Over the past years I directed two no(?)-micro(?)-low(?)-budget (what’s the latest on who qualifies?) features and a dozen short films and almost every time I held open community meetings seeking the public’s support. I didn’t think this was anything special but the producers on Free in Deed asked me to describe the rationale for running ‘Open Call Info Sessions’ to the community on low-budget projects instead of traditional ‘closed-door auditions’.
On a low-budget film, we need all of the resources we can imagine and especially those that we can’t yet anticipate. I want to delay the ‘self-censor’ in people who might feel inadequate or unqualified to cooperate on a MOVIE! for whatever reason. These are likely to be the exact same individuals the project needs the most. The finished film will be a result of each person involved and we want to start from the largest pool possible. Over the course of its making, with every subsequent decision, the film’s scope will incrementally narrow down through exclusion, so we need to start off big.
Whether close to home or far afield, we need a community to shoot within (if we’re involving more than a handful of people). If we can’t show up with Tom Cruise then the process of convening our community becomes more personal. Even when you happen to have a production coordinator who can collect discounted quotes from rental houses, you might be much better off getting any needed props or equipment from a volunteer. For Miracle Boy, after a week of trying to hire a regional phone company to plant a new power pole for our climactic scene, we found a couple of farmers who did it overnight for free based on relationships made at our open call ‘Info Session.’
On previous films, I had to assume that everything was for free. I’m working for free, I don’t have money to pay for anything, so anything that makes it into the film will have to be provided for free. If not, it just doesn’t happen. Those are the parameters and they determine all kinds of creative decisions: about who will be involved, where to shoot, for how long, the style of performance, the aesthetic, even the plot. That is the fatalistic (or serendipitous) approach I have. Some opportunities get lost that way but it keeps the flood gates of cash and credit closed, keeps equity among participants, and makes my decisions a lot easier. When we went to Lewisburg, VA to shoot Miracle Boy there were two options for our open call info session. One was charging about half our film budget to use their theater for two hours, the other theater was available to us for free. We went for the free theater and after our film premiered at Venice, brought it back to that same theater for a big community premiere.
Though the results are always different this is what we usually do:
Posting: Get the word out about a public information session (not a casting call: the people you attract will be a whole other sort). Whether online, on paper, on the radio/local tv, or in person, this is informing the locals about the project. There will be a link to a website: some validation (usually a local news story) so people will be curious as opposed to creeped-out. There will be mention of the connection to the community (why shoot here?); information on when and where to meet (a free community space, easy to access); info on who and what we’re looking for (people [not ‘actors’] of all shapes, races, styles, ages, etc. to appear in the film with no experience or training necessary). I don’t want anyone’s own self-consciousness to get in the way and forfeit their own undiscovered talent. This posting is meant as an invitation to just learn about the project (this gives an ‘in’ for people who might want to be involved but are hesitant to commit). This allows you to look for crew, PA’s, financial support, locations, props/wardrobe, stunts, and anything else you might need (or suddenly realize you want). Get anyone and everyone under one roof to see you and for you to see them.
Presenting: Once everyone is in, I do a very short 3-5 minute presentation. I introduce myself and the project; what the intentions are and what people will get by being involved (explicitly stating that it will not be fame or fortune). This is not a performance piece: I keep the attention on the project and people’s potential involvement. I list a couple of major items that might still be needed (cast, locations, specific props) and mention that I’m looking for any local info that we might have missed (people at this point often suggest local characters or history). The goal here is to be inclusive. There is a good chance that people will be apprehensive and primed for rejection, afraid to step out of line. You want everyone to be encouraged. I explain that appearing in the film is not the same as ‘acting’. I don’t expect professional actors to show up for an open call and I want to put people at ease about the process. They will not have to memorize lines or audition. But they need to show up and be willing. That’s it- I’ll handle the rest.
Profit Motive: I state outright that no one will get paid. Each person needs to have their individual reasons for joining a film project: experience, creative expression, community involvement, kicks, support for the film content, curiosity, or boredom. It doesn’t matter. But it isn’t money.
Questions: Open up for general questions. This allows for more info, concerns, or contradictions to be aired and addressed publicly. “Why isn’t anybody getting paid?” “Why is your film about this or that?” This is a one-time opportunity to build good will and clarity.
Break into lines: We need everyone’s contact, name, photo and info on their area of interest. There will be two lines with two production people to take notes and photos. One line for production (crew, locations, props, support etc.); the other line for appearances (casting). We get photos for everybody (not just people for the cast). Often someone who wants to appear in the film happens to have a location we need. Or someone with a vintage car collection might be perfect for a part.
Casting: At the open call, I meet with every single person individually. We shake hands and have a short 30-second talk. Is this person good for the film? (Not just the part, I’ll change or create a part for the right person). Are we communicating easily? Any red flags? Do they hear and understand me and I them? Can they take a simple instruction? That’s all I need at that point. Later, I’ll follow up individually with a few people that we may need to try out and audition. This leads into a longer casting process. For non-actors I’m not usually looking for performance so I don’t need to audition. They just need to be who they naturally are; in front of a lens. They won’t need to memorize lines or emote for the most part. Also, I don’t often have a choice in who I cast. I use whoever shows up. Again, in Miracle Boy, we changed character roles from parents to grandparents when no one ages 40-50 showed up. The film turned out better for it.
Audition: If there is a specific need for some big emotions or special abilities then I will try someone out. I’m not looking for the perfect actor. But someone I can work with. This is more like a creative character session where the performer and I develop whatever working relationship we can. I don’t passively sit in judgment while the candidate attempts to impress me with an all-or-nothing staged bit. But if they have to scream and cry in the film, I need to see if they can do that convincingly, before we get to the location. If they have to limp in the film we’ll practice a limp and see if they can get it down. That’s it.
Hope that helps somebody—good luck–
jake
Jake Mahaffy’s latest film “Free In Deed” wrapped filming in Memphis, TN earlier this year.
More about “Free In Deed” — including footage with cast and locations that were found as a result of its open community call can be seen here:
