25 January 2012
On Wednesday 11th January 2012 casting director Des Hamilton came to the Institute of Contemporary Arts in London to a do a BAFTA lecture on his craft. It was excellent – informative and engaging. Glasgow born, he has risen up to be formidably talented in his field; just look at his IMDB page. Hamilton is clearly held in high esteem by British and European filmmakers. He actually wanted to be an actor.
Hamilton did a few days on Lynne Ramsay’s RAT CATCHER. He knew her brother. They had a shared interest in Pasolini – the way the director mixed professional and non-professional actors. On Ramsay’s follow-up, he was given the novel to MORVERN CALLER and told to find the girl; and ended up casting the whole film. Got given a cheque and sent to Scotland. His company is interested in interesting work. “Casting agents can fuck off.” – he imagines a casting agent takes a slice of the actor’s wage.
We are then shown a clip from Shane Meadows’ THIS IS ENGLAND. Hamilton talks about how he has suffered from addictions – had trouble in his personal life. He got a call from Warp Films, and was talked into working on the picture. Originally it was called ‘Bulldogs’. Louise Meadows was heavily involved in the casting too. The production had problems finding the lead. There was an open call. Thomas Turgoose was told he should attend. We are then shown the casting tape from You Tube with Hamilton talking to Turgoose, 13 at the time. The former demonstrates what a good interviewer he is. Gets him to laugh too. Shane Meadows’ brief was to avoid any kids with acting aspirations. Hamilton saw a lot of brilliant kids, and went to Meadows with about a dozen on tape. Shane and Louise, and Thomas really took each other. Hamilton states he would step in if non-professionals were not being paid their due.
Hamilton did a few days on Lynne Ramsay’s RAT CATCHER. He knew her brother. They had a shared interest in Pasolini – the way the director mixed professional and non-professional actors. On Ramsay’s follow-up, he was given the novel to MORVERN CALLER and told to find the girl; and ended up casting the whole film. Got given a cheque and sent to Scotland. His company is interested in interesting work. “Casting agents can fuck off.” – he imagines a casting agent takes a slice of the actor’s wage.
We are then shown a clip from Shane Meadows’ THIS IS ENGLAND. Hamilton talks about how he has suffered from addictions – had trouble in his personal life. He got a call from Warp Films, and was talked into working on the picture. Originally it was called ‘Bulldogs’. Louise Meadows was heavily involved in the casting too. The production had problems finding the lead. There was an open call. Thomas Turgoose was told he should attend. We are then shown the casting tape from You Tube with Hamilton talking to Turgoose, 13 at the time. The former demonstrates what a good interviewer he is. Gets him to laugh too. Shane Meadows’ brief was to avoid any kids with acting aspirations. Hamilton saw a lot of brilliant kids, and went to Meadows with about a dozen on tape. Shane and Louise, and Thomas really took each other. Hamilton states he would step in if non-professionals were not being paid their due.
ENTER THE VOID
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WUTHERING HEIGHTS
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The next clip is of TYRANNOSAUR. He was involved in casting the short film that preceded it. Hamilton counter-casts, in particular reference to Olivia Colman. A few departments re-arranged dates to make it work for her schedule on PEEP SHOW. He comments on her brilliant performance. Paddy though wanted people to read for Eddie Marsan’s character. Hamilton says he does a lot of realistic stuff. “We work on material that unless you are on top of your game, it is very difficult to perform.” People from similar backgrounds gravitate towards the material.
We then watch some of WUTHERING HEIGHTS. There were three casting directors. He was responsible for adult roles, “up in Yorkshire looking for these people”. Was also sort of involved with the kids casting. Brought in to drive the casting home. He’s not a fan of filling a film set with people who’ve never been on a film set. Hamilton talks about “street casting” – print off flyers and hand them out. Keep it brief. Mention it is fully paid work – usually gets their attention. He doesn’t take on board responsibility to Bronte or great literature. Can’t think like that, wouldn’t get out of bed. Also, not a big fan of period dramas. He says some directors covering themselves by saying they’re taking a risk – “No you didn’t, you’re fucking lazy”. Brilliant. If it wasn’t obvious, the conversation was generated from the misfire of the second half of WUTHERING HEIGHTS.
The next clip is of the awesome ENTER THE VOID. Hamilton says the script was really wordy in terms of description. This film was different from any other process. Loved it. He idolises certain filmmakers, and is lucky enough to work with some. Gasper Noe is one. Noe pursues a friendship with you to get a shorthand.
Hamilton tries to humanise auditions. The actors want to badly work with these great filmmakers, and he tries to talk them off the ledge. The next part was aimed at aspiring actors, as he gave multiple tips:
- Come in flexible.
- Keep your ears open; the directors are going to make comments. Listen because the director wants a connection.
- It is not your birthright to be in a film because it shares your background. It is a plus to intimately know the material.
- Learn the lines. Get off the page. Know it as well as the director.
- Get to the audition early, got to a coffee house, have a camomile tea. Then get to the office 10 minutes early. Ignore any friends there, get focused, be alert.
- Do something that sets you aside. No such thing as a bad audition. It’s about you; forget about others. Be yourself at an audition, and in life. Also, there are plenty of people there watching you, who may have influence later on in their own careers.
- After a scene, don’t recover so quickly, even if you’re only kidding on.
- Don’t do accent unless it’s amazing. Don’t be 99%, find the other 1%.
- Don’t come to the audition in character.
Regarding being a casting director:
- He has an agent for his fee. It is best to get a set fee.
If you’re a director:
-Most useful time to be approached by a director, when Hamilton has something to do on the film; and artistically, when they are 100% about their script.
- Don’t be impulsive. Meet three or four people for whichever department. Applies in all films.
He says he would love to direct. Hamilton seems to be very modest, and to care both about actors and the art form he works within. A fascinating and illuminating masterclass.
TYRANNOSAUR
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VALHALLA RISING
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