Hope for the Best

A month ago, we got a green light for our second film of the season, and we're in that glorious time called pre-production. Pre-production is when a person gets to believe that bad writing will finally get that one last polish to smooth out all those goofy lines, that this director will finally be the director who doesn't become a raging despot on set and go over budget by millions for no apparent cinematic reason, and that all the actors cast will be inspired and embody the character they were employed to portray without dialing it in. After five years, this is still my hope. What can I say? I'm an optimist!

Well, we're polishing the script, and there are still goofy lines, and - in my opinion - the director has already made some questionable calls in regards to where to put some money which means it's only down hill from here. However! There is still hope in casting! There is always hope in casting...until there isn't. It started off very good as I made a suggestion about the lead and the EP thought it was brilliant and the actor liked the script and moved things around in his schedule and now he's our lead! Yay! I like producing! And then the actual casting sessions started. The new movie is a large ensemble piece that requires younger actors with "character." In other words, we're not looking for High School Musical kids, we're looking for kids that are a little off-beat, are actually teenagers, and aren't necessarily beautiful. And, yes, I know we are beautiful in every single way, but directors seem to love CW's standard of beauty over Christina Aguilera's standard of beauty, if you know what I mean. I haven't met a director yet that has taken that weird, gumpy looking actor who actually understands the motivations of the character and delivers goofy lines organically over, you know, that model turned actor. How else do you explain Mark Wahlberg who started out as the brother of a "New Kid on the Block," got a rap career which was eclipsed by a modeling career, which got him into movies, which got him into producing a TV show that mocks people trying to make a film career through merit by revealing that it really is all in who you know? *Sigh* (I'm so glad that show is over. I love Mark Wahlberg - call me! - but, com'on. Thank god for In Treatment and Boardwalk Empire or else my love would be in cheap tatters never to be risen from the ashes of our mutual devotion to working-class Irish neighborhoods and Catholicism.) I'm digressing. Where was I? Oh, casting! Right.

Anyway, couple weeks ago, we're on nowcasting.com looking at the auditions. And the thing about development is that you spend weeks and months and sometimes years just talking about the plot and the story arc and the characters, and the character development, motivation and journey. I mean, hours are spent on this! And you work very, very closely with the writer(s) to bang the script into something that feels emotional, subtle and satisfying. So when I'm watching auditions, I look for an actor who is the whole package: Not only the actor who's got "It," but the actor who gets it (i.e. the actor who is appealing enough for an audience to stick with no matter how annoying while also being natural within the character's skin). Inevitably, people walk into casting sessions that you recognize from features and favorite television shows, and either you're ecstatic -- we can get her? I LOVE HER! -- or you mentally cringe. But you go through the process with an open mind. Sometimes your favorite person disappoints. Sometimes that guy who you believe in your heart-of-hearts is the reason why your favorite show got cancelled and you swore a blood oath you would destroy if you ever met him, does a surprisingly good job. After we watch several auditions for each part, we have conversations about who we liked, what we know of their body of work, and make educated guesses on how we think they would work within the confines of the character. After we come to a consensus, we write an email to the director and the casting director. Usually, about 24-hours later, the director comes back with "ideas." Ugh. Collaboration tries my patience. Inevitably, the director gets his way. Not because he's persuasive enough to convince us that he's right, and we're wrong, but because I work with producers who are directors and they "respect" the director's authority. Personally, I'm a free-market person and if I'm giving you ten million dollars to create my product, I want that product to look like I tell you, and if you won't do it, I'll find someone who can. If I'm looking for an auteur, I'll call Tarantino. Welcome to television, baby.

For the last two weeks, we've had callbacks and auditioned more people in Atlanta and Houston. We still haven't come to a consensus with the director. However, since production starts in a week, we're starting to give in to him. I guess these guys - and I mean, guys. When I use the pronoun "he" to describe the director, I mean "he" as in male because in five years of doing this, only one has been female. One. - know that if he just keeps debating (i.e. stalling) without making an offer to anyone, he'll eventually win because the money is now in play and it's not his money and eventually the clock runs out and we will need an actor on set now. I hate producing! Anyway, I heard one of the producers talking to the director on the phone yesterday and it sounded like he was negotiating. We'll give you your model-turned-actress if we can have our preferred gumpy, weirdo in the lead kid role. I was very disappointed. However, do not despair for me, dear Reader. We have a yellow light - soon to turn green - on our third movie of the season, and it is another large ensemble cast, and I have a brilliant idea for the lead! I love producing!