Casting (performing arts)

This process may be used for a motion picture, television program, documentary film, music video, play, or advertisement, intended for an audience.

Within a main cast, there is often a male or female lead who plays the largest role, that of the protagonist in a production.

[1] When there is no singular lead, the main roles are referred to collectively as an ensemble cast, which comprises several principal actors and performers who are typically assigned roughly equal screen time.

A supporting role is more important than a bit part, which involves direct interaction with the principal actors but no more than five lines of dialogue, often referred to as a "five-or-less" or "under-five" in the United States, or "under-sixes" in British television.

Later stages may involve groups of actors—both union (SAG-AFTRA) and non-union, depending on the size and scope of the production—attempting to read material from the work under consideration, paired off in various combinations of two, three or more.

[citation needed] For some major productions, the process of selecting actors for sometimes hundreds of speaking parts and roles often requires specialized staff.

They need to have detailed knowledge of actors on their books, as they are responsible for putting forward suitable candidates to match specific roles described by producers and directors.

[15] Casting professionals have to get to know many performers and assess their level of skill, and use a selection process to cut a large number down to a small group to bring to the producer for consideration.

[18] Some casting directors build an impressive career working on numerous Hollywood productions, such as Marion Dougherty, Mary Jo Slater, Mary Selway, Lynn Stalmaster, April Webster, Robert J. Ulrich, Tammara Billik, Marci Liroff, Avy Kaufman, Mindy Marin, Robi Reed, and Allison Jones.

However, for the top roles, the choice of one or more actors, whose presence is of enormous commercial importance, may rather follow strictly personal channels, e.g. direct contact with the director.

The offer, usually contains a letter to the actor's representative explaining the role in question, a copy of the script, why the actor has been selected, the length of time commitment, the approximate start date of filming, the filming location, and the proposed salary offering.

It is at this time when negotiations between agency and production happen to finalize any deal points before the entertainment lawyers step in and draw up the attachment contracts.

If this process happens very early on in the development of a movie but the official shoot dates and details are not yet known, a Letter of Intent or "LOI" is drafted, to indicate, if and when the project is "green lit" or begins active production, the actor is already hired to portray that particular role.

[19] After the attachment phase is complete (which depends on many factors, including financial backers, studio heads, availability of other above-the-line personnel), the physical auditions begin for all of the remaining roles.

During this time, depending on the budget of the film, they could have what is called "pre-reads" where the actor auditions only for a casting director (or associate) to see if they are right for the material.

[19] The resulting list of actors who were selected to play a character for a production, is called a cast list, which is incorporated into a production company's daily call sheet,[20] and reflected in the projects title sequence especially with film and television.

[23] In January 2018, Lindsay Chag, the casting director of films like Robin Hood: Men in Tights and Dracula: Dead and Loving It, was convicted guilty of violating the Talent Scam Prevention Act for her role in casting director workshops.

A good reader is someone who has acting skills, but who has no interest in booking a role through that casting director's office at that time.

Typically, they work under a Casting Director running pre-read sessions, prepping deal memos, cutting audition sides, and making calls to talent agents.

Many associates begin to take on smaller scale projects so they can amass enough credits to move up in rank to a full-fledged Casting Director.

The Artios is awarded to those CSA members who receive primary screen (or program) credit for casting on the winning project.