Title. Double click me.
Title. Double click me.
Title. Double click me.
Title. Double click me.
Filmmaking is a collaborative art. This means that it takes many people to make a qualityproduct. It’s true what people say about success in the film industry, it’s all about who you know. Sure, knowing successful people might help you get your foot in the door but it all comes down to knowing how to get what you want from people. You have to know who to contact to find what you need. You have to consider all your resources. You have to call in favors. A good director and producer knows how to delegate responsibilities in a production. The following information is here to help you locate production help including posting specialized crew calls for the Art Department and composers to the Newsletter.
Local Film Resources
Alamo Drafthouse Cinemas http://www.drafthouse.com/
Austin Chronicle http://www.austinchronicle.com/
Austin Film Festival http://www.austinfilmfestival.com/new/
Mopac Media www.mopacmedia.com
Austin Film Society http://www.austinfilm.org/Page.aspx?pid=183
The Austinist http://austinist.com/
Dallas Film Commission http://www.filmdfw.com/
Do 512 http://do512.com/
Houston Film Commission http://www.houstonfilmcommission.com/
Paramount Theater http://www.theparamount.com/
Reel Women http://www.reelwomen.org
San Antonio Film Commission http://www.visitsanantonio.com/film/index.aspx
Short Film Texas http://www.shortfilmtexas.com/
SWAMP (Southwest Alternate Media Project) http://www.swamp.org/
SXSW (South by Southwest) http://sxsw.com/
Texas Commission on the Arts (TCA) http://www.arts.state.tx.us/
Texas Film Commission http://www.governor.state.tx.us/FILM
University of Texas Film Institute http://utfi.utexas.edu/
University Filmmakers Alliance (UFA) https://utexas.collegiatelink.net/organization/UFA
Austin Local Production
AMS Pictures http://amspictures.com/index.php?page=welcome
Elephant Productions http://www.elephantproductions.com/
Expressions In Video http://www.expressionsinvideo.com/Home.html
Horizon Film and Video http://www.horizonvideo.com/
Independent Media Productions www.independent-media.com
Picturebox Production http://www.pictureboxproductions.com/
Troublemaker Studios http://www.troublemakerstudios.com/
Upstream Visual Productions http://www.upstreamvisual.com
Wilson-Brown Productions Inc http://www.wilsonbrownproductions.com
Yellow Sky Media http://www.yellowskymedia.com/index.html
Arts and Labor www.arts-and-labor.com
Local Austin Renting Houses
47 Video http://accessvideophoto.com/
Hertz Equipment Rental http://www.hertzequip.com
Mopac Media http://www.mopacmedia.com
Olden Lighting http://www.oldenlighting.com/
Rock N Roll Rentals http://www.rocknrollrentals.com/
Texas Media Systems http://www.texasmediasystems.com/
Acting and Casting Sites
Casting Networks International http://info.castingnetworks.com/filmstudents
Acclaim Talent http://www.acclaimtalent.com/
Collier Talent http://www.colliertalent.com/
Austin Actors http://www.austinactors.net/
Beth Sepko Casting http://www.bethsepkocasting.com/
Actors Clearing House http://www.actorsclearinghouse.com/
BLVD Talent http://www.blvdtalent.com/
Calliope Talent http://www.calliopetalent.com/frames.html
Agence Talent http://www.agencetalent.com/cgi/site/home.php
Condra Artista http://www.condraartista.com/
This week's Backstage magazine
Film Developing, Transfer and Telecine
Video Post & Transfer www.videopost.com
National & International
Actors Equity Association (AEA) http://www.actorsequity.org/
Ain’t It Cool News http://www.aintitcool.com/
All-Movie Guide http://www.allmovie.com/
American Federation of Musicians (AFM) http://www.afm.org/
American Federation of Television and Radio Artists (AFTRA) http://www.aftra.com/aftra/aftra.htm
American Society of Composers, Authors and Publishers (ASCAP) http://www.ascap.com/index.aspx
Association for Independent Video and Filmmakers (AIVF) http://www.aivf.org/
