casting directors, agents, & managers

308 Pages·2015·8.41 MB·English

SPRING/
SUMMER
2015
CCAALLLL
The ultimate
guide to the
entertainment
industry.
SSHHEEEETT
Film, TV, theater, and CASTING
commercial contacts
DIRECTORS,
An in-depth look at 2015’s
upcoming film festivals AGENTS, &
Tips for submitting your
MANAGERS
materials
CallSheetCoverFinal.indd 1 2/20/15 12:03 PM
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SPRING – SUMMER 2015
TABLE OF CONTENTS
3
SPOTLIGHT
03 Make it Reel: From Actor to Filmmaker
6
FILM FESTIVALS
06 Simple Steps: How to Use this List
07 Nationwide Film Festivals
26
PRODUCTION COMPANIES
26 Simple Steps: How to Use this List
27 Production Companies
68
NATIONWIDE THEATER COMPANIES
68 Simple Steps: How to Use this List
69 Nationwide Theater Companies
104 NATIONWIDE TALENT AGENTS
104 Simple Steps: How to Use this List
105 New York Talent Agents
118 California Talent Agents
140 Regional Talent Agents
170 NATIONWIDE CASTING DIRECTORS
170 Simple Steps: How to Use This List
171 New York Casting Directors
187 California Casting Directors
227 Regional Casting Directors
248 NATIONWIDE MANAGERS
248 Simple Steps: How to Use this List
249 New York Managers
257 California Managers
288 Regional Managers
290 290 UNIONS, GUILDS, & ASSOCIATIONS
SPRING / SUMMER 2015 CALL SHEET 1
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SPRING–SUMMER
2015
call
sheet
Vice President & National Casting Editor Chairman & Chief Executive Officer
Luke Crowe Peter Rappaport
Editor President & Chief Operating Officer
Rebecca Welch Joshua Ellstein
Chief Financial Officer
Managing Casting Editor Michael Felman
Melinda Loewenstein Corporate Controller
Barrett Heacock
EDITORIAL Vice President, Director of Digital
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make it reel SPOTLIGHT
From Actor
MAKE IT
REEL: to Filmmaker
C
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FI Ariana Bernstein in
D
GE Delusions of Guinevere
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BY REBECCA WELCH of being dependent on a slew of other
Gone are the days of needing a people.” For actors wanting to expand
secret handshake or Trump- into meatier roles, creating their own
sized trust fund to make it characters can enhance the personal
past the casting room; the investment and quality of the project.
tides are changing and they’re flowing The key is to focus specifically on what
in favor of the multi hyphenate actor. will illuminate your talents and the type
With so many avenues available to of work you want to do. Luke Barnett, an
host all forms of media, creating your actor-writer-producer at his joint venture
own content has never been a more Lone Suspect, expanded on his love for
prudent career move. “When you’re an comedy. “I think if you’re going to make
actor you’re at the mercy of everyone the choice to create your own content,
else and the odds are always against it has to stand out in some way. We’ve
you,” says Ariana Bernstein, writer-actor- tried to stick to what I like to think of as
producer at her company Buddha Belly cinematic sketch comedy–high produc-
Productions. She finds the experience tion value on top of (hopefully) good
creatively liberating: “When you adopt writing [and] acting. Topical humor is
new skills such as writing, producing, definitely where I’m most comfortable,
and/or directing, not only do you open writing-wise, and that gives us a lot of
yourself to more work, you open yourself current material to work with.” It also
up to endless possibilities as you rely provides Barnett and producing partner
on yourself and your skill set instead Vincent Masciale a built-in buzz that
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SPOTLIGHT make it reel
comes from staying within the zeitgeist tuning out your ego, taking your lawyer’s
of contemporary culture. “Last year we recommendations into consideration,
made a parody of HBO’s ‘The Newsroom’ and having a little faith.” The idea lends
called ‘A Message to Aaron Sorkin.’ It was further credence to the fact that all distri-
a shot-for-shot remake of the iconic open- bution deals are different, but there tends
ing scene of the pilot where Jeff Daniels’ to be a glass slipper for most films. While
character is asked, What makes America the end goal for many films is to find a
the greatest country in the world? An distributor, it isn’t the only way a project
assistant at NBC saw it and passed it on can get in front of large audiences.
