EVERYONE READS FOR THEIR PART. In casting The Prankster, I learned that there are two ways one can “audition” actors. One is to have them prepare some “sides” for the audtion. The other way is just to sit with them and talk – no line readings.

The latter approach is often, perhaps usually, taken with “name” actors. The thinking is that you’ve seen what they can do in other movies, so if you want them, then it’s just a matter of sitting down and talking to determine compatibility.

These little sit-down sessions are really quite interesting – something akin to a first date. There is a lot of subtext in the back and forth conversation. In the end, however, I was always left with questions. I really don’t think you can get a sense of what an actor, no matter how famous, is going to do with a part until they act it out.

For The Prankster, everyone who is in it (except Georges Corraface who played Uncle Nick) went through the audition process. It helped that for many of the roles we were casting young actors who didn’t yet have big names. But even Kurt Fuller, who is a renown actor, came in and auditioned for Dean Pecarino. And I’m glad he did. There was no way I would have known he would be that good in the role unless I saw him act it.

Kurt later confided to me that he was ambivalent about coming in for an audition. He had told his agent to tell me just to check out his past work. But his agent convinced him to do the audition and he knocked it out of the park.

I can understand that when an actor reaches a certain stature, they feel they shouldn’t have to audition anymore. It is work to prepare sides, with no certainty that you will get the part.   But from a filmmaker’s point of view, it is essential that you see all of your actors playing their roles. They may have been fantastic in other movies, and may do a great version of the character in yours, but you will have no idea if their version matches your vision until you see them do it. When you see them do it, it may be awesome, but it may not be what’s best for the movie. It is then crucial to be able to see if the actor can adjust and give you what you want. In all the auditions for The Prankster, I tried to test the actor’s range.

For example, Matt Angel, who plays Chris Karas, came in and did an impressive first audition. He prepared Chris as timid and nervous. In reviewing his tape, I liked what he did, but I also wanted the Chris character to be brash and confident in certain situations. So when we called Matt back in for a second audition, he said, oh, you want me to do it badass? No problem. I took Matt through a variety of adjustments and he got it, always, immediately. I knew then I had found my lead.

Our casting director, Emily Schweber, was fabulous. She is really dialed in to the young actor world in LA and so was able to call in and pre-screen a dynamic and talented group. There were usually several good choices for each role. It then became a matter of seeing how they played off each other. So for second and even third callbacks we’d pair up actors and check out the chemistry. This was a lot of fun and extremely instructive. We taped all the auditions (some of which may be available on special features on our DVD) and pored over them. This is critical. In the moment, a performance flies by and sometimes you are not quite sure what happened. Being able to review tape is a must.

And, of course, all of this process requires reading for the part. What about Georges Corraface, you ask? Well, I took a chance with Georges. Since he lives in Paris, it was not viable to have him read – I guess we could have asked someone to tape him in Paris, but we didn’t go that route. I had seen Georges in a Greek movie and he seemed to have the look and acting abilities I wanted for the Uncle Nick character, but I didn’t know for sure. As he is probably the most famous Greek actor in the world, when he said he would do the part, we just took him up on it, without a reading.

I was holding my breath when Georges arrived. What would he look like in person? Would he be easy to work with? What ideas did he have for the role? I was astonished to find, when we did meet, that Georges had totally changed his look. His hair was longer and darker, and he had grown a moustache, goatee, and stubble. He was a better Uncle Nick than anything I had imagined. Not only that, but he is an absolutely lovely man, a joy to work with. And, he had been doing a one man show, reading from Zorba the Greek, and had the Zorba thing down to perfection. Honestly, if they ever remake Zorba, Georges should play the part. Just an immensely talented, wonderful individual. I lucked out. I realized that a higher power was looking after The Prankster – maybe even Kokopelli himself!

So, the happy circumstance of Georges Corraface notwithstanding, I highly recommend that you have everyone read for their part, and work diligently in the casting process. It is amazing how much of your movie you test and flesh out in this process. With this work behind you, and a great cast on board, you are well on your way to an awesome movie.