This campaign called "We Thrive" will bring awareness to the resources available to help anyone dealing with drug and alcohol addiction. Depression and Anxiety issues. Seeking Asian Participants. If any of these have been an issue for you we hope that you'd be willing to share your story in this campaign.
Casting 911 - We Thrive Print Campaign.
Seeking many, many types, NYC Print Campaign - We Thrive.
You will be required to go by the midtown Manhattan Advertising Agency, Wednesday, February 24 for a quick in person look. You must be available February 28, 29 or March 1st for the photo shoot. $400 if they chose to take your photo. An additional $600 if they end up using you in the final campaign.
Casting Print Campaign to bring awareness to elder abuse.
Seeking: Latino Men and Women. 70 and above. Very mature, lived in faces. The more life on the face the better.
Please send a recent candid picture of yourself.
No Acting Experience necessary.
Important: If you are not right for this campaign, think about submitting your parents or grandparents. No prior acting experience really necessary as this will be a photo shoot. Just have them send a very recent picture of themselves.
PAY - $750 - Flat Fee
Project is CAST.
Casting "Untitled Sex Robot Film"
From Director/Editor Anne Hu
Seeking actors with good comedic timing.
Seeking: young VO artist for paid work.
SAVING FATHER - Francesca and her father are adjusting to life without their beloved mother and wife. All is not well as Francesca must cope with her vigorously active father, and the dangerous consequences of his new found dating life.
DIRECTED BY: Rosalyn Coleman Williams
WRITTEN BY AND STARRING: Ebbe Bassey
This is not a Red Wall Production.
My friend and fellow filmmaker Randy Dottin is casting again. He's producing shorts for 2 filmmakers at New York Film Academy and they're in need of your talent!!
Logline: A nerdy young man lies to his mom about his new girlfriend panics when she's invited to meet the family.
Synopsis: Benji is a 22-year-old neurotic Jewish boy studying his schoolwork at a quiet bench in the park. He’s enjoying the peace and solitude until Meisha rudely (at least in Benji’s mind) interrupts it. When Meisha makes some snarky remarks about Holden Caulfield (“Cather in the Rye”) it hits a little to close to home for Benji. A debate ensues until Meisha pushes Benji to be less like Holden and finally stand up to his overbearing Jewish mother.
Benji - A thin college age white male who's a neurotic Jewish boy.
Meisha - Young African American woman with a big personality. Braids or dreads a plus. (Early 20's)
Jewish Mother - Benji's overbearing mom who calls and controls his life. The mother scene is a short phone call.
Logline: A couple fed up with cell phone technology must run for their lives as the world around them descends into a cell phone-obsessed trance.
Stephen: Early 20s, charming but judgmental at times. He believes we're all becoming slaves to our cell phones and it bothers him.
Fran: Stephen's girlfriend. She agrees with him, though not as passionately. Fran's greatest virtue is her ability to see the good in all situations.
Send headshots/resumes/reels to: CASTING ENDED
This is Not A Red Wall Production.
Friend and fellow filmmaker Jason Hood is casting his web series - A Pair of Normals. Jason has a web series currently running called “Life After Fat”
Please contact him for any and all information - auditions closed!
SAG new media project, these roles will be paid, auditions will be in October.
Iris: late 20s-early 30s, tall, skinny, awkward, twitchy. Deer in the headlights look. Reacts viscerally to things, tries to act composed but the millions of anxieties swimming around her head tend to bubble to the surface. Kind of like Kristen Wiig playing an Aubrey Plaza character, or Kristen Stewart playing a self-aware parody of herself. Iris is a divorced Youtube psychic who begins the series moving in with her grandmother after release from a mental hospital. Kind of gothy/witchy in appearance, like Stevie Nicks, Dee Dee Penny, or Florence Welch. Likes to hide under layers of black clothing.
Betty: early 20s, short, maybe a bit curvy. Also awkward but in a messy, uncoordinated way as opposed to Iris's hyper-self-awareness. Her self-confidence comes from posturing like Kanye West, and has a strong determination to succeed, even though she has no idea what she's doing. Betty is a destitute college dropout who makes ASMR videos and moves in with Iris after the two hit it off at a vlogger meetup. Looks like a 1980s midwestern housewife with huge glasses, a big rat's nest of hair, and oversized novelty sweaters, which unintentionally looks trendy/hipster in 2015
Xööüëë: early 20s, short-ish and skinny. Aesthetics are important to her. Voice wise she kind of sounds ditsy and drags her words out. May have a vocal fry. And every sentence she says comes up at the end like a question? Her real name Ramona, she's an old acquaintance of Betty's who drags Betty along on adventures and they form a rap duo. Super trendy, kind of ridiculous Bushwick scene style-wise, lots of crazy colors. Looks a bit like Grimes, Charli XCX, MIA
PART WAS CAST - Female, 30’s - 50’s who speaks with warmth and authority, and can take a conversational tone. 2 minute script
Non-Union Pay - $750
Please send VO demo reels ASAP
Part was cast
Our very good friend Director Randy Dottin is producing the New York Film Academy Graduation Screenplay Readings this Friday, September 18th from 7pm - 9pm.