Celtx Celtx http://celtx.com/
CILECT (International Association of Film and Television Schools) www.cilect.org/
Communications Workers of America (CWA) http://cwa-union.org/
Directors Guild of America (DGA) http://www.dga.org/
Drew’s Script-O-Rama http://www.script-o-rama.com/
Film Threat http://www.filmthreat.com/
Grainy Pictures, Inc. http://www.grainypictures.com/
Hollywood SeminarIndependent Feature Project (IFP) http://www.ifp.org/
Independent Film Channel (IFC) http://www.ifc.com/
International Cinematographers Guild (IATSE) http://www.cameraguild.com/
International Brotherhood of Teamsters http://www.teamster.org/divisions/motionpicture/mopicture.asp
Internet Movie Database (IMDb) http://www.imdb.com
Movie Maker http://www.moviemaker.com/
Producers Guild of America http://www.producersguild.org/
Screen Actors Guild (SAG) http://www.sag.org/
Small Movies http://www.city-net.com/~fodder/
Film Profit http://filmprofit.com
Sundance Channel www.sundancechannel.com/home
University Film and Video Association (UFVA) www.ufva.org
University of Texas Student Film Showcase in Los Angeles rtf.utexas.edu/showcase
Writers Guild of America (WGA) http://www.wga.org/
Without a Box www.withoutabox.com/
It’s important to promote yourself as an artist outside of social media networking, ie Linkedin and Facebook. Please email the Cage so that your website can be added here.
Sarah Eshelman http://www.sarahedits.com/
Carlos F. Corral http://www.mindwarpentertainment.com
Alex Walker http://www.alexwalkerstudios.com
Miguel Alvarez http://www.estebandido.com/
Naiti Gamez http://www.marielita.net
Scott Rice http://www.scottricefilms.com/
Billy McCarthney http://www.filmninja.com
Jeanne Stern http://www.JeanneStern.com
Jordan Crowder http://jordancrowderfilms.com
Nuno Rocha www.nunorocha.net
Josh Ashy Holden www.mishnoon.com
Here are some things that you might find helpful…
The following license and release forms are commonly used in conjunction with Radio-Television-Film department production courses. Direct any questions about license or release issues to your instructor, advisor or consult an attorney.
If you are a filmmaker and you’ve never run a real audition, don’t worry! (We won’t tell). Here are some important things to keep in mind when having an audition:
Sarah’s Audition Advice
By Sarah Gonzalez
1.) Find a neutral location to have your audition. You don’t want to have one in your house because that won’t be very alluring for your potential actors. Find some quiet space where there is room for the actors to move around. If you’re a student, you can always reserve the studios for auditions here.
2.) When making your casting call, there are some things you need to know. Make sure you are clear but not too wordy. Have your commitment briefly outlined and include your logline (short description), characters seeking (with brief descriptions), dates needed, compensation, and contact information. It’s best to not have an “open” audition where you list the time and place of your audition. On your call, give a range of audition dates and then put something like “To schedule a time for the audition and for a copy of the script or audition material (aka “sides”), please e-mail your headshot and acting resume to…” blah blah, get it? Check out the templates I’ve made…
You will need to schedule your auditions once the actors have e-mailed you. I usually give about 15-20 minutes per audition. You schedule them so they don’t have to wait.
3.) Post your casting call in places where actors might see your flyer – local theaters, coffee houses, and maybe even gyms. Of course, we’re living in the digital age, so it’s best to post a casting call on something like AustinActors.net. Craigslist is another place you might consider posting your casting call – just be careful. Don’t openly list your e-mail in the ad or you might get spammed. Also, send the Cage your casting call and we’ll send it out to our mailing list.
4.) Make sure you aren’t alone in the audition. Ideally you would like one person to film your audition, one to read with the actor, a casting supervisor, your producer, the writer, and possibly your director of photography there with you (the director). Understandably, all these people might have conflicting schedules. Really, the most important thing is that you (the director) need to be able to watch the actor. Your DP can always come and sit in during call backs. If you are reading with the actor then you might miss something. This is also why it’s important to record your auditions so that you can watch and review later. Minimally, there should be three of you: cameraperson, reader, and you.
5.) Welcome the actors and treat them well. Actors are people too and they are probably a little nervous about the audition. It’s best to have some water and snacks waiting for them outside the audition room. (I usually get grapes, mini water bottles and crackers). Of course, this isn’t a buffet for the actors so be wary of anyone who over indulges because that might be a sign. The snacks are a sign that you care about your actors and want to make them feel comfortable. It’s also nice to have a person out in the hall welcoming your actors as they arrive.
6.) Keep notes while the audition is going on. The actor will probably give you a headshot/acting resume. Briefly look at it but don’t dwell on it until later when the actor is not around. In the beginning of his/her first read, try to not give them too much of a background. This is your time to see how he/she interpreted the script. For the second read, give the actor an adjustment. Offer some character background or side notes. Maybe even bring another scene from a similar film and maybe give the actor a blind read. You need to keep in mind: “How well does he/she listen?”, “Will we work well together?” “Will he/she fit the role?” etc. Try not to keep the actor in the audition too long. Remember, there are always call backs and if you cast them you have time during rehearsals to really work with them.
7.) Make sure you contact everyone who contacts you. If an actor takes the time to come in and audition then they at least deserve an e-mail letting them know one way or the other how it went. Be kind but honest. Try not to let someone fall between the inbox cracks. You never know, you might want these actors later for a different project.
Helpful Production Forms
Sometimes beginning filmmakers don’t know where to look to find templates and forms to help them get started. Know that everyone has there own way of doing things. Yes, there are industry standards but the great thing about this industry is that it is constantly changing. Here are a couple of helpful film form templates:
More forms coming soon!
The Cage would like to bridge the gap between the film department and other departments on campus. Making a movie is a collaborative art. It takes a lot of talent to make anything good.
The Cage has an extensive headshot library on top of an emailing list of about 500 actors. If you would like to add yourself to the casting emailing list, please subscribe here.
Everyone has to start from somewhere. If you are an actor and are a little overwhelmed with how to make a headshot or resume please see the following…
Dos and Don’ts Headshot and Acting Resume
• Print or staple your resume to the back of your headshot.
• If you are stapling, trim your resume to fit the headshot. You do not it want to look sloppy.
• Make sure your headshot looks like you, perhaps a better, more glamorous you, but still you. It’s important to look in real life like you look in your picture.
• Make sure the headshot shows your face.
• Make sure the contact information on the back is up-to-date. Create an e-mail address just for your acting resume (just make sure you check it and don’t forget about it).
• Always bring your headshot/resume to your audition. Bring extra copies – you never know who will want them.
• It’s pretty easy to create and print resumes. So, if you have a lot of experience, why not make three different ones? Have one that focuses on theater, one on film, and one on commercials to take to the appropriate audition.
• Have an electronic headshot/resume on top of a printed one. Some people would rather have an electronic version to save paper and stay green.
• Lie about your experience.
• Make up special skills or write things down just so you fill in the special skill area.
• Have a resume that is larger that 8 ½ x 11. An oversize headshot won’t fit in a standard folder and will probably just get thrown away.
• Have a resume that is more than one page. If they want more information, they will ask for it.
• Staple reviews or clippings to your resume. They just get in the way.
• Make the type smaller than 10 pt. If you have that much experience, edit it down. If your resume is cramped and hard to read, no one will bother.
Your headshot should reflect you. Be honest and be yourself. Your picture alone will be the basis for the type of roles you might be offered. When getting your picture taken, think about what kind of roles you would like and project that. It’s okay to be a little funny with your skills and abilities. It shows good character. Just don’t put anything on there you can’t do.
Things to Consider: