Three days of firsts

Yesterday, Thursday 14th of February, was a momentous day. For the first time the words “that’s a wrap” passed my lips (in the context of a film shoot)! The past three days have been some of the most exciting, and nerve-wracking, of my life thus far.

I have just finished the final day of shooting of “Common”, on the Common (ha ha)! It was an extraordinary experience. The learning curves were so prevalent, so frequent, as to become almost mundane. “Oh, there’s another new thing I need to know” was a thought that meandered across my mind on more than one occasion: it was my first time as a director (with my first cast), my first as DOP (Director of Photography), and my first working with any kind of crew.

The learning began even before the shoot got underway: Monday was a day of organisation, hiring a van, buying props, arranging catering, the list goes on, but the last thing I did that day was to collect the grip equipment from the rental company. That evening was reserved for checking over and becoming familiar with all the new bits of kit I’d hired, kit which included a full-size Steadicam rig.

Now, I’ve been using a hand-held Steadicam Merlin for a couple of years, so I have a good grasp of the principles involved, but when it came to donning the grown up Steadicam for a little practice, ahead of the first day of the shoot, I had a few moments of panic. Damn it was hard to get the hang of – the arm was waggling about all over the place and after 30 minutes of trying I needed set it aside to get on with my stupidly long “to do” list. That night I sleep only fitfully, desperately worried that I’d bitten off more than I could chew with my decision to operate the Steadicam.

The morning of the shoot dawned and my nerves reached a pitch so high as to be inaudible: time to knuckle down and get on with it. 15 minutes and 3 slates into it and I knew I need not have worried. Within a couple of hours the Steadicam began to feel like a natural extension of my arms, and, frankly, by then I’d been assaulted with so many new experiences that my worries over the Steadicam were a distant memory.

The first day ended with a bittersweet mixture of emotions: a sense of achievement, that I’d actually reached the end of the first shooting day, and alarm, because I’d only managed 24 slates of the 110 scheduled for the three day shoot.

The second day dawned and with it a welcome respite from the bitter cold of shooting on the Common the previous day. That morning the Light Café in Wimbledon played host as our second location and right from the the first call of “action” I knew we were in with a shout of catching up on lost ground.

The café scenes went off as smoothy as silk and we were soon munching a celebratory sausage sandwich or two, before heading off to our second location of the day. The smooth sailing continued through the next few scenes and at two o’clock we found ourselves at the end of the slates scheduled for the second day with time, and more importantly, light, to spare. A quick dash back to the Common and we picked up were we left off the previous day.

At the end of the second day of filming we raised our heads for air and realised that we had managed 40 slates that day. Suddenly it seemed feasible that we might just do it, we might actually stand a chance of finishing on time. There was still a mountain to climb though. We had to step up the pace once more, if we were to capture we we needed to tell our tale.

The final day began in a blur: with sleep eluding me I was on the Common before dawn, stalking the woods, my Steadicam preceding me like a talisman. Back home the cast were in makeup, and the crew preparing for what we knew would be a gruelling day. There is little I can tell you of what followed. The day was a mirage of cast and crew, slates, takes, and chases, all set against the background of the constantly changing woods, racing along as I followed the cast with the camera.

The time came though, when, for the first time, I got to say “that’s a wrap”. With those words my life changed, in the way it always does for me: in the midst of the quiet moment of reflection, I frequently experience, while a sigh of relief escapes my lips.

We did it!

At midnight on Saturday the 19th of January my Kickstarter project successfully reached its funding target. With the help of 117 amazing supporters I raised £7,969 for my new production “Common”.

Over the coming weeks I’ll be posting updates on the progress of the project, so check back often to see how it’s coming along!

Kieron’s short film “Common” on Kickstarter

In an exciting development I want to introduce you to our new composer for “Common”.

We’re very pleased to announce that the amazingly talented young composer Thom Robson has agreed to work with us, and score the soundtrack for Common!

Thom got in touch after seeing the project on Kickstarter, asking if we had found a composer and whether we might be open to collaboration. Two minutes into hearing Thom’s showreel and the decision had been made.

Thom’s previous work demonstrates that he has the talent to compose music that works in sympathy with the visuals, in a way that enhances the mood and tone of what’s happening on screen, but without becoming overbearing.

Having worked on a number of short films and features, Thom seems to have an instinctual understanding of how to develop a score from the pages of the script. We’re very excited to be working with him!

Find out more about Thom and his work on his site: ThomRobson.com

A number of people who aren’t familiar with my work have asked me to tell them a little more about how I reached this stage, what motivated me to become an artist and latterly a filmmaker.

I grew up in an artistic hot house. My mother, Heather Jansch, is an internationally renowned sculptor and my father, Bert Jansch, was a virtuoso guitarist. It would have been virtually impossible for me to do anything but become an artist; although, in the spirit of rebellion, I did my best to avoid it. For years I was the family’s black sheep – the strange boy who worked in financial services.

The detour in to the City aside, my background is principally as a Sculptor. I studied for my degree at Wimbledon School of Art, where my love of making came to maturity and became so deeply ingrained that I’m sure you’d see it in an x-ray.

In getting my digital life in-order (another consequence of becoming a filmmaker), I’ve been scanning all my old transparencies: so here are a few images from those days…

(Kieron Jansch, drawing for sculpture, July 1994)

(Kieron Jansch, “Flow”, April 1994)

(Kieron Jansch, “Fissure”, May 1994)

(Kieron Jansch, “Barking Security”, April 1995)

This was a piece which contained a very sensitive microphone, which triggered a digital dog to bark furiously from within the building like structure.

(Kieron Jansch, “Mission Improbable”, November 1995)

This piece got me in trouble. Exhibited at Swiss cottage library as part of a group exhibition, it would play the Mission Impossible theme tune when the brief case was opened, inside which was a collection of secret agent items – a clean pair of underpants, a toy gun, a cigar & single swan vesta match, a radio, etc… The electronics were powered by transformers taped to the bottom of the chair, into which I had inserted a digital count-down readout. Various reactionary busy-bodies objected, calling it “bad taste, masquerading as art”. The exhibition got a great many visitors as a result.

(Kieron Jansch, “Break Glass in Case of…”, July 1996)

(Kieron Jansch, “Cascade”, March 1997)

(Kieron Jansch, “Panic Button, Panic”, June 1995)

It was soon after leaving art school that I ran away with the fairies to work in the City. My justification to myself at the time was that I didn’t want to compromise my art to earn a living, and that the day job would allow me to practice without ever worrying about selling work. Great in theory, but impossible in practice and over time I stopped sculpting.

It was my love of kiting, born whilst at art school (thanks to the gift of a Peter Powell stunt kite from my then girlfriend), that steered me back on course, and ultimately turned me into a filmmaker.

Loving kites lead to making kites, and making kites lead to filming kites. One day, after yet another conversation in which I tried, and failed, to explain how I went about it, I decided that the best thing to do was film the process. By this time I had begun to use a video camera to document my burgeoning love of snow-kiting, and it seemed only natural that it became the next tool I learned to use.

The first of the kite-making videos was so popular (despite being a study in amateurism) that I decided to do it again, and it was in making that second film that I made the transition from documenting to filmmaking. It was a revelation, overnight the filmmaking itself became just as important as the subject of the film.

Of course I was still in the very early stages of the learning curve, and as I had virtually no experience to draw upon I made it up as I went along. The dolly shots in this video were achieved using a Hornby 00 gauge train set, to which I cello-taped a Contour HD camera.

The third in the series “Kite Making” is really the first of my films that I can still just about watch, without cringing at the mistakes in evidence.

Over the last 18 months or so a friend and I have been developing a snowkite buggy designed to be steered by weight-shifting rather than the traditional foot steering.

In May 2012 we finally had the opportunity to put our hard work and theories to the test. This little film is the result.

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The beautiful music in this film is from the mind of KiloWatts. This track is “The Other Side Of The World” from his latest, and in my humble opinion, very best album, “Acceptitude”

$10 gets you an absolute treat of an album, one that encompasses everything from heart-achingly beautiful piano to some of the most accomplished and engaging electronica you’ll ever hear.

shop.kilowattsmusic.com/album/acceptitude

Today I was interviewed by film blog The New Current the full interview is below, but you can also read it on their site here Interview with Director Kieron Jansch

Interview with Director Kieron Jansch

The New Current, 19th December 2012

Twitter has become one of the most important social media sites for finding some of the newest and wildest projects on the net. With the new film festival seasons about to kick off 2013 (starting with London Short Film Festival) TNC got the chance to talk to director Kieron Jansch.

More information about Jansch and his films can be found via the links in his interview as well as information about Kickstart – the innovative way filmmakers are funding their films…this is an interview not to miss.

Thanks for talking to us, how is everything going?

It’s my pleasure; everything is going well. I’m busier than I’ve ever been and I’m tired as a result, but I’m loving every minute working on the new project.

Tell us a little bit about your new film “Common”?

“Common” is a short story set on Wimbledon Common in London SW19. It follows a mysterious and morally ambiguous local woman on a picnic date on the Common one day, and warns of the consequences of taking the wild places of the world for granted. I’ve written it to be quite a scary story, which I guess you could say is a fairy tale for adults (in the Brothers Grimm sense of the word). It has its routes in the old tales of the fantastical folks who were once part of wild, who were at one with the world around them, and who you disturb at your peril. I’ve often thought that there is a process of osmosis at work which means that these tales now form part of our collective memory and, one can argue, are at least partly responsible for that instinct which makes us afraid of the dark places in the woods, and the imaginary monsters that live there.

Where did the idea originate from?

The story is really an aggregation of my childhood memories, my love of English woodlands, and an idiosyncrasy particularly prevalent on Wimbledon Common. My wife, Penny, and I were discussing where I would go next, having just finished a short film about my love of home-made bread (jansch.co.uk/for-the-love-of-b..). For some time now I have been harbouring a desire to move away from my routes in documentary film-making and “tell a tale” in film (by which I mean, that like most amateur film-makers, I had my beginnings in documenting the things going on in my life). We both thought that there was a tale to be told, about the Common and the creatures who live there, and it was encountering a wooden cairn on a walk through the deepest parts of the woods one day which sparked the idea. Visitors to Wimbledon Common have for years been in the habit of building cairns and teepee like structures from fallen branches which lay to hand. Once they have been left to settle for a while, and blend slowly into the surroundings, these structures look like nothing other than the homes of Wombles. It was a very short leap from there to the finished idea.

What are the biggest challengers when you’re making a short film?

Absolutely, and without doubt, it’s funding. The “market” for short film is not at all lucrative; shorts may on occasion be screened on TV, but they’re the wrong fit for cinema, and so tend to been seen by very small audiences, often comprising those who have a particular interest in the medium and attend festivals and make an effort to see new work. This is changing, with the advent of high quality streaming services like Vimeo, but the fact remains that right now the chances of making one single solitary penny from your blood, sweat and tears are so remote it’s almost comical. As a result getting funding for your short is nigh on impossible – unless you are lucky enough to benefit from philanthropic support, you’re very unlikely to attract investors, because there is just nothing in it for them. I don’t want to seem overly negative about this though, because there is one invaluable, priceless, benefit as a result: that of artist freedom. The short form is a filmmaker’s opportunity to experiment, to takes risks, to succeed and fail, without ever having to dance to another’s tune. Stories can be told that would never otherwise see the light of day. Funding it though, that is hard and can often seem an insurmountable obstacle.

What would you say the biggest misconception people have about making a short film?

I can only really speak from my own experience, being quite new to the craft. I know, with wry hindsight, that I totally under-estimated the amount of work involved. “Short” does not equate with “easy”, nor does it mean that the tale being told need necessarily be shallow and inconsequential. Just because you only have a few minutes, it doesn’t mean you can take short cuts in the crafting of your tale. In a way, it actually demands more attention to detail, more consideration of each and every element than a feature, as you have so little time to speak to your audience.

You’re using Kickstart as a innovative way to fund your new film, what has it been like so far?

It has been both gratifying, and infuriating. By that I mean that there is an enormous sense of acceptance and validation to be had from running a successful Kickstarter campaign (not that mine has succeeded yet, it runs until the 20th of January), but there is also frustration to deal with. It requires your complete and undivided attention, throughout the length of the campaign, and sometimes it can seem that no matter how much work you put it, nor how many people you speak to, it moves along at a worryingly slow pace.

Do you think many future filmmakers will use these types of sites to produce their films?

Absolutely. Crowd-funding is here to stay. It represents a uniquely modern and democratic opportunity for creatives of all stripes to connect with their audience, in a way that hasn’t been possible to date. It means that we filmmakers are able to make films which are free to take risks that no studio or traditionally funded production would ever consider. Suddenly the audience can have a direct connection with the films they are choosing to support, and can for the first time become an instrumental part of the film-making process.

What would you say the biggest downsides of this way of funding is?

Oh without a shadow of doubt it’s the time it takes. Running a crowd-funding campaign, and keeping its momentum going, is a never-ending exercise. It’s like pumping a well, if you don’t keep pumping, all the time, the flow of water stops. It means that there is precious little time left actually work on the project you’re trying to get funding for! As a result is a dangerous path to go down if you don’t have the help and support of collaborators to draw upon. If you’re going to do it, plan, plan and plan some more, then, when you think you’re ready to hit the launch button, do a bit more planning. The more you can do to build your campaign, the more interesting and meaningful updates you can have ready ahead of time, the more support you can secure before your campaign begins, the greater the chances of success.

Do you think more needs to be done to champion British Cinema?

Of course. We have a vibrant, challenging and adventurous community of filmmakers in this country, where some of the very best in film and television the world has to offer can be found, and yet you try and get funding to make film in the UK and see how you get on: it’s a never-ending battle, which takes time and energy away from the creative process, and which without doubt discourages those new to the art from even trying. Everything we can do to foster a new generation of filmmakers and encourage experimentation, be that through education, grants, foundations or support from the state, is surely a good thing.

How did you get into filmmaking, has it always been something you have wanted to do?

I have a background in the arts: my mother is a very well respected sculptor (heatherjansch.com) and my father was a virtuoso guitarist (Bert Jansch); as a result I’ve always been encouraged in every artistic endeavour I’ve embarked upon, but I didn’t ever want to be a filmmaker per se. It came about because I have always been quite disciplined in documenting whatever I happened to be doing or making, and a few years ago I suddenly realised that the video camera in my hands was just as valid an artistic tool as the pencil with which one draws, or the sewing machine (in my case) with which I created my kites (I’m quite well know for making unique power-kites). It was an epiphany. One day I was documenting, the next I was filmmaking. That was about three years ago.

What was your first project like, was it a steep learning curve?

It’s funny, this is actually quite a difficult question to answer! I’ve been making films since about 2008, yet for me those early films were nothing more than a method of documenting the real project. That didn’t change until the 2nd of my kite-making films (aptly titled Kite Making Two jansch.co.uk/kitemaking-two). This is really my first film project, in that the filmmaking was just as important as the kite I was building. In terms of learning it wasn’t so much a curve, as a cliff-face. I’d take a few tentative upward steps, and then slip back down. I was literally making it up as I went along: not knowing any other way of doing it, the dolly shots in that film were achieved with a Hornby 00 gauge train set to which I cello-taped a Contour HD camera.

Who was the first person to inspire you to be come a filmmaker?

It was really the collective encouragement from all my kite flying friends that did it. Person after person asked me how I made my kites, and answering them usually involve a long and drawn out conversation which left them none-the-wiser, and me exhausted. So I began filming what I was doing, the rest is (not very ancient) history.

Have there been any mistakes or missed opportunities?

Oh I don’t know about that. I haven’t been a filmmaker for long enough to have missed too many. Well, I guess I may have, but as I didn’t know I was missing them, I’m going to argue that they don’t count. I hope to have a long enough career as a filmmaker to miss plenty in future though! I suppose the only thing I sometimes harbour a modest regret for is that I didn’t start earlier in life; I came to this quite late, I only really wielded a video camera in anger for the first time when I was 38.

What has been the best advice that you have been given?

Someone, and I have no idea who (those who know me are very familiar with my appalling memory), once said to me that to be a true artist you must lose your fear of making mistakes.

And finally what would the best advice you would now give to someone thinking about becoming a filmmaker?

I’m sure that many many people would say “network, network, and do more networking…” and I’m sure they would be right, it will stand you in very good stead, but frankly that can apply to any walk of life, be it art or craft or business.

So really for me there can be no advice more valuable than this: don’t think about becoming a filmmaker; go out and make a film. Enjoy the process, make mistakes along the way, but make friends too. Then, perhaps, make another one…

Learning Curves (at every turn)

This week heralded the beginning of the auditions of the actors who responded to our first casting call on Shooting People.

Monday 17th saw Penny and me preparing my studio in readiness for auditioning for the female lead (her character name still deliberately known only to a select few).

The “down the back of the sofa” fund was able to stretch to a few metres of flex and some cheap plastic light fittings, which allowed me to add another 480 watts of power to supplement the poor lighting in the room. The hasty application of a Stanley Knife and sticky tape to some cardboard boxes covered in white ripstop nylon gave me some makeshift soft-boxes.

All set, Penny and I waited nervously for our first ever actor, in our first ever casting session. The doorbell, when it rang, made us both jump out of our skin!

I’m not going to give too much away about the results of the casting session, as we haven’t made our decisions yet, but for those of you who are ever going to embark on a similar endeavour, here are a couple of basics to help you out, “Casting 101″ if you like:

• Press record on your camera!
• Actually look at the actor as they read your scene!

Inevitably, I suppose, I managed to miss both of those key points on the very first read through we did! After the scene finished I looked up sheepishly, from the script I had been reading along with the actor, and said, “err, could we do that again?”

Progress became much smoother as I ironed out those schoolboy errors and I found myself settling into the role of directing and beginning to enjoy the process. It was fascinating, funny, educational, everything I’d hoped it would be really.

Tuesday saw turn of the men reading for the male lead “Oliver”. Progress was much smoother in the 2nd casting session, the nerves of the previous day had lessened to a background frisson of excitement, and I found myself able to really concentrate on the performances with a critical eye.

So now I need to arrange another casting to see the people who responded to our 2nd call on Shooting People, and I need to get the recordings of the first sessions over to Gail at Gail Stevens Casting for her feedback. I’m hoping to have made my casting decisions by the end of the 1st week of January, so watch this space to be introduced to the cast as we find them.

(Photo courtesy of Mark Esper).

Location Scouting

The sun came out of hiding this morning, and so I headed out onto the Common with my camera, and my GPS, to scout a few locations (I felt a bit silly using a GPS in London, but I needed to make sure I could find any spots again).

I started out on the borders of the Common, near Wimbledon Village, and within minutes had been accosted by a local, demanding to know why I was taking photographs! The “get orrrff my land” attitude soon disappeared when I told him I lived round the corner, and turned into interested curiosity when I mentioned that I was location scouting.

I wanted to find locations for three scenes: the corner on which we first meet the characters, the location of the picnic on the Common, and various places to use in the chase sequence.

Once I’d extracted myself from what had the potential to be a marathon conversation with the suspicious/interested local I headed into the Common.

Finding the picnic spot location proved harder than I’d imagined. I needed somewhere that was beautiful enough and provided a tree with branches low enough to easily jump over. By the time I found it I was thoroughly lost; bringing the GPS suddenly seemed like a good idea.

The light began to fade, and the weather closed in at this point, kind of appropriate really as I wanted to move on and find some areas for my character victims to run through as they head towards the centre of the Common.

The rain began to come down hard soon after finding this spot, so I headed home. On the way the clouds parted briefly, just as I walked past this lovely independent cafe – which might prove ideal for the final scene.

Monday morning will be spent on the phone, trying to secure the cafe for the final scene. There are five possible cafe locations in Wimbledon Village, starting with the independent cafe which is now my preferred choice, and ending with Starbucks! Monday afternoon is already shaping up to be an exciting time as it sees the beginning of the auditions. More on that in the next update.

Oh joy of joys; KICKSTARTER has launched a service in the UK!

The timing couldn’t be better. It was just a few weeks ago that I had decided to go-ahead with the production of my short film “Common”, and I’ve been casting about since then, wondering how on earth I was going to finance it: just the locations costs alone are scary; Filming on Wimbledon Common costs £95 per hour + VAT!

This film is a departure for me in all sorts of ways. It’s my first narrative film, my first “horror”, the first time working with a cast and the first time with a crew. So, all this means I feel an enormous responsibility to do the very best I can, as it’s not just me anymore. It also means that I need some money! So, Kickstarter it is then!

Between Monday 10th December 2012 and Sunday 20th January 2013, I’m going to be running a Kickstarter to raise £7,950.00

HOW YOU CAN HELP

Showing your support by pledging is the most tangible and practical way, and for which we’d be eternally grateful, but it’s perhaps equally important that people know about our project.

We’re getting in touch with everyone we know to spread the word, but if you could do that too it would help immeasurably. Tweet, Comment, Share and Like us on Facebook, anything you can do to let your friends know and get the word out!

WHY KICKSTARTER?

The Kickstarter community represents a unique, modern and exciting opportunity for filmmakers to connect with their audience in a way that hasn’t been possible up to now. It means that we can make films which are free to take risks that no studio would ever consider, and which can give something back to the people who were instrumental in funding them; the very same people the films are being made for.

There has never been a more exciting time to be a filmmaker and never before has there been such a connection between the filmmaker and the audience. For the first time, you, our film’s audience, can become an instrumental part of the filmmaking process. Hollywood beware!

THE STORY SO FAR

Script development

The script is now in its 4th draft, having been refined from something that was initially just a hurried sketch, quick and simple, to capture the idea. It has now become by turns a compelling, scary and surprising tale, one that holds the reader’s attention from beginning to end. Everyone has a reaction to it: usually a mixture of surprise, delight, and shock.

Storyboarding

Now that the script is finalised the storyboard is coming along nicely! It’s been through its first incarnation, and is being revised on a shot by shot basis to become an invaluable guide and aid in the shooting process.

UPDATE 12th January 2013

Today it is my distinct pleasure to introduce you to Maja Szymczyk, who will be playing the lead female role in my dark fairytale (I am still keeping the character’s name under wraps for the time being).

Image courtesy of Phine Ka Photography © 2012

The casting of the two leads roles proved much harder than I had anticipated. This was not because I struggled to find actors and actresses who suited the role, rather, there were so many, of such a high standard, that choosing between them very quickly became difficult. Thankfully, I had the experience and expertise of my friend Gail Stevens to draw upon. You may remember from an earlier update that Gail is a casting director, and not just any casting director: Gail’s resume includes Trainspotting, 28 Days Later, and Slumdog Millionaire, to name but a few.

With Gail’s help I began to see the wood from the trees and it soon became apparent that there were two people who stood out, particularly when considered together (more on the male lead in a day or two). Maja had auditioned for me very early on the in the casting process, and her thoughtful yet abstracted performance suited the character perfectly. Having made my decision I offered Maja the role yesterday and am delighted that she has accepted.

From the moment I read the script of COMMON , I was enchanted! This quirky fairy tale with a horror twist is not only thought-provoking, and very funny, but also pure pleasure to work on. We are held in suspense all the way till the end having no clues at how it will end, & who will survive and who won’t. My character is torn between choices that will result in someone’s life or death, depending on their actions. She is the link between the citizens of London, and some ancient magical laws that seem to be controlling the fate of those who, rather unconsciously yet carelessly, break them. The story has a very strong, yet not overemphasised, environmental aspect, which makes it even more exciting. What happens when we disregard the order of things & ignore the nature around us? Watch COMMON to find out!

UPDATE 7th January 2013

It’s my great pleasure to introduce you to David Stock, who will be playing the character James in my little tale.

David was one of the very first people to audition for me, and he immediately impressed. I knew he was a strong candidate for the role of James after that first audition, but I had a lot of people to audition and felt I should wait and see. As time passed however, and each knew person auditioned for the role, it just confirmed in my mind that I had already met James.

I offered David the role yesterday and am delighted that he has accepted the part.

“I was drawn to the casting call for ‘Common’ first and foremost because of the clear, concise and intelligent use of language in the character and project descriptions. It was clear to me that a strong writer had written it which made it very appealing… When I later received the script I felt extremely fortunate to have been asked to attend the auditions; it was a joy to read and the message seemed very clear to me, with a clever ‘reveal’ in the final scene tying the whole film together. I found the concept original and it really will make an excellent a film. I can’t wait to get shooting!”

I’m very much looking forward to working with David. Here he is in a very entertaining short, “Bits and Pieces”

UPDATE 12th December 2012

To say that today was an interesting day is to have mastered the art of understatement. I’m lucky enough to know Gail Stevens from my previous life – before becoming a filmmaker I worked in the City and was her financial adviser (believe it or not).

For those of you who don’t know, Gail is a casting director. She runs Gail Stevens Casting and has been the casting director on all sorts of wonderful films (Trainspotting, 28 Days Later, Slumdog Millionaire, to name just a few).

A week or so ago I sent Gail a copy of the script; she loved it, and was kind enough to agree to meet up and go over it with me.

Gail was astonishingly helpful. She has said that she’ll help me with a call on Spotlight, and that I’m welcome to use her casting rooms for the auditions. We talked about the roles on film and the sort of people that came to mind. She said that there were even one or two people she thought might suit, and that as the Kickstarter project (if successful) would allow us to pay our actors, we could expect to cast someone who not only looks the part, but could carry it off too.

She gave me her thoughts on the applicants I’ve already had for the roles from the initial casting call on Shooting People (some very promising), and we agreed who I should audition.

Gail said that she would try and get the Spotlight call out before Christmas, so we’re ready to go with more auditions soon after. So, my job for tomorrow is sending her the full character bios and casting attributes.

Whilst Gail is doing that I’m going to be auditioning the people who have already applied, so watch this space for more news on how that goes.

ORIGINAL POST 9th December 2012

On the 30th of November I made the initial casting call for “Common” on Shooting People.org

This film is a departure from the norm for me in all sorts of ways, but principally because it is the first time I’ll be working with a cast.

I’m lucky enough to know Gail from Gail Stevens Casting (Danny Boyle’s usual casting director), and although I can’t afford her professionally, she has been kind enough to offer to give me some advice on the casting.

I need to fill three roles: the male and female leads and a supporting male. I had an amazing response to the casting listing, which you can find here: Shooting People casting call

I’ll be holding auditions in the week commencing 17th December 2012, and will update you on the progress of the casting as it happens.

These are the roles I’m casting. If you think you might fit please don’t hesitate to contact me:
“Woman” This is actually the lead female role (her character’s name is being kept quiet for the moment)
This is the lead female part and is a demanding emotional role. Cholet is French (so I’d prefer to cast either native speaker, or someone who can do a very convincing accent). She is between 25 and 30, slender/slim build, with dark hair and eyes. The character features in scenes in which she’ll need to convey emotions ranging from anger, to calculation, manipulation and fear.

Appearance details:
Height: 5’7″
Playing Range: 25-35
Sex: Female
Ethnicity: White / Caucasian
Hair Colour: Brown
Build: Medium

Is position paid: No, expenses only. This will become a paid role if the Kickstarter Campaign is successful. This is a well-realised part with a challenging emotional range.

The film will be entered into the festival circuit and hosted on Vimeo. Expenses will be covered and full credit given (website/vimeo/IMDB/shooting people, etc).

A digital copy of the final cut will be available for all cast & crew members to host on their preferred site.

“Oliver”

This is the lead male role in the film and a demanding and stretching part. “Oliver” is around 25 and a self-satisfied, “master of the universe” banker type. He has to be able to express arrogance, detachment, and condescension. He will engage in a heated argument with the female lead after which he needs to convincingly run for his life and “die” in close-up. A willingness to get physical and grubby is a must for this role.

Appearance details:
Height: 6’0″
Playing Range: 20-30
Sex: Male
Ethnicity: White / Caucasian
Build: Medium

Is position paid: No, expenses only. This will become a paid role if the Kickstarter campaign is successful. This is a well-realised part with a challenging emotional range.

The film will be entered into the festival circuit and hosted on Vimeo. Expenses will be covered and full credit given (website/vimeo/IMDB/shooting people, etc).

A digital copy of the final cut will be available for all cast & crew members to host on their preferred site.

“James”

James
This is the supporting male role in the film and a small but important part. “James” is around 25 and a self-satisfied, “master of the universe” banker type (much like the lead role).

He is being set up as the 2nd victim and appears at the end of the film in a cafe scene, in which he engages with the female lead.

Appearance details:
Height: 6’0″
Playing Range: 20-30
Sex: Male
Ethnicity: White / Caucasian
Build: Medium

Is position paid: No, expenses only. This will become a paid role if the Kickstarter campaign is successful. What you’ll get from this expenses only role: This is a small part in a two-person scene, involving dialogue and close-up shots.

The film will be entered into the festival circuit and hosted on Vimeo. Expenses will be covered and full credit given (website/vimeo/IMDB/shooting people, etc).

A digital copy of the final cut will be available for all cast & crew members to host on their preferred site.