Next! The cast­ing process

The Irish Times - Friday - The Ticket - - Film -

“A di­rec­tor or a pro­ducer will get in touch with us,” Ros Hub­bard ex­plains.

“They send us the You learn not to get over-ex­cited about any project un­til you’re read the script. You ring back as quickly as you can, be­cause it’s ex­tremely com­pet­i­tive. If you like it, you ac­cept it. If you don’t, you say you’re very busy. You try not to say you don’t like it be­cause it’s very emo­tional and you might want to work with that per­son again.

“We break down the script and make sug­ges­tions for the

If it’s a big stu­dio film, there’s usu­ally a big star at­tached al­ready, such as Matt Da­mon on Be­tween John, Dan and me, we see prob­a­bly ev­ery film that comes out, so we know ev­ery­body’s work. We draw up a short­list and ask the pro­ducer or di­rec­tor to put them in the or­der of one to six. If you have the two leads in place, you can get on with the rest of the cast­ing, which is a lot eas­ier. We put the ideas out on

the cast­ing pa­per that’s now on the net, and you get all your sub­mis­sions overnight. You go through acres of them. Then we send the script and we ex­pect the ac­tors to know it when they come in for even if it’s af­ter only one night with the script.

“We do a usu­ally in the meet­ing room of our build­ing in Lon­don.

are some­times done in a stu­dio, but they’re stop­ping that be­cause it costs so much money and bud­gets are get­ting tighter. Some­times the di­rec­tor is present, or else will be there when we do re-calls.”

What does she look for when an ac­tor walks in to an au­di­tion? “Prob­a­bly en­ergy, but with­out over­act­ing. You have to feel that vi­tal­ity in them.

“Even if it’s a mis­er­ably quiet part, I have to feel that steel fi­bre in them. And when they’re read­ing, I love to get that tin­gle in the back of my neck, when I know they’re right for the part.

“I once tried to give up cast­ing and do gar­den­ing or pro­duc­ing, but I missed that mo­ment in the room when the ac­tors hit the spot. It does start from the door.”

What’s the best ad­vice she has for ac­tors? “ thor­oughly if you can get your hands on it. If you can’t get the script, talk to the as­sis­tant in the cast­ing of­fice and find out as much as you can about the story. From the very be­gin­ning, be­fore you’re even in­vited to au­di­tion for any­thing, I would ad­vise go­ing to a very good drama school. You won’t be good un­less it’s in you, but you will have all the tricks and tech­niques that are needed.”

The jury from

RTÉ’s Hol­ly­wood Tri­als: Ros Hub­bard,

Margie Haber and De­clan Lowney

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