include additional breakdown information when appropriate.

Sample Casting Breakdown

THE WIZARD OF OZ (18F1)

Victor Fleming, dir. and Mervyn LeRoy, prod.

Shoots Friday November 18th from 8AM to 9PM.

The Wizard of Oz is a musical based on the book by L. Frank Baum that follows the journey of a Kansas farm girl as she and her dog Toto are swept up by a tornado to the magical Land of Oz. There she makes unlikely friends to battle the Wicked Witch of the West, expose the great Wizard, and find her way back to Kansas. There’s no place like home.

Roles available:

DOROTHY GALE: Female lead, early teens. Dorothy is a well-scrubbed, polite farm girl from Kansas with an active imagination. She must balance a sweetness of temperament with a sense of justice strong enough to propel her into potentially dangerous situations. Must be comfortable working with small dogs.
PROFESSOR MARVEL: Male supporting, 50-70. Professor Marvel is a traveling carnival magician with a dubious past. He tries hard to mask his insecurities with bravado in the hopes he will not be discovered. He is nevertheless a kind-hearted, teddy bear of a man and means no real harm.

Smaller roles and extras:

MAYOR OF MUNCHKINLAND
MUNCHKINS
FLYING MONKEYS

Sample Audition Email to Actors

Below is a sample email to send to potential actors during the casting process. Be sure to also attach a character breakdown and a copy of the script (or sides). Also be sure to copy the show’s Producer, so that they have the email for their records.

Dear (actor’s name),

My name is (your name) and I am a film student at the FSU College of Motion Picture Arts. I am casting a short film entitled (film’s title) that shoots on (shooting date). It is the story of (describe the film).

I saw your audition on our casting website and I would love it if you would consider auditioning for the role of (character name). I have attached a casting breakdown and a working copy of the script, along with the pages I would like you to prepare for the audition.

I am hoping to hold auditions on (audition date). If you are unavailable at this time, we can schedule another time that works for you. Please call me at (your cell phone number), or reply to this email if you are interested in auditioning for the role.

Thanks so much for your interest in working with the film school.

Regards,

Your full name
Your crew position
Your email
Your cell phone number

Sample Regrets Email to Actors

Below is a sample email to send to actors who you auditioned but did not cast in the film. Do not send regret emails until you are sure that the actor you have cast is 100% locked for the role. Make sure you also copy the Producer of the show, so that they have the email for their records.

Dear (actor’s name),

Thank you so much for coming to audition for the FSU film, (title of film). We appreciate the time and effort given for this project. Unfortunately, we will not be able to use you at this time, but we hope to see you again soon as we enjoyed meeting you and seeing your work.

Sincerely,

Your full name
Your crew position
Your email
Your cell phone number

Auditions

Contacting actors

To set up an audition, actors should be contacted by email (see sample email) and sent a copy of the script along with the role you would like them to read for. Five-to-seven actors per role. You should then follow-up with a phone call to make a personal connection and make sure there is no confusion about your expectations. Let them know what pages of the script you would like them to prepare for the audition.

Selecting sides for auditions

Sides should ideally have two characters, but no more than three.
The best sides give the actor a chance to act and react. Therefore, exposition is not a good choice.
Do not choose scenes that are primarily action. If you must see an actor move, give them an improv that is directed (called out).
Sides should be no more than two minutes, preferably closer to one minute.
Sides may be from a script that is not your own if it contains similar characters and situations.
Sides may be specifically written for audition purposes to satisfy the recommendations above. For example, if your character does not speak, you could write an interview of that character for sides. This is a good way to verbalize how a character is feeling. Or, think about if you were making your film into a longer form piece. What scenes do you wish you could write? Write them for sides!

Rehearsals

Preparation

Prepare to work with your actors by clarifying your choices and jotting down possible objectives and strategies (active verbs) in your script. Actors want to respect their director. After all, they must put a lot of faith and trust in them. The director is the eyes and ears of the actor. This is true much more in film than it is in theater. The easiest way to lose their respect is to be unprepared and not know what the film is about or what you want from the actors. So do your homework!

Step 1: Table Read

This is the time to share your directorial vision (and those of your creatives) and the only time you should speak intellectually about the script.
Make sure the actors know what your vision is and how the other creative elements will be handled as well as how you see them fitting in to the overall theme (spine).
Discuss backstory, motivations, objectives, obstacles, etc. with the actors and listen carefully and respectfully to their input. It is their job to contribute creatively. Ask the actors to work on preparing their roles based on this information.

Step 2: Second Rehearsal

This is the time for experimentation. Try different approaches with your actors and ask them to take risks. This is a time to try improvisation and trust exercises to build up the relationship between and with your actors. Keep an open mind. You may be surprised.
Don’t ask for film worthy performances. This will make your actors stale when they get to set and not allow them to make discoveries.
This is the time for emotional exploration and connections (relationships). It is also a time to get to know your actors and their process so that you can determine what directions and approach will work best for them. You can also identify any quirks they have that will need to be addressed on set.

Step 3: On-set Rehearsals

Forget it all and make sure your actors are listening and making connections.
During the shoot it is very important to make sure your actors feel safe and supported. They must feel that you are in control and since they put their trust in you, they rely on you to be their eyes and ears.
Actors need feedback! And they don’t want you to accept less than quality work. It is their face up on the screen and they want you to help them be great. You should speak with them before every take to remind them of their scene objectives and what happened the moment before. This is especially important when you shoot out of sequence. You should also give them feedback after every take even if just to say, we messed up sound so we need to do it again. Otherwise, they will think they did something wrong and spend the whole next take worrying about it. Also, let them know what the next shot is so they can relax.
The most important thing for the actor on set is for them to really listen to their partner and respond in the moment. Your job is to make sure they do that, and that they do it within the technical considerations of the shot.

Toolkit For Directing Actors

Action Verbs

An action verb is transitive and requires an object. It is something you do to someone or something else; “to be” is never an action verb. This list is a starting off point for you to develop your own list of action verbs.

to accuse
to admire
to admonish
to adore
to amuse
to annoy
to apologize
to appease
to applaud
to attack
to avoid
to bask
to beg
to belittle
to bestow
to boast
to brag
to brood
to brush off
to buddy up
to butter up
to cajole
to caress
to celebrate
to challenge
to charm
to check out
to coax
to comfort
to command
to confess
to confide
to confront
to congratulate
to convince
to cuddle
to defend
to deify
to demand
to destroy
to dis
to discard
to discover

to dismiss
to distract
to elicit
to embrace
to entertain
to entice
to erupt
to escape
to examine
to explode
to exult
to flatter
to flaunt
to flee
to flirt
to gloat
to grieve
to hide
to idolize
to ignore
to impress
to incite
to inspect
to instruct
to invade
to invite
to lead
to lure
to manipulate
to mimic
to mock
to mother
to mourn
to ogle
to overpower
to patronize
to perform
to persuade
to pester
to plead
to ponder
to pounce
to preen

to prepare
to primp
to probe
to protect
to provoke
to put down
to question
to reach out
to reason with
to reject
to rescue
to retreat
to ridicule
to savor
to scold
to scrutinize
to search
to seduce
to seethe
to shock
to show off
to sneak
to soothe
to stalk
to startle
to strut
to surrender
to tantalize
to taunt
to teach
to tease
to tempt
to test
to threaten
to toss off
to triumph
to ward off
to warn
to welcome
to withdraw
to worship
to yearn

Refer to Marina Calderone’s Actions: The Actor’s Thesaurus (book/app) for more examples.

Other Directing Strategies

Acceptable directions for actors that are not clarifying a beat objective through the use of an active verb include:

Do this scene AS IF you are __________ (e.g., in a funeral procession, on the floor of the stock market, at a prayer meeting, in a bread line, in front of a firing squad, etc.) Events are dynamic and spur the imagination, and actors’ imaginations are the best tools they have. Ask an actor to use “the magic if” and to find an event or relationship from their own lives they can connect to the character or situation imaginatively and emotionally. It is not necessary that you know it or that they share it with you.
Asking the WHO, WHAT, WHERE, WHY, HOW, and WHEN questions. These questions clarify the circumstances, the super-, scene- and beat-objectives, the motivations, and the strategies of the character in an easy-to-understand format.
Directing the actor to “Keep it simple,” “Think it, don’t show it,” or “Listen to them. Really listen.”
Use FACTS. Facts are objective and help to clarify circumstances.
Use SENSORY IMAGES (sight, sound, feel, taste, smell). Images allow the actor to use recall to make a situation real to them.
Use PHYSICAL TASKS. Physical tasks are kinetic (energy in motion) and allow the actor to create a multi-layered approach as well as provide focus.
THE MOMENT BEFORE. What just happened before this scene takes place? How does that impact what is about to take place?

Avoid

Avoid asking for moods or results from an actor. Instead, clarify objectives and give active verbs to work with.
Avoid asking an actor to “bring it up.” Instead examine whether the stakes are high enough to motivate the behavior, and if not, raise them or use the “as if” scenario.
Avoid asking an actor to “bring it down.” Instead ask them to listen to their partner and not anticipate what is coming next or to keep it simple and respond truthfully.
Avoid giving line readings to an actor. Remember, the line is unimportant. The motivation for the line is important. Make sure the actor is clear on what the motivation and objective is for the line and ask them to only think of that.
Avoid telling an actor how their character should be feeling or give character judgments. Remember, all characters’ actions are justified to them, even and especially, “villains”!
Avoid using adjectives or adverbs when giving directions. Always use VERBS!

Animal Use

The safety of working animals and the persons working on such productions shall be of primary concern. Animals are unpredictable and only qualified professional trainers and/or wranglers should be allowed to work with animals on productions. Defer to the animal trainers at all times and do not feed, pet, or play with any animal without the permission and direct supervision of its trainer.

For more information on this topic, please refer to this PDF from the American Humane Association:

AHA Guidelines for the Safe Use of Animals Download

Communication of safety information

Notice shall be given prior to shooting, on the call sheet and safety bulletin, that animals are working.
It is the responsibility of the trainer to convey to the cast and crew specific safety concerns relative to the animals being used. The trainer shall address the cast and crew (including the parent and/or guardian of any children on the set) regarding safety precautions while animals are on the set (e.g., maintain a safe distance from wild and exotic animals, no feeding, no running, escape routes, etc.)
A “closed set” notice should be posted on all stages where animals are working and every effort should be made to maintain a closed set where animals are working on location.

Equipment safeguards

An easily accessible area shall be available for loading and unloading animals.
Equipment operated in conjunction with working animals should be in a safe operating condition as determined by the trainer and/or wrangler in conjunction with the property master.
Scenery and props should be secured. Objects (e.g., ladders, pedestals, etc.) that easily tip over can startle the animals.
All hitch rails shall be fastened in the ground in such a manner that the tugging of a frightened horse cannot pull them loose (e.g., sleeve installation). On a stage, hitch rails will be bolted or fastened in a rigid manner.
Basic animal safety equipment such as fire extinguishers, fire hoses and nets should be readily available. An easily accessible area shall be available for loading and unloading animals.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.

Medical safeguards

The trainer or person supplying the animal shall be responsible for obtaining all necessary inoculations, permits, licenses, and medical safeguards.
Depending on the types of animals being used, and the filming location, consideration should be given to providing onsite emergency medical transportation, with qualified medical personnel, up to and including advanced life support, as necessary.
Extreme caution should be taken when using exotic venomous reptiles. The proper antidote (anti-venom) should be selected depending upon the type of reptile. Location of the antidote shall be predetermined and printed on the call sheet.
The American Humane Association (AHA) guidelines on the treatment of animals used in film making state that a tranquilization and/or sedation on set for the sole purpose of film making is prohibited. As a safety backup, consideration should be given to the availability of tranquilizing equipment. Potentially dangerous or complicated animal action should warrant the presence of a qualified veterinarian.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.

Large animals

Under no circumstances should horse falls be accomplished by tripping or pitfalls.
Horses being used on a production shall be properly shod for the working surface (e.g., borium, rubber shoes, etc.).
There should be two handlers for each large undomesticated animal such as a large cat or carnivore (mountain lion or larger).

