Netflix and Baz Luhrmann's Upcoming Series "The Get Down" Takes Place in 1970s New York City and the Early Days of Hip Hop... So Where Are The Latinos?

Netflix announced the cast for Baz Luhrmann's "The Get Down," his new original series about a group of "ragtag teenagers" set in the Bronx in the late 1970s. 

The show's synopsis is compelling, hinting at musical themes. Per Netflix:

"The Get Down" will focus on 1970s New York City – broken down and beaten up, violent, cash strapped – dying. Consigned to rubble, a rag-tag crew of South Bronx teenagers are nothings and nobodies with no one to shelter them – except each other, armed only with verbal games, improvised dance steps, some magic markers and spray cans. From Bronx tenements, to the SoHo art scene; from CBGBs to Studio 54 and even the glass towers of the just-built World Trade Center, The Get Down is a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco -- told through the lives and music of the South Bronx kids who changed the city, and the world...forever.

The cast of "The Get Down".

Netflix ordered 13 episodes of "The Get Down" and Luhrmann will direct the first two episodes and the season finale. It is expected to debut in August of 2016. 

It appears that none of the four lead characters, named Boo-Boo, Ezekiel, Ra-Ra, and Shaolin Fantastic, respectively, according to the descriptions provided by Netflix, are Latino. [They will be played by relative newcomers Tremaine (TJ) Brown, Jr.; Justice Smith; Shameik Moore; and Skylan Brooks.]


We at the Hispanic Organization of Latin Actors (HOLA) have noticed the details released by Netflix for the upcoming Baz Luhrmann television series "The Get Down" and are concerned by its absence of Latino characters and stories. HOLA is investigating the production's practices and efforts in casting as we do with many productions where we feel Latino faces and voices are missing. 

Right now the available details are too sketchy to be able to issue a definitive statement regarding whether we feel there has been a failure here to include Latinos in a story that really should have them. Hip-hop was created by African Americans and Latinos and both have been instrumental in the development of hip hop through its four elements (MCing, DJing, breakdancing, and graffiti). It would be an indictment on the authenticity of this work if it didn’t also include Latino stories and Latino characters.

The role of Latinos in hip hop (as well as other genres of music and art) is well-documented but often overlooked. Ed García Conde of Welcome2TheBronx.com expounds on this nicely in his blog on the topic. "The Get Down" gives the opportunity to get the narrative right and present a fuller, more complete story of the 1970s New York art scene (which included such Latino luminaries as Jean-Michel Basquiat, Devastating Tito of the Fearless Four, Richard "Crazy Legs" Colón, Luis DJ Disco Wiz Cedeño, and Billy Murcia of the New York Dolls).

Baz Luhrmann.

We hope that our first impressions here are wrong, because we know Netflix has a relatively good track record at telling Latino stories and using Latino actors (for example, "Orange is the New Black"). We are also aware that Baz Luhrmann has been inclusive to Latinos in casting his productions as well.

We will not only be monitoring this story closely but we will be actively investigating this matter and asking the tough questions to the right people. A central part of our mission here at HOLA is to do just that, and hold the media accountable for treating our community fairly.

I guess the question Latinos need to ask Netflix and Baz Luhrmann regarding their upcoming production is, "How can WE get down?"

HOLAwave: Our Adventure at the 2015 Emmy Awards, Part 3

[HOLAwave represents a series of guest blogs by industry insiders giving informative and educational tidbits for the Latino performer. They can range from acting and auditioning advice, tech tips, legal advice, marketing, producing tips, and so on. Get caught up in the wave– the HOLAwave.]

Our Adventure at the 2015 Emmy Awards

[HOLA member Susanna Guzmán had a recurring role in the first season of the Emmy Award-nominated Netflix series "The Unbreakable Kimmy Schmidt". As such, she and her husband, HOLA member Anthony Ruiz, were invited to the Emmy weekend. Ruiz tells us what it was like to be at the Emmys.]

It's 7am. Woke up drunk, exactly as I went to bed. That’s good,  cause that usually means it was a good party.  I figured out why California is in a drought, they using up all their water making ice cubes for mixed drinks. 

Anyway, today is the day, EMMY DAY! Although the telecast starts at 5pm (8pm ET), we start our day at 12:15pm. That’s when our car carries us off to the Beverly Wilshire Hotel to prep the ladies with makeup, hair and in some cases, accessories. We men just have to shave and make sure not to spill ketchup on our rented tuxes. Talking about suits, here’s a piece of advice to my male HOLA members when you come to Los Angeles for any award show (and you will come), bring your suits from New York. There isn’t a tux in L.A. to be found during any awards ceremonies. 

At 9am, my finger still hurts from my battle with that zipper from hell!  I wonder if I can get the makeup lady at the Wilshire to do a little magic on it, after all, it’s my waving hand! My wife wakes up and off we go downstairs to get our FREE breakfast provided by our hotel. El Lay has a lot of FREE stuff... I like this town.

We go to the serving room wearing dark sunglasses because our eyes are still blood-shot and sensitive from all the boozing. Since arriving in this town, every event, every party, every Escalade has had tons of booze, and it’s FREE. Thank you L.A. people.

It's 11am. Time to get dressed. My wife's dress has no zipper so I feel very calm. I shower, shave and put on my suit. Then I get out of the way and sit next to the air conditioning to watch as “The Ritual” begins, my wife Susanna dressing herself for the Emmys. Unless she calls you, don’t move– just sit and watch. It takes less preparation to land a man on the moon, then to get a woman dressed for a formal evening event. Especially an event that will be watched by 30 million viewers. 

As she puts on the final touches of makeup, the phone rings. Our driver has arrived. Now comes that moment when a woman realizes that they have no place to carry their stuff and their purse, which cost a small fortune, can only hold one single-ply tissue. In my opinion, it should be against the law to design a pocket-less dress or a purse that can’t hold a .357 Magnum gun comfortably.  I pack the stuff into any available pocket, then off we go.

It's 12:15pm. The ride to the Beverly Wilshire Hotel is quiet; we just sat back, grinning and appreciating the journey. We arrive at the Wilshire where Susanna gets whisked away for 20 minutes of hair and makeup. Then, everybody on the bus! That would be the Netflix party bus, where more champagne greets everyone. Our fellow commuters were cast members of "Orange is the New Black", "House of Cards" and "Unbreakable Kimmy Schmidt". For laughs, they had Pabst Blue Ribbon for OITNB, champagne for House and, of course, pinot noir for UKS. We arrive at the Staples Center, through the rear, away from the crowd. We hear them in the distance... it’s awesome. Quickly, they get us out of the hot sun and into a giant all-white waiting area, were food and drinks await us.  There’s also a row of hair/makeup/wardrobe for anyone who needs touch-ups. If you remember the “empty glass bottle” and the “straw broom”, well here is another stupid moment. As you walk on the red carpet they give you Fiji water with a straw in it, but once you go towards the lobby of the auditorium they take away that brand and give you another brand (called “Emmy” water), then when you enter the auditorium they stop you again and take away all the bottles. Only in L.A. 

The red carpet is divided in the middle by a red rope. One side is for interviews, the other side is for non-interviews. The interview side has a raised platform that runs the full length of the red carpet, which is about as long as a New York City block. Along the runway, are side-by-side booths of different entertainment news organizations (People, "Entertainment Tonight", etc.). Either way we are all walking under the same HOT sun. Once inside the Staples center we mingle, take pictures and chat with friends. The Staples Center does have drinks and popcorn for purchase, they’re not free, NOT FREE?!?!  

At 4:45pm, the president of the Academy steps out and tells us how to behave and when to clap. Then on huge screens the countdown begins and off we go. “Live from The Staples Center, the 67th Annual Primetime Emmy Awards”.  At about 15 minutes in, there is the first commercial break. First ones out of their seats are the “SUITS”, the lawyers, agents, studio heads to get a drink at the lobby bar. Once the show starts if you are not in your seat or at the bar you must stay in the back of the theatre until the next commercial break. 

Finally the ceremony ends. Everyone is tired and hungry. So out of the theatre we go, turn the corner and cross the courtyard then through another series of tickets/security sections, where we finally walk into the Governor’s Ball in the Los Angeles Convention Center. To say that the venue was magical is a major understatement. No camera can capture the beauty of a huge space dripping in delicate crystals. In the center is a two-level raised stage that has a band and and singer performing and slowly rotating. It was VERY impressive! We find our table among over 500 tables in this huge venue. Awaiting us at our table (we were sitting with other UKS cast members with whom we also sat next to at the  Staples Center) was a wonderful poached pear salad with goat cheese, figs, spiced walnuts, etc. Following this arrives an amazing beef tenderloin with potato, mushroom, yucca chips, etc. Finally, "a luscious Ghana brownie with popcorn Chantilly and baby bourbon caramel", etc.  I say "etc." because each detailed description on the menu is about a paragraph long and "ain't nobody got time for dat".  Know it was all extremely DELICIOSO! The entire table was delighted and satisfied. By this point Susanna cannot take wearing her shoes any longer and I devise a plan to give her my socks as the place is large and dimly lit that no one will notice.  So we both begin to bend over and fiddle with our feet as our dinner companions look on curiously. Susanna goes to the ladies room and returns with a little nylon baggie with L'Oreal hairspray, lipstick and eyeliner that were given to her for flushing (yes, FREE).  

Now it's 10pm. It's time to partaaay so we call our driver Mike and his Escalade. We ask him to first stop at our hotel so Susanna can get her flats, we do that and then we’re off to the Netflix afterparty which is at the infamous Château Marmont. What a cool ass joint!  Down a driveway you arrive on a cobblestone front, they check the guest list and then you enter a lovely foyer with alcoves leading to different parts of the Château.  There is a roped off staircase leading upstairs which is off-limits (I'm pretty sure that’s where Garbo hung out). There are also two sets of French doors that are flung open. Through the first set of French doors is an indoor sitting room with piano, couches and snack/food set-up.  The DJs (one male, one female) are tearing it up. Through the second set of French doors is an amazing courtyard with couches and hanging lights. We hear the music here as well and the environment is giddy and joyful. Susanna begins to get her dance on soon after her first champagne glass. We are under the stars again surrounded by stars. At one point Susanna is sprawled on a couch smoking a cigarette and a lovely young woman approaches us and makes Susanna an offer she can’t refuse– “I will trade you this Emmy for a cigarette”– so Susanna took the deal and fiddled with her Emmy while the woman stood by entranced with her cigarette. Susanna felt it was an unfair trade and gave the woman back her Emmy, but not before licking its wings. The woman won as part of the writing team of "The Daily Show with Jon Stewart" (man, what was her name?!?!). 

[Clockwise from top left: Anthony Ruiz and Susanna Guzmán meet up with fellow HOLA member Vanessa Verduga; mutual admirers Ruiz and Lea DeLaria; Guzmán and Alan Cumming; Guzmán and the infamous "Emmy licking" moment.]

The party is still going on at 1am, but sadly, we have to get back to our hotel. Susanna likes to pack the night before and we have about 55 lbs. (as later weighed at the airport) of swag ("stuff we all get") to organize. So now this journey ends and yet it's only begun, because if anything this has taught us it’s that this business is a crazy, wonderful crapshoot. One day you can be grilling burgers for a barbecue in your "barrio backyard" and the next week you can be walking the red carpet and toasting champagne with Alan Cummings.  Thanks for reading along, guys, I hope you also enjoyed the journey. (We sure did.)

Anthony Ruiz is an actor, playwright, screenwriter, director, cinematographer and photographer. Most recently he acted in the films Daughter of God (written and directed by gee Malik Linton, and starring Keanu Reeves, Ana de Armas, Mira Sorvino and Christopher McDonald) and Custody (written and directed by James Lapine, and starring Emmy Award winner Viola Davis, Ellen Burstyn, Hayden Pannettiere, Catalina Sandino Moreno and Olga Merediz); and in a commercial with John Leguizamo and (once again) Olga Merediz.

HOLAwave: ABC Casting's Marci Phillips on Being a Working Actor

[HOLAwave represents a series of guest blogs by industry insiders giving informative and educational tidbits for the Latino performer. They can range from acting and auditioning advice, tech tips, legal advice, marketing, producing tips, and so on. Get caught up in the wave– the HOLAwave.]

I had met Executive Director of ABC Casting Marci Phillips a few times before I decided to reach out to ask for an interview. Once through an HOLA-sponsored diversity workshop with ABC Casting, and once through a meet and greet at one of the city's many pay-to-play companies. On both occasions Marci struck me as someone who had an insight beyond just acting; there was something more philosophical in her approach that made me want to know more. When she graciously accepted my offer to sit down for an interview, I jumped at the chance to sit down and talk with ABC’s top casting director.

Fueled by my own thoughts of diversity and the changing landscape in entertainment, I headed to ABC studios armed with thoughtful challenging questions ready to blast light on minorities in Hollywood. Unfortunately I fell into the trap most of us do in the industry, I approached Marci thinking of her as a title– “casting director”– but quickly was disarmed by Marci Phillips– the human being– always willing to give and love.

As I sat down and thanked Marci for her time, I asked what it is she enjoyed about her work.

Marci Phillips: I feel so much joy from helping someone else, when an actor gets anything, if they get a job, an agent, a manager, anything. Besides your mom, nobody is happier at your success than me, I feel so lucky to be in this position to help. I feel that some people feel like they are owed something, I feel that I owe the universe– I owe you, I owe every actors something for being in this position to help artists.

Hernando Caicedo: That’s true, sometimes we get caught up in ourselves and view othes as their job or intimidated by the business that we lose sight of the communal sense of the art.

MP: Yes! We are all fighting towards the same goal, in the end, we all have so much more in common, see the commonality in everything. In fact, that is something in casting we look for. We try to find actors whom the audience can share and see their experiences in them. Artists who share the commonality of life.

HC: You have such a passion and energy for the journey of actors, if I may ask, what’s made you so driven to help not just from a business perspective, but spiritually and philosophically?

MP: I wrote a book (The Present Actor) because I felt there was nothing out there for actors on speaking about the spiritual journey. There is so much business and yes, it’s needed. But for me it came from the fact that I grew up in this. When I was really little I helped my dad with lines and sides, to me actors are my family. My spiritual trajectory is because I’ve seen through my own family, I see the unique challenges they faced. Being a performer brings with it a lot of things that can be crushing, if you have that perspective, but I feel that life itself is perspective. If you think the business is cruel and unfair, you’re right. If you think it’s magical and the possibilities are limitless, you’re right. That goes for life in general and, life and acting are intertwined in each other, they both need perspective.

HC: I couldn’t agree more. It can be very hard for an actor to gain perspective when we get caught up in jobs that aren’t bookings, auditions that didn’t lead to anything, you can sometimes get bogged down in thinking about where you want your career to be versus where it is at the moment.

MP: Life feeds the actor at every moment. It’s very easy to get off your path because you have to worry about so many things. You can tend to forget that you do this because you love it and you are blessed to pursue what you love when so many aren’t. That alone puts you in a rarefied place that you should never forget. Always be grateful for what you have, it’s easy to talk about what you don’t have. It doesn’t matter how successful you are, there’s always something else. If you concentrate on being grateful for what you have, you can open doors for other things; if you focus on what you don’t have you won’t see the doors that may be opened to you.

HC: You have to be open to possibilities.

MP: Of course. Be here in the moment. We live in a world of instant gratification, but you don’t know when things will happen. I saw an actor once and I thought when I need “this” he’s it. I didn’t need “this” for three years and I when it came I thought, That guy! I looked through Facebook and finally I tracked him down. He had no representation  and he came in and got the role and he’s pretty big now. He might have thought,  She didn’t do anything for me, but actors should think of themselves like Johnny Appleseed– drop those seeds and you never know what will grow and when you will reap what you sow.

HC: That reminds me of the notion of creating your own content. Plant your own seeds and make things for yourself. Do you think that is a viable avenue for actors?

MP: I think it’s legitimate, people find themselves through that. Seemingly nothing may come from it, but you don’t know, you’re planting your seeds. At the very least you will learn something. Whenever you are proactive for yourself, you will get a lot of beautiful things back. It may not be what you thought you would get. Creating content keeps you artistically fertile, it tells the world that you aren’t just going to sit and wait for opportunity. You have control over how you are being perceived, you work with who you want to work with, you are taking ownership in your creative expression.

HC: Good point. You can learn a lot that will help you when you’re on set. I remember one of the things you said at a workshop was that for series regulars it’s important to “be yourself”.

MP: Of course! Be you. It’s different when you are going in for an “under-5”. You’re exposition. For a guest star there has to be a reason for why you got hired for that specific role. For a lead or series regular, it’s a matter of how much can they write for you. They are thinking, What are the possibilities for writing for this person? It’s important that they get a sense of who you are so they know who are they writing for. They have to feel a sense of who the character will be with you bleeding into it. It’s the only audition where you are viewed that way. In a play, it’s already written, a film's already written but a series, they have a blueprint and they look at you to see what you can add to that.

HC: Very true, I want to put that as a quote on my fridge! I was hoping to hear your thoughts on the East vs. West notion. With tapings, do you think it’s necessary to be out West or here to find work?

MP: Actors on both sides are always thinking, Is there more for me on the other side?

Things shoot everywhere and producers are smart, they realize the East Coast and New York has a good acting pool. A majority or productions want to look here and see what we have. You don’t have to be anywhere anymore in the digital age– we put you on tape.

HC: I do think though that deciding on where to be is a  question an actor has to answer for themselves. Sometimes people go out west and everything opens up for them, some people go out and there’s nothing for them, but it’s good to know. You won’t ever know unless you experience it. In the end it’s very important to be comfortable and happy wherever you live.  Your life isn’t being an actor, as much as you think that’s your total existence it’s not. Your goal should be to live in a place that makes you comfortable and happy, whatever that means for you. 

I was wondering about diversity.  When something comes out, where is that line between opening up casting to more diverse options?

Marci Phillips, center,
with HOLA members at an
ABC/HOLA casting workshop.

MP: I think as a casting director, we listen to the essence of the role instead of just thinking of the externals. I’ll always give producers the specifics of what they’re asking for. But the fun of my job is thinking, Well let me try this and let me try that– sometimes it works, sometimes it doesn’t. For the most part we’re just looking for great actors of all colors and abilities that can bring the essence of the character.

These days, things opening up more it’s making it more fun. It will only get better, it’s not a trend, you can’t go back, the doors have opened and they’ll continue to let more and more people come in.

After we finished our chat, Marci left me feeling energized, empowered but most of all supported.

I’ll share a few words of wisdom I received as I left her office....

Life is a learning experience. Take care of your body– your health is important as you get older. Take care of your body– it will take care of you. Take care of your mind and enjoy the experiences.

Hernando Caicedo moved to the United States from Colombia with his family and settled in Florida. There he attended the University of South Florida (USF) majoring in Mass Communications and Theater. He later moved to New York where he studied film and television at the New York Conservatory for Dramatic Arts. Upon graduating he had the opportunity to work on several stage productions including Prophet of Borough Park, A Steady Rain, and Transubstantiation (directed by André Glant-Linden). 

HOLAwave: Our Adventure at the 2015 Emmy Awards, Part 2

[HOLAwave represents a series of guest blogs by industry insiders giving informative and educational tidbits for the Latino performer. They can range from acting and auditioning advice, tech tips, legal advice, marketing, producing tips, and so on. Get caught up in the wave– the HOLAwave.]

Our Adventure at the 2015 Emmy Awards

[HOLA member Susanna Guzmán had a recurring role in the first season of the Emmy Award-nominated Netflix series "The Unbreakable Kimmy Schmidt". As such, she and her husband, HOLA member Anthony Ruiz, were invited to the Emmy weekend. Ruiz tells us what it was like to be at the Emmys.]

We got up at 8am and had leftovers for breakfast (two tamales from last night). Then we got dressed to go to the Nokia Celebrity Gifting Suite (more FREE gifts) a few blocks away at the Staples Center. More of the same, get a free gift, take a picture. This one had better and bigger gifts. Again we where given a young man to carry the gifts. You walk into the Nokia suite and an announcer yells out your name and what you are nominated for. At first we thought, How corny, until we heard “Ladies and Gentleman, let’s welcome a TV icon, Jason Alexander”. Hey if Jason Alexander thought this was a cool place to hang out on a Saturday morning who am I to argue? After an hour of collecting free gifts and smiling for the cameras we left. 

Again, there was one stupid gift that was so STUPID, we just could NOT take a picture. A straw broom. Yes, a broom! Like the kind you find in any campo in any of our Latino countries. I know my grandmother María in Puerto Rico had several. A straw broom! Only in L.A.. And yes the broom was “organic”. Anyways, we decided to walk back to our hotel which was just a few blocks away. It was a nice day, sunny and warm. As we get to the corner of the Nokia Suite we see a crazy black man screaming into his cell phone, it's Emmy nominee Keegan-Michael Key of "Key and Peele". A handsome young man acting crazy because someone had him waiting and he was going to miss out on all the free gifts. Watching him on the phone all agitated made me think: We all like FREE. No matter how much money and fame we might have put the word FREE in front of us and we will follow. He put away the phone, looked at us, we crossed the street. We decide we’ll talk to him about it tomorrow at the Emmys. 

By now it was noon and we had to still buy a dress for another party. Susanna had brought only one dress from New York for the actual Emmy Awards ceremony. Somehow in the hundreds of texts and emails this party got lost. It was a pre-Emmy event hosted by Netflix  and the Emmys for all TV shows on the air. This was big. It was being held at the lawn at Century Park at Century City. An outside party under the stars and with the stars of Hollywood (que nice). So after dropping another truckload of free gifts at our hotel (actually a carload), we decide to have lunch. We found a pub and had a few drinks ("Hollywood lunch") and off to Macy’s we went. 

We hit Macy’s like a SWAT team. Within 20 minutes we found the perfect dress, a man's shirt and a cologne (I left mine in New York). Happy, we strolled back to our hotel to take a nap. The car was picking us up at 7:15pm on the dot. The TV industry takes pride on being very accurate on times. Not 7:13, not 7:16, 7:15pm. This is important because now the story gets interesting. So after making ourselves look pretty for the event, it was time to get dress. You see it coming, right? I get dressed like a good fireman at the sound of the bell. It took me 2 minutes. I’m ready at 6:55pm. (You see it coming right?) Sure you do. At seven my wife calls me over for the ritual we men like to call the CLOSING OF THE GATES. The zipper. So up it went, then it stopped. Down I take it, then up it goes again and it stops. (Here it comes.) Down I bring it again and this time I decide to drive through the “speed bump” and take it home. So up I go and SNAP! She had the dress but in my hand I had the zipper. I broke the zipper. 

I stand there in shock. Now all you Latino men out there know what I said (it’s in our handbook), “¡C*ñ*, se rompió el zíper! ¡EL ZÍPER SE ROMPIÓ!”, then we deflect the blame- “Ese zíper was bad– bad, bad zipper. It’s not my fault!” Now faster than Supergirl (premiering October 26, 2015 at 8:30pm on CBS), Susanna is in her jeans and top running down the street heading towards Macy’s, to buy the same “perfect dress”. It is now 7pm. I did mention that the car is picking us up at 7:15 sharp, right? Up the escalator, second floor, make a right, make a left, pass Michael Kors, turn right, third rack, grab dress, go into dressing room, run out dressed, find a cashier, have the cashier pull up the zipper (I was not touching that thing!), rip tags off, pull out a 20% off coupon (even in the most critical moments woman refuse to pay retail), run out of the store, run to the hotel, stop in front of hotel. It's 7:14pm. We turn around and the car pulls up. Yes, we did it again. We get into the car and rode off laughing and sweating. A half hour later we are going through security that would make the CIA proud. We were in. We spoke and mingled and drank. Who did we meet, you ask? EVERYONE. Everyone that has ever been in television. Only one thing was missing, the PRESS. It was kept that way so that attendees could be themselves and get plastered, before tomorrow's madhouse. It was nice. We talked a lot, drank a lot and mingled with the stars under the stars. Tomorrow: the awards.

[Above, with HOLA members Susanna Guzmán and Anthony Ruiz are Sam Jaeger (top left), Colman Domingo (top right), and Emmy Award winner Loretta Devine (bottom left).] 

To be continued....

Anthony Ruiz is an actor, playwright, screenwriter, director, cinematographer and photographer. Most recently he acted in the films Daughter of God (written and directed by gee Malik Linton, and starring Keanu Reeves, Ana de Armas, Mira Sorvino and Christopher McDonald) and Custody (written and directed by James Lapine, and starring Emmy Award winner Viola Davis, Ellen Burstyn, Hayden Pannettiere, Catalina Sandino Moreno and Olga Merediz); and in a commercial with John Leguizamo and (once again) Olga Merediz.

GUEST BLOG: ALL SIDES OF THE COIN, BOOKING ON CAMERA COMMERCIALS

[Originally published in the blog Brownsville Breed.]

A Commercial Casting Director’s Perspective

Elaine Del Valle on the set.
Photo courtesy of Brownsville Breed.

I get the call.

• Availability to cast - check
• Studio Rental - check
• Casting Assistant - check

Now it’s time for the nitty-gritty.

Adherence to a strict timeline—finding the right people for a role is imperative to the success of the spot, but there is only so much TIME!

Exploring the storyboard

By now the ad agency, the producer and the director have given me a storyboard and their input on character breakdown.

I post a breakdown on Casting Networks and/or Breakdown Services, and while I await the submissions to start pouring in, I go through my headshots on file and memory bank to determine my “Must See” actors…The ones that will make me look good by bringing the ENERGY and EMOTION of the commercial into the audition room.

This time I am casting four principles.

By the end of the eight hour day, I have received over 1000 submission on a 20s female Caucasian, over 250 submissions on a 20s male bilingual Hispanic, and over 400 submissions on a male and female Hispanic salsa dancer couple.

With just one day of auditions, of the almost 2000 submissions I get to invite approximately 100 people to audition… That means that about 5% of people submitted will be seen.

I have to decide quickly, usually I have a day (or two if I am lucky) to schedule the auditions…If you know this, then you know that just being in the room is a victory for any actor!

The Selection Process…Who Gets In The Room

Most casting directors post on Casting Networks and or Breakdown Services…These are professional outlets that can also be made available to unrepresented talent with a push of one button.  Most casting directors don’t make this available to unrepresented talent, but I do.

The Submissions

If you are looking at what I am looking at as a casting director you will see headshots first, and so in my opinion an actors first and most important tool is the photo that will represent the characters you are most likely to book.

The picture is a thumbnail approximately 2" × 4" so an up close inviting shot is usually best.
Yes, you should have multiple pictures that represent various roles and it will be up to the person submitting you as to which picture they think will speak to the role.

Note: Often times, when an actor is represented by various agencies, (as most freelancers are) I will choose the representative that submitted them with the picture that makes the most sense to the role.  Unless that representative has done something unprofessional in the past that I have been made painfully aware of, I have to give it to the person that knows best how to represent their client.

Often times the bigger agencies are not submitting in the same way as others.  For me this can be annoying, but they undoubtedly have taken the time to sign the people they know will hustle, become a known entity and book.  Often times I get a phone call from an agent asking if they can send me a link to their clients…I take the time to view these links and yes they do stand out…but it is often much more TIME consuming and so harder to get to.

Then I reach out to my “must haves”… it is a sad circumstance, but often times these people are not even submitted…Were it not for my knowing the actors personally they wouldn’t have the opportunity!

Making some preliminary decisions I look beyond the norm and go into search engines of Casting Networks, and the niche places like the HOLA Pages….

As such I think it crucial that actors keep their photos, skills and age range up to date and on databases that make the most sense to the industry.

The options are narrowed down, but still not enough. The 2000 have become 500 and then I look to the additional pictures that should resemble the same person. This will narrow it down to about 400…
Next the resumes… For me I look at training…Actors should invest time and money into honing their craft in a long term scene study professional acting environment… We live in the mecca of the theatre world and there are many choices on where and when to train…Training should be a PRIORITY for all actors.  I recommend a professional acting group setting, where you work every time and continuing improvisational courses…Both will make you more likely to book!
These actors that have taken that extra step and are the right look get the invitation to audition.

The Audition Times are Sent

A confirmation and not a reschedule is ideal…in as much as I may want to see the actor, time is limited and it is very easy to give the opportunity to the next person in mind from the other 95% who didn’t get the opportunity.

The Day of the Audition

The storyboard is out and the size cards are available.

I Expect that Actors

• Come in on time…so I can stay on time
• Keep their conversation low in the waiting area…considering the actors working inside of the room.
• Have current headshots and resumes available to me…for me to keep on file and as a reference.
• Fill out their size cards legibly and completely…if you book this saves me time and aggravation.

In the Room

• Give a slate that shows YOU at your best…Your pride, your energy, your smile, and someone I know I want to be around even at the most grueling shoot.
• Be camera ready…light make up and neat hair out of your face
• Wear a color that is right for camera…blue is always a good choice. Layers also work well on camera. Don’t wear white, red or a busy small pattern.
• While many casting directors feel the need to direct first off, I give the actor the credit they have earned in my expectation that they will “get it.”
• Take the time to read the script and imagine what the final cut for the commercial will look like.

If I really like the actor, I will ask them to do it again and direct them in various directions. Quite possibly ask them to stay for another scene partner.

•  If you are asked to change it up, be ready and open to try new things…free yourself of the last read, listen to the direction and don’t be afraid to take the time you need to absorb it…It is a gift to be able to absorb the new direction and it takes lots of work and openness to be ready to accept it…and infuse even more of you into the next take.

Regardless of the read it is the right energy and emotion that will keep the actor in the running. I have found that a relaxed, happy actor can lead the room.  It becomes their show.

• Remember it’s YOUR show.  If it’s a spot where you are the Mom, you need to make the happy home for your family, be proud of them and love them.  If you are a dad then you need to decide to listen to your wife, adore your children, love your food–All of those things that we know dads do so well.  We need to see the pride of the house you are living in. The pride of the marriage and family you have made work through good times and bad, but remember this is a good time. Lead it and Love it. Advertisers want to create an emotional reaction to their products and you are responsible to lead that.

At the end of the casting day, I stay late to upload my top ten favorites for each character.  I send the link to my bosses and wait for their thoughts before calling for the callbacks.

The Callback

You are one step closer to the job…And up close and personal with the people who will ultimately make this decision…All of the direction given previously applies, but something I would like to let you in on is this– often times the room is conferencing on the people that just left or their favorites…

As an actor it is URGENT that you give them the time to do so…Wait for your turn…Do not let them see you until you have their FULL attention. Don’t waste your time distracting them from their thoughts.  Let them finish them and then direct their attention at you.

BE Natural. Be Available. Be FREE. Be YOU. Ask questions. Laugh at yourself. Take direction…Even if you don’t get the job you may be right for something coming up!

Lastly YOU SHOULD KNOW often times the Director and the Casting Director and the Ad Agency love the same person as their first choice…They still have to give the client final say and so likely three full cast options are presented.  All three choices will work, but the final say is always the client's and the client does not often agree with everyone else’s first choice…

So let it go!  Know you were great! You could have done it! The rest is beyond your control…but know that YOU HAVE BOOKED THE ROOM…The Director will ask for you, the Casting Director will know you will deliver, and the Ad Agency will love to see you again!

F.Y.I. The final booking went to one self-submission, one person that I saw in an acting school showcase earlier in the year, and two regular commercial bookers (only one of which was submitted by their signed agents). The ad agency added an extra character which also went to an actor whose agent did not think to submit him! So remember regardless of who is representing you…YOU ARE ALWAYS REPRESENTING YOURSELF!  Accepting this is being of The Brownsville Breed!

More to come on the second part of this ALL SIDES OF THE COIN conversation and look into the world of booking commercials!

Coming soon– The Actor’s Perspective–Becoming a “MUST SEE” Actor!

 
About the guest blogger
Best known for her multiple award-winning solo show Brownsville Bred (including a 2012 HOLA Award), Elaine Del Valle enjoys an illustrious commercial career spanning over a decade. She currently has eight commercials running. This year she began a career as an independent casting director and has already cast for such brands as KFC, AARP and McDonald’s. For more information about her, click here, here or here. She is also leading the Everything You Ever Wanted To Know About Commercials seminar for HOLA and the HOLAfábrica Workshops and Seminars program. For more information, click here.