Looking for very talented actors.
The reading is a great opportunity for actors to put in some work as well as meet new writers and directors.
Here are the loglines and cast breakdowns:
1.) NATASHA by Vineet Sawant
Logline: A young modern Indian woman does her best to create her life despite her parents wishes to have her stuck in the past.
NATASHA: - A 26 year old INDIAN girl. She comes from a moderately conservative family. She herself is pretty modern and forward thinking. She wears fashionable clothes, goes out partying, consumes alcohol, smokes weed, but her family is completely oblivious of this part of her life. She has a career, which she worked hard for, and she is ambitious. She wants to achieve success in her professional career.
GRANNY: - Natasha’s Granny is 75 years old. She is the matriarch of the family. She is highly opinionated, highly vocal, and very conservative. She doesn’t like anyone questioning her authority. She is the one who still controls the family business, which is basically exporting and importing of Indian good to the USA. This is the reason her entire family, including her sons, is normally very meek in front of her.
She is based in Pune, India for a major part of the year. But she visits her son, Suresh, who is based in New Jersey on a regular basis. She is just recently come to New Jersey for Natasha’s arranged marriage proposal meeting.
SURESH: - Natasha’s uncle, 50. He takes care of the USA operations of their family business. He has been in USA for the last 25-30 years or so. He is very fond of Natasha, and considers her as his own daughter. He is extremely protective of Natasha. But at the same time, he fears Granny a lot.
URVASHI: - Suresh’s wife, 46. She was born and educated in India. She came to USA after she got married to Suresh. She is affectionate towards Natasha. Since she knows that Granny is so authoritative, she tries to stay out of Granny’s path. But she is very respectful towards Granny.
PRIYA: - Suresh’s daughter, 24. She has been born and brought up in USA. She finished her education in Media Studies, and works as a copywriter in an agency in Jersey. She was always close to Natasha. She got closer after Natasha came to USA, because finally she had access to a cousin her own age, closer to her. They are in constant touch with each other.
TIKKU: - Suresh’s son, 18. He just finished high school, and is looking at colleges to get into. Suresh would like his son to go to an ivy league college. Tikku loves hip hop music, and would prefer to become a musician instead, which is something that Suresh doesn’t approve of. But since Tikku is afraid of Granny, he hasn’t brought up the topic just yet.
RAMESH: - Natasha father, 53. He is based in Mumbai, India. He takes care of the India operations of their family business. He is extremely fond and possessive of Natasha. He has been missing her since she went off to USA. And he has turned to eating sweets and chocolates to console himself, whenever he misses her. he is very childlike, and can be very blunt sometimes, a characteristic he has inherited from Granny.
SUSHMA: - Natasha’s mother, 50. She is the mature one between her and Ramesh. She is level headed. She is the emotional support for Natasha. And unlike Granny, she is not conservative. She is the one who encouraged Natasha to pursue her education. And she is extremely proud of everything that Natasha has achieved on her own.
RAHUL: - 28. He is the boy who has come with the arranged marriage proposal for Natasha. He is extremely meek, and shy. He has studied finance from Harvard University, and works as a consultant for Pricewaterhouse Coopers.
BIPIN: - Rahul’s father, 55. He is the patriarch of the family. He is the one who takes the final call on everything, and the others of the family generally do whatever he tells them to do. He dabbles in a few businesses, like trading of stocks, logictics and warehousing, precious stones and metals, etc. He is very wealthy. He is a very confident man, who likes to impose himself on others around him. He thinks he has a great sense of humour.
MONA: - Bipin’s wife, 52. She is the perfect support for her husband. She is proud of everything that her husband and her son have achieved in life. She thinks that her son is a very big commodity, because of his education and career. She is not afraid to say that any girl would be lucky to marry her son. And she believes that her son can command a hefty dowry when he does marry.
2) ITALIAN An original pilot by KELSEY SMITH
Logline: A young woman is forced to move back in with the family she despises.
Frankie "Francesca" Winters- (F, 24) A mature and polished aspiring fashion designer.
Angelo Racalmuto – (M, late 40s) Frankie’s father; a retired policeman and devoted, loving father with a stubborn, tough-exterior.
Maria Racalmuto – (F, 40s) Frankie’s mother; a frustrated, tough loving, cosmetic saleswoman.
Michael “Mikey” Racalmuto - (M, 18) – Frankie’s brother; Relaxed and sarcastic but very responsible; star of his high school football team.
June Racalmuto – (F, 60s) – Frankie’s grandmother; Competitive, strict, and religious.
Gino Racalmuto - (M, 60s) Frankie’s grandfather; Outspoken, funny, and reminiscent on “the old days.”
Annette - (F, 70s) Frankie’s grandmother; losing her hearing and memory.
Lisa - (F, 40s) Frankie’s aunt; A compulsive liar and story teller.
Tony – (M, 40s) Frankie’s uncle; a mysterious, quiet character who always seems to disappear during family events.
Sofia - (F, 20s) – Frankie’s cousin; A ditzy, tacky, yet beautiful, aspiring model.
Joey - (M, 17) Frankie’s cousin; an immature, rebellious stoner.
Piper Stevens – (F, 30s) Frankie’s boss; A spoiled and conceited mother of three and a terribly bad actress.
send headshot and resumes to: Parts have been cast.
How to Protect your screenplay?
I get this question a lot. Some writers are deathly afraid of someone stealing their idea.
And all they’re doing these days is pointing to the TV show Empire. There seems to be no end to the number of people who are claiming it was their idea.
The number of times work has actually been stolen is not something anyone can quantify, but I suspect it hasn’t happened nearly as many times as urban myths have led us to believe.
My advice to you, don’t get paranoid, get informed.
I’m not a lawyer, so come back at me with some he said/she said nonsense :-)
I’m a writer, I get it. I don’t want anybody ripping off my hard work either.
What can we do to protect ourselves?
First, your idea, must be in a fixed form. That means it has to be written down.
"original works of authorship that are fixed in a tangible form of expression."
It can’t be something in your head, some idea you told someone at a party or an idea you pitched in an elevator, it’s gotta be written down or typed somewhere.
Next, you’ll be excited to know, that the minute you write it down, technically you own it, that is of course assuming what you’ve written down is your original work.
If you just write down the words from the Star Wars script, that don’t count Obe Wan.
You wrote your screenplay - now what?
There are two widely known options for registering your script, there are some other minor ones, I’m not even gonna bother with them. Your options are:
US Library of Congress (Copyright Office)
Writers Guild of America
US copyright lasts the author’s life plus 70 years, costs $35, entitles a you to sue for damages and to win attorney’s fees, should the court settle in your favor.
Writer’s Guild of America does not entitle you to sue.
The Writers Guild (WGA) has 2 branches WGA West and WGA East.
WGA registration lasts 5 years, costs $10 for members, $20 for nonmembers on the west coast, and $25 for nonmembers the east coast (students with ID: $17 through WGAe).
WGA registration mostly benefits it’s members. Providing the ability to object to a proposed film credit, which is settled in arbitration by other WGA members.
If I had to choose one, and I do, I always go with US copyright. The ability to win statutory damages and attorney fees, makes US copyright worth it. I don’t bother with WGA.
Best part, you can do it online. http://copyright.gov/eco/
I've done this with all my screenplays, and another cool thing, I made a mistake on one of my submissions and I got an email from customer service telling me what my error was and how I could fix it. That's right, I got an email from the GOVERNMENT. Who says our tax dollars are wasted?
Other things to do, for peace of mind.
- Once you’ve registered, start keeping a detailed log of where you send your screenplays.
- Email is of course best, because it keeps records of date and time.
- Any website you list your script like Blacklist or Inktip keep tabs on who is downloading it, these websites are very good at helping you keep track.
- Any screenplay contests you enter, keep detailed logs of those.
- Producers that request your script, have full contact information before you send your stuff.
Now here’s one thing I want to add, there have been occasions where I have been asked to sign an NDA, Non-Disclosure Agreement. Even when I’m doing a consultation or I’m evaluating a script for possible production, I’ve been asked to sign an NDA. I’ve always done it. Because it means NOTHING!
Now I may get some pushback on this, so hear me out.
NDA’s, unless you are writing the script for Spider Man part 8, or Star Wars part 12 and a studio really wants to keep a lid on their project, NDA’s are useless.
NDA’s come almost exclusively from new writers.
In most situations asking someone to sign a NDA makes you look like an amateur.
I’m only speaking truth here.
When you require someone to sign an NDA for just a read, it’s my experience that show’s how little you know about the business.
I’ve been asked to sign NDA’s for short films. RIDICULOUS!
The reason most NDA's don’t work is because most of them, at least the one’s I’ve seen, don’t affix damages. It doesn’t say what will happen to you if you blab.
What’s it gonna cost me if I disclose?
If a big studio wants you to sign an NDA, you can bet your house that they’ve assigned a monetary figure to you disclosing.
If an NDA came to me with damages affixed, guess what, I’m not signing. Most people I’ve met would not sign either and that writer’s script would not be read.
In order to get yourself known as a competent talented writer, you have to share your work.
You are a capable creative artist who is going to usher many ideas into the world
If you’re hanging on to one idea as your make or break, and you need an NDA to protect you, maybe this isn’t the thing you should be doing.
We writers must take that leap of faith that all creative artists must take if they want their work to be seen. It’s just the way it is.
And if you believe nothing else, believe that It takes more work to steal your story and try to get away with it than it does to just buy it from you.
Take issue with this concept - I’m happy to hear it - firstname.lastname@example.org
Write On, Write On
Make Your First 5 Alive
Secrets to Jump Starting your screenplay
Wednesday August 12, 2pm Eastern Time
What you'll get from this call
How to create a fire breathing opening page
3 things that will catapult those first pages to the next level
Create dynamic characters that speak even when they're saying nothing
Drop readers into your world
to give your screenplay the start it deserves
Join me on this call, I want to give you the methods to make your scripts better
Write on, Write on!
P.S. Sign up for the FREE call and you'll automatically get my series of free tips
Ninja Moves For Screenwriters