Safety bulletins

Animal Handling Rules

Critters

Exotic Venomous Reptiles

Weapons

The use of weapons requires the utmost attention to safety protocols and special clearances from the Head of Production and the local police. This involves a substantial amount of extra time and planning to ensure the safety of everyone on set. For these reasons, the use of weapons is only permitted on advanced-level projects — F3, BTH, M2, MC — where students have sufficient time and training to acquire a weapon use authorization and coordinate the production safely.

Important Guidelines

Treat all weapons as though they are loaded and/or ready to use. Do not play with weapons and never point one at anyone, including yourself. Follow the directions of the Property Master and/or Weapons Handler regarding all weapons.

The use of firearms and other weapons may require special permits and/or operator certifications. Anyone that will be using a weapon shall know all the operating features and safety devices. All weapons must undergo thorough safety inspection, testing and cleaning on a daily basis by qualified personnel.

Anyone handling a weapon shall receive the proper training and know all operating features and safety devices.

If weapons are used in filming, the designated Weapons Handler must meet with cast and crew and inform them of the safety precautions in effect and answer any questions. Specific safety bulletins for the type of weapon being used must also be attached to call sheets.

Safety bulletins

Edged, Piercing and Projectile Props

Water Hazards

The following procedures are recommended for all water work, including, but not limited to ponds, rivers, lakes, swamps, bogs, oceans, pools, and tanks, or any other unduly wet work environment.

Identification of potential contaminants or hazards

Know as much as you can about the body of water you’re working on or in, including its natural hazards and animal life. The Production Company, Location Manager or the Safety Coordinator should have all relevant information.

The Producer should identify and make known prior to actual filming, all available knowledge regarding currents and natural or man-made hazards, including sub-surface objects, underwater life, and contamination. Upstream activities, such as dams, waste disposal sites, agriculture, chemical plant dumping sites, flash flood dangers, etc. should also be evaluated. If a potential safety hazard is found to exist, the Producer should take appropriate steps to mitigate the hazard.

Prior to personnel entering a body of water, a determination should be made that the water quality meets the applicable regulatory standards for recreational full body contact. Samples of the water should be taken and analyzed for any potential environmental concerns and/or health hazards. If it is determined that a body of water is contaminated or hazardous, the contamination or hazard should be neutralized or the site shall be avoided.

Extreme care should be taken regarding dangerous marine life, including reptiles.

All personnel should be advised to keep all potential contaminants away from the water, including paints, thinners, repellents, gasoline, oils, etc.

Notifying and protecting personnel

All personnel scheduled for water work shall be notified in advance via the Call Sheet. Personnel who are uncomfortable working in or around water should notify their supervisor prior to that day’s call.

All personnel working in or around water shall be provided with the appropriate water safety devices, such as life vests or other water safety gear when appropriate. (See Safety Bulletin: Recommendations for Diving Operations.)

When necessary, the Producer should implement a plan to account for personnel in the water, such as a “buddy” or a check in/check out system.

The Producer should take steps to prevent hyperthermia (elevated body temperature) and hypothermia (reduced body temperature).

Provisions for post-immersion washing should be available.

Lighting and electricity

Special care must be used whether AC or DC electricity is used in or around water. All electrical cables and lights in close proximity to water shall be properly secured to prevent tipping and falling. All wiring, electrical equipment and devices that will, or may be, subject to a submerged condition should be approved for underwater use, be watertight, have no exposed live connections and be constructed such that there is no shock hazard under any likely conditions of use. All applicable provisions of the National Electric Code should be followed. Local regulations may be more restrictive and should be consulted.

When lighting, electrical distribution, or any electrically powered equipment is used in close proximity to water or can make contact with water, the use of GFCI should be evaluated by a qualified person. This includes all areas where water hazards exist. When persons, wardrobe, props, or equipment are wet, the need for GFCI protection should be evaluated.GFCIs should not be used on circuits where removal of power may create a greater hazard, such as airbags, decelerators, emergency egress lighting, etc.

All electrical connections should be made by, or under the supervision of, a qualified person.

Other considerations

Safety lines, nets, watch safety personnel and/or divers should be used when filming in rivers or other bodies of water where potentially hazardous conditions could exist (e.g., swift currents, thick underwater plant life, or rocks).

When necessary for personnel to work in fast-moving rivers, downstream safety pickup personnel and safety equipment should be stationed for downstream emergency rescue.

When using watercraft, be aware of load and rider capacity limits. Only required personnel should be on watercraft; all others should remain on land. (See Safety Bulletin: Guidelines for Boating/Watercraft Safety.)

Safety bulletins

Boating and Watercraft

Diving Operations

Water Hazards

Stunts and Special Effects

Overview

All stunts and special effects must be reviewed by all participants and must be approved by faculty prior to execution to help ensure that they are performed in the safest manner possible. It is the Producer’s responsibility to make sure that the faculty has fully approved any such activities prior to the start of shooting, and any production plans that involve stunts or special effects must be described in detail at the show’s Director’s Prep. This includes, but is not limited to:

any form of running, jumping, climbing, balancing, or falling actions that are required of actors or stunt personnel;
any fight scenes;
any use of real or prop weapons;
any use of edged or piercing props;
any scenes involving the driving of vehicles;
any operation of potentially dangerous equipment;
any scenes involving animals;
any use of pyrotechnics, explosives, squibs, or fire;
any scenes involving potential water hazards;
any scenes involving potentially hazardous materials.

Stunt coordination

A qualified stunt coordinator must be in charge of all aspects of a physical stunt, including script review, planning, site selection, preparation, testing, rehearsal, modification, and recommendation of the qualified personnel and equipment to be utilized to perform the stunt.

When a Producer requires a performer to perform a stunt or stunt-related activity, an individual qualified by training and/or experience in planning, setting up, and/or performance of the type of stunt involved must be engaged and present on the set. No performer without the requisite training and/or experience shall be required to perform a stunt or stunt-related activity without an opportunity for prior consultation by the performer with such qualified individual. A performer must consent to participation in the stunt prior to its performance.

Advance notice is to be given to stunt personnel in order to plan a safe stunt. If changes are made to these plans, the Producer is to provide sufficient time to safely accommodate the changes and obtain faculty approval for the changes.

An on-site safety meeting, including all participants and others involved, must precede the performance of all stunts. This meeting must be documented and must include a “walk-through” or “dry-run” with the stunt coordinator and/or effects people. An understanding of the intended action, possible deviations, and authority to abort should be made clear. Before rolling cameras, should any substantive change become necessary, the First Assistant Director will again call all persons involved in the stunt to another meeting to confirm everyone’s understanding and agreement to said change(s), and faculty approval must again be obtained.

Under no circumstances should a stunt or special effect be improvised on set without prior faculty approval. Failing to adhere to this policy may result in immediate dismissal from the College of the Producer and any other students deemed responsible for the violation.

Appropriate Personal Protection Equipment (PPE) and/or other safety equipment must be provided to the cast and crew as needed. Wardrobe, hair, and make-up should be presented in sufficient time to determine if such items will impact the execution of the stunt. Final safety approval rests with the stunt coordinator and/or qualified individual.

The stunt coordinator and/or qualified individual shall determine whether safety requires the exclusion of non-essential crew from the stunt area. Perimeter control should be established and maintained. Traffic control procedures shall be reviewed, and special attention should be paid to driving sequences where unauthorized personnel could enter the area. The stunt coordinator and/or qualified individual should be involved in safe placement of cameras, camera operators and all essential crew. There must be a planned escape route and each person involved should personally check all escape routes.

Pyrotechnics, explosives, and fire

Special effects involving pyrotechnics, explosives and/or fire must be noted in advance on the call sheet. Properly licensed individuals must perform all such effects. The necessary permits must be obtained and the appropriate regulatory agencies notified. Explosives must be stored and disposed of properly.

Radios, cell phones, personal electronic devices, transmitting equipment, and remote control equipment should not be used around pyrotechnic or other explosive devices.

Safety bulletins

Open Flame

Parachuting and Skydiving

Pyrotechnic Special Effects

Stunt Air Bags and Freefall Catch Systems

Stunts