Schirmer Encyclopedia of Film
Schirmer Encyclopedia of Film
Schirmer Encyclopedia of Film
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fame: John Wayne as Genghis Khan in The Conquerer<br />
(1956), Elizabeth Taylor (b. 1932) in Cleopatra (1963),<br />
Cybill Shepherd (b. 1950) in Daisy Miller (1974), Demi<br />
Moore (b. 1962) as Hester Prynne in The Scarlet Letter<br />
(1995), Tom Cruise (b. 1962) in Interview with the<br />
Vampire (1994), Anthony Hopkins (b. 1937) and<br />
Nicole Kidman (b. 1967) in The Human Stain (2003).<br />
As these examples indicate, literary adaptations and historical<br />
films are the most difficult to cast because critics<br />
and audiences bring a preconceived concept <strong>of</strong> the characters,<br />
one that can clash with the personae <strong>of</strong> wellknown<br />
actors.<br />
ALTERNATIVE APPROACHES TO CASTING<br />
The most basic alternative to conventional casting is to<br />
use nonpr<strong>of</strong>essionals. Some directors believe that only<br />
through untrained faces can social reality and human<br />
truth be captured on film. The Italian neorealist films<br />
<strong>of</strong> directors such as Vittorio De Sica (1901–1974) and<br />
Roberto Rossellini (1906–1977) are the best-known<br />
exemplars <strong>of</strong> this type <strong>of</strong> casting. Such approaches did<br />
not begin with neorealism, however. Soviet directors <strong>of</strong><br />
the 1920s, such as Sergei Eisenstein (1898–1948) and<br />
Vsevolod Pudovkin (1893–1953), cast their films’ collective<br />
protagonists along the principle <strong>of</strong> typage, a way <strong>of</strong><br />
casting ‘‘faces in the crowd.’’ Not quite stereotyping,<br />
typage is the depiction <strong>of</strong> sailors, <strong>of</strong>ficers, or factory<br />
workers in summary images that evoke every sailor or<br />
worker. The Soviet filmmakers wanted players who could<br />
perform actions simply and artlessly and would thus serve<br />
their functions as ‘‘cells’’ in the cinematic ‘‘organism.’’<br />
This use <strong>of</strong> the actor as formalist material differs<br />
markedly from the humanism <strong>of</strong> a director like De<br />
Sica, a film actor himself, who thought that nonpr<strong>of</strong>essionals<br />
could better convey a realism that would move<br />
audiences. De Sica and Rossellini, as had the Soviets,<br />
discovered their casts by announcing open casting calls,<br />
which drew members <strong>of</strong> the public to audition. They also<br />
instructed assistants to keep their eyes open for people<br />
who might have a look that the filmmakers were seeking.<br />
Interestingly, the casting <strong>of</strong> children in American movies<br />
today is done through a similar combination <strong>of</strong> open calls<br />
and happenstance. When casting children for major<br />
roles, Debra Zane says, ‘‘you have to do searches, you’re<br />
looking at as many six-year-olds as you can find, and<br />
then you see a child in the mall and you ask the mom,<br />
‘Can I talk to you for a moment?’’’ (Gillespie, Casting Qs,<br />
p. 371).<br />
Another kind <strong>of</strong> casting that employs nonpr<strong>of</strong>essionals<br />
is the ‘‘acting as modeling’’ favored by Robert Bresson<br />
(1901–1999). Like other directors who prefer to use nonactors,<br />
Bresson sought to eliminate learned, practiced<br />
expressions and gestures. However, Bresson saw acting<br />
itself as belonging to the theater, not film. For such films<br />
as Un condamné à mort éschappé (A Man Escaped, 1956),<br />
Pickpocket (1959), and Une femme douce (A Gentle<br />
Woman, 1969), Bresson’s models were trained to be themselves<br />
while saying words they have memorized by repetition,<br />
like automatons (another term Bresson <strong>of</strong>ten<br />
used), rather than learned by internalization, as an actor<br />
would do. Therefore the spectator projects emotion onto<br />
the models based on their words and actions, rather than<br />
sharing an emotion that the actor projects. Bresson’s<br />
models were <strong>of</strong>ten brought to him by friends who believed<br />
the potential models had the presence and personality<br />
that the director would then paint onto film with his<br />
camera. This is not to say that anyone could be in a<br />
Bresson film. Indeed, most <strong>of</strong> his characters are young<br />
and attractive, but Bresson looked for a quality that the<br />
camera will pick up, rather than qualities that an actor<br />
can create for the camera to photograph.<br />
SEE ALSO Acting; Agents and Agencies; Production<br />
Process; Stars; Star System; Studio System<br />
Casting<br />
FURTHER READING<br />
Georgakas, Dan, and Kevin Rabelais. ‘‘Fifty Years <strong>of</strong> Casting: An<br />
Interview with Marion Dougherty. Cineaste 25, no. 2 (2000).<br />
26–32.<br />
Gillespie, Bonnie. Casting Qs: A Collection <strong>of</strong> Casting Director<br />
Interviews. Hollywood, CA: Cricket Feet Publishing, 2003.<br />
Kondazian, Karen. The Actor’s <strong>Encyclopedia</strong> <strong>of</strong> Casting Directors.<br />
Hollywood, CA: Lone Eagle Publishing, 1999.<br />
Kurtes, Hettie Lynne. ‘‘Casting Characters.’’ American <strong>Film</strong> 15,<br />
no. 10 (July 1990): 38–44.<br />
Mell, Eila. Casting Might-Have-Beens. Jefferson, NC: McFarland,<br />
2005.<br />
Quandt, James. Robert Bresson. Toronto: Toronto International<br />
<strong>Film</strong> Festival Group, 1998.<br />
Dennis Bingham<br />
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