to her boss. A week later I had a great Filmmakers can find distributors
meeting with three of the executives at film festivals as well. Submitting to
there to talk about upcoming pilots and festivals takes strategy, as the process is
possible projects I might be fit for.” selective. Films are submitted, screened,
Choosing which route to dispense your and then have to be chosen in order to
material through can help your project show at the festival. Although Bernstein
reach audiences, and there are plenty didn’t see her film fitting into the feel
“THERE’S A DELICATE BALANCE OF LISTENING TO YOUR GUT, TUNING
OUT YOUR EGO, TAKING YOUR LAWYER’S RECOMMENDATIONS INTO
CONSIDERATION, AND HAVING A LITTLE FAITH.” – ARIANA BERNSTEIN
of options available. Bernstein went of the festival circuit, she does note the
with a distributor, Indie Rights, for her significance. “Film festivals are great
feature film “Delusions of Guinevere,” for many films; they are also part of
but suggests investigating all of the new a strategy and plan to introduce your
ways of getting your film out there. “New work to the industry, network, and gain
distributors are popping up left and right, exposure, but ultimately the goal is to
forming partnerships with aggregators garner a distribution deal.” There are
and sites like Amazon, M-Go, Google also the submission fees to consider,
Play, and streaming devices like Roku. which can stack up if you don’t narrow
This can be great for filmmakers if you down your selections. Think about the
partner with the right distributor, but audience you want to attract and what
also incredibly dangerous if you partner category your piece falls into; this can
with the wrong one.” She also stresses significantly narrow down your op-
the importance of putting the work first, tions. The beauty of these events is that
and being honest to the material when it they are starting to accept new forms
comes to choosing a distributor. “It’s so of media, some even allowing projects
flattering when a company wants to take filmed on cellphones, so you don’t have
on your film, but ultimately you have to to have a feature film to participate.
do what’s right for the film, the investors, Barnett made his way around the
and your vision. Had we been dazzled by festival circuit with multiple shorts.
some of the theatrical offers we originally He suggests considering the festivals
received and signed one of those deals, you’re submitting for. “I would say with
who knows if our film would have seen festivals, submit to the big ones that
the light of day. And if it did, it certainly could change your career... Then also
wouldn’t have been on our terms. There’s target some good midlevel festivals that
a delicate balance of listening to your gut, get good audiences and have a great film
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make it reel SPOTLIGHT
community. Those will build an audi- and small, to target their demographic.”
ence for a film and also be a lot of fun Which is the ultimate achievement in
to attend. Lastly, target a few genre- creating your own content–finding a
specific festivals.” Barnett recently did fan base that will support your work.
just that when his company screened The two actors-turned-creators aren’t
their short, “Fear, Inc.,” at Hollywood’s slowing down anytime soon, as their
horror-centric festival Screamfest. previous projects springboard them
“FIGURE OUT WHAT IT IS YOU DO WELL, AND DO EVERYTHING IN YOUR
POWER TO MAKE SURE PEOPLE SEE THAT.” – LUKE BARNETT
Luke Barnett in Funny or Die’s
Game of Thrones Halloween
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Festivals may draw an audience, but further into the world of self-created
finding help through other means can content. Bernstein’s film “Delusions
add longevity to your project’s run. If of Guinevere” had success in theaters
you have the cash, spring for a little from New York to Los Angeles. Now
extra help and lighten the burden of she’s focused on preparing her feature
doing it all in-house. “If it’s a feature “Fort Tilden,” a SXSW Grand Jury Award
and you have any sort of budget, I highly winner, for release. As for Barnett, he’s
recommend hiring a publicist to help working with Funny or Die to produce
you market and promote it,” Barnett a series based on “The Walking Dead,”
says. But if you’re short on cash, that while still starring in various sketches
doesn’t mean you can’t promote the on its website. Both actors have seen the
project yourself. Bernstein applauds rewards of making their own material
online outlets and notes how convenient and have experienced creative fulfill-
it can be in finding a target audience. ment by developing their own roles.
“You absolutely need an online pres- Barnett offers a final bit of encourage-
ence to help build an audience! It’s an ment to those considering the inclusion
incredible marketing tool, and sites of other fields: “Figure out what it is
like Facebook and Twitter are making you do well, and do everything in your
it even easier for business owners, big power to make sure people see that.”
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FILM FESTIVALS simple steps
FILM FESTIVALS: HOW TO USE THIS
LIST IN 4 SIMPLE STEPS
Step One: Target festivals for your type of project. Did you create a short? A feature?
Within the list you’ll find categories that detail what the festival will accept. Look through the
list at the different types of festivals and see if there are any that specifically cater to what
you’ve created, then make those a priority. With the expansion of media, many festivals are
branching out to include more specific types of mediums such as screenplays, Web series, and
music videos! Finding the right categories will help you limit the festivals to which you should
submit.
Step Two: Consider your budget. Entry fees can stack up quickly, and if this is your first
film or you’re still in your freshman phase of filmmaking, consider the festivals where your
piece will have a real chance at being selected. All of the submission deadlines included are
the median deadline, as many festivals have multiple cutoff periods including early-bird and
late submissions. Likewise, the prices listed are median submission fees; submitting earlier
can sometimes apply a slight discount, while late deadlines will stack on a higher fee. Use the
prices given as a gauge for how much it will cost and stick to those dates so there won’t be any
surprise fees later. If you’re working on a tight budget find the festivals on the list that offer a
discount for students or residents of the state where the event is held.
Step Three: Check external links. The links provided on the listings will lead you to both
the festival’s website and its preferred site for submission. Many will use Withoutabox,
FilmFreeway, or their own websites. On these sites you will find the necessary forms to com-
plete, along with submission rules. These links will have helpful guidelines about what they
require of each film. These can often be extremely minute details, as many festivals have very
precise rules about completion dates, run times, and even conditions on where your piece has
been previously screened. If your film is accepted many festivals request a director, actor, or
writer accompany their film, so take a peek at what, if anything, is paid for in the event that
you’re invited to a festival outside of the state you reside in. Some festivals will pay for travel
and lodging while some won’t.
Step Four: Make sure you have all of your materials. More and more festivals are asking
for supplemental materials to go along with the submitted films. When you check the links
provided you will find that most will only want your film in either DVD or digital form, along
with a submission form. Check to make sure you have the items well before submission time.
The most common item now requested by film festivals is a press kit. This will normally include
production stills, artwork, a statement from the director, reviews or anecdotes, and résumés
for the cast and crew.
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Nationwide
FILM FESTIVALS
SPRING Puppetry, animation, and food films also accepted.
Comments: An Academy Award–qualifying festival that seeks to
Ann Arbor Film Festival lead in creative and cultural discovery through film.
P.O. Box 8232
Ann Arbor, MI 48107 Boulder International Film Festival
Fax: [phone] Boulder, CO
email: [email protected] Fax: [phone]
[email protected] email: [email protected]
website: www.aafilmfest.org website: www.biff1.com
Staff: Leslie Raymond (Executive Director), David Dinnell (Program Staff: Robin Beeck (Executive Director), Kathy Beeck (Director), Kevin
Director), Ellie White (Operations Manager) Smith (Executive Producer), Lisa Bell (Filmmaker Liaison Coordinator),
Policy: Festival Season: Spring (usually March) Ron Bostwick (Special Event Producer and Host), Joseph Cummins
Deadline: October (Check website for exact dates) (Events Coordinator), Kathy De Bay (Events Manager), Eric Hoffman
Entry: $50 for features. $40 for shorts. (Stage Manager in Chief), Arlene LaMar (Registration Coordinator)
Comments: North America’s–longest running experimental and Policy: Festival Season: Spring (usually March)
independent film festival that supports bold, visionary filmmakers Deadline: September (check website for exact dates)
who advance the art form of film and new media. Entry: $50 for features. $40 for shorts. $35 for student films.
Comments: Committed to using film as a visual form for great
Ashland Independent Film Festival storytelling—an effective way to open student eyes to the world
Ashland, OR outside their communities and help them gain an understanding of
email: [email protected] critical issues facing our society.
website: www.ashlandfilm.org
Policy: Festival Season: Spring (usually April) Brooklyn Film Festival
Deadline: December (Check website for exact dates) 180 S. Fourth St., Ste. S2
Entry: $45–85 for features, documentaries, and shorts. $10 dis- Brooklyn, NY 11211
count for students. Fax: [phone]
Comments: Celebrating the diversity of human experience through email: [email protected]
the art of independent film—enriching, educating, and inspiring audi- [email protected]
ences of all ages. website: www.wbff.org
www.brooklynfilmfestival.org
Aspen Shortsfest Staff: Marco Ursino (Festival Director), Nathan Kensinger
110 E. Hallam St., #102 (Programmer)
Aspen, CO 81611 Policy: Festival Season: Spring (usually late May)
Fax: [phone] Deadline: February (check website for exact dates)
email: [email protected] Entry: $70
[email protected] Comments: BFF’s mission is to provide a public forum in Brooklyn in
website: www.aspenfilm.org order to advance public interest in films and the independent production
Staff: Laura Thielen (Artistic Director), George Eldred (Program of films. To draw worldwide attention to Brooklyn as a center for cinema.
Director), Allison Levy (Donor & Corporate Relations), Brie Bath
(Program Coordinator) Capital City Film Festival
Policy: Festival Season: Spring (usually April) Lansing, MI
Deadline: Nov. 21 email: [email protected]
Entry: $50 website: www.capitalcityfilmfest.com
Comments: Aspen Film strives to enlighten, enrich, educate, and Policy: Festival Season: Spring (usually April)
entertain through film. Deadline: November (check website for exact dates)
Entry: $30 for features. $20 for shorts. $10 for student films and
Atlanta Film Festival music videos.
Atlanta, GA Comments: The Capital City Film Festival celebrates independent
email: [email protected] artists from around the world by curating outstanding multimedia
[email protected] experiences for our community.
website: www.atlantafilmfestival.com
Staff: Christopher Escobar (Executive Director), Kristy Breneman Cine Las Americas International Film Festival
(Program Director) Austin, TX
Policy: Festival Season: Spring (usually March) email: [email protected]
Deadline: November (see website for exact dates) website: www.cinelasamericas.org
Entry: $45 for features. $35 for shorts. $5 discount for students. Policy: Festival Season: Spring (usually April)
SPRING / SUMMER 2015 CALL SHEET 7
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FILM FESTIVALS Nationwide
Deadline: January (see website for exact dates) email: [email protected]
Entry: $25 for features and shorts. $20 for student features website: www.firstglancefilms.com
and shorts. Staff: William Ostroff (CEO/Founder), Andrea Difabio (Director,
Comments: A multicultural organization that serves to expose Communications)
and encourage production of Latino film and related media to the Policy: Festival Season: Spring (usually April)
community of Austin. Deadline: November (check website for exact dates)
Entry: $75 for features. $60 for shorts and web series. $55 for
Cleveland International Film Festival student shorts. $40 for music videos.
2510 Market Ave. Comments: FirstGlance’s mission is to provide indie filmmakers the
Cleveland, OH 44113 opportunity for exposure, stellar exhibition and bigger fan engagement
Fax: [phone] beyond the festival route. Includes both a physical and online event,
email: [email protected] marketed unlike any other festival. With distribution opportunities for
website: www.clevelandfilm.org short and feature content.
Staff: Marcie Goodman (Executive Director), William Guentzler
Florida Film Festival
(Artistic Director)
Policy: Festival Season: Spring (usually March) c/o Enzian Theater
Deadline: Nov. 30 (check website for exact dates) 1300 S. Orlando Ave.
Entry: $95 for features. $75 for shorts. Maitland, FL 32751
Fax: [phone]
Dallas International Film Festival email: [email protected]
Dallas, TX [email protected]
Fax: [phone] website: www.floridafilmfestival.com
Staff: Matthew Curtis (Programming Director), Clementine
email: [email protected]
Leger (Programming Coordinator), Morgan Vidakovich (Marketing
[email protected]
& Development Director), Valerie Cisneros (Marketing Associate),
website: www.dallasfilm.org
Lindsey Bronaugh (Development Assistant), Hollie Mahadeo (General
Policy: Festival Season: Spring (usually April)
Manager), Veronica Jaramillo (Events Coordinator), Christy West
Deadline: December (check website for exact dates)
(Food & Beverage Director), Ethan Dutcher (Technical Coordinator)
Entry: $50 for features. $35 for shorts.
Policