FAT STUDIO LA

in 1865, Abraham Lincoln died. Lincoln was a noted Shakespeare fan - of the three books he kept on his desk in the White House, one was the works of Shakespeare - and was particularly fond of "Macbeth." It's appropriate then that a selection of lines from "Macbeth" about the murdered King Duncan were used in this broadside mourning Lincoln's assassination.

📜 : Broadside sold, to dealers, by B.B. Russell & Co., 55 Cornhill; Loring, 319 Washington St.; B.J. Remich, 515 Washington St., 1865. Folger Shakespeare Library.

I am overwhelmed!Thank you all so much for the wonderful Birthday wishes and messages. I feel so blessed to have such wonderful friends and family! ❤️

His Hollywood star was finally rising. Now he cleans apartments. The strikes are testing the dreams of actors and writers already struggling to get by. Their stories are far more common than those of famous stars.

https://trib.al/YBOMyG5?fbclid=IwAR2ezk-yZFBbUcb5Ua9ppJAZdQ32T3-P2VQRLNjgMgRUCX9cpVaNJNE4W3k

Richard Belzer, comedian and star of ‘Law & Order’ dead at 78 The actor played the role of Munch on multiple shows, including “Homicide: Life on the Street” and “Law & Order: SVU,” and had cameos in other shows like “The X Files.”

CASTING DIRECTOR DAVID RUBIN ON ACTOR IDIOSYNCRASIES
JUN 22, 2022

In a PBS News Hour interview, casting director David Rubin, who also serves on the Board of Governors of the Academy of Motion Picture Arts and Sciences, shares insights about casting. Rubin’s prolific resume includes an impressive list of box-office hits, including “Gravity,” “Men in Black,” “Hairspray,” “The English Patient,” and “Wild.” He also won two Emmy Awards, for casting both “Game Change” and “Big Little Lies.”

According to Rubin, the most important thing an actor can offer in the audition room is “themselves, their own idiosyncrasy.” He explains, “So many actors get preoccupied with what they think the filmmaker is looking for. And frankly, what we’re looking for is them.”

Rubin expressed similar ideas about this topic when interviewed by the Academy. When asked the number-one thing that he looks for as a casting director, he responded, “I look for compelling and, ideally, unexpected ways of portraying each character. Our choice of each actor must help tell the film’s story in a particular way, and hopefully give it a depth and a dynamic that might even go beyond what the screenwriter and other filmmakers had originally envisioned. In order to do that, I’m looking for actors who are skilled in their craft and who bring an individuality that makes them distinct from so many others.”

Mistakes can work on the actor’s behalf

Actors need not worry when they believe they’ve botched an audition. Any “mistake” just might be what most intrigues casting directors like Rubin. “Often those are the most illuminating auditions to me—those kind of organic moments where an actor connects with a character even though they may not even realize that they’re doing it,” he says.

What Rubin considers to be essential in the audition room

Rubin also addressed what stops him from considering certain actors for roles. He said, “The most important thing for an actor to do in a casting situation is to prepare well and make clear choices for your character in the audition scene. We realize you often don’t have access to a complete script and are making guesses about the character, based on little information, but making firm choices and playing with conviction is the key. So what really turns me off is the lack of distinct choice. Even if an actor is wrong for that role, if they’re true to their instincts and are committed to their acting choices, I’ll remember them and happily have them in for a future film!”

On casting diverse talents

In his quest to deliberately open up roles to actors among a diverse talent pool, Rubin has a practice of ignoring screenwriters’ character descriptions early on. Rubin said, “It’s not that I don’t respect the intentions of a screenwriter. But writers describe characters very specifically—not for the filmmakers, but really for studio executives and financiers, so they’ll read the script and see a movie in their heads, which they’ll hopefully want to finance and distribute. But once a movie is in pre-production and we’re contemplating casting options, I think it’s best to forget about specifics like age, race and gender and just think about who are the actors who would be believable in a role, and help drive the story forward in interesting ways.” Broadening the casting options becomes an important part of the conversation with filmmakers as they explore various ways to bring life to each of the characters in any given project.

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They have somewhat of a monopoly on casting sites, including sites around the world, and it is an unfair situation, but until something can be done about that, this may be a "good" deal for some of us.

Spring Flash Sale: How to Redeem and Terms - Casting Networks Read our company's terms of use to understand what governs your access to our platfom and use of any content, functionality and services offered.

Spend 2.5 Hours Learning Directing with Paul Thomas Anderson, Steven Spielberg, Jane Campion, Denis Villeneuve, and Kenneth Branagh These are the people you want to listen to over and over.

King Lear — Next Chapter Podcasts Marcus Gardley’s translation of KING LEAR is set in San Francisco where anything can happen at any moment, where madness is barely constrained beneath the brittle veneer of gentrification and homes are kingdoms taken merely for granted. Infused with a jazz score that evolves in time with Lear’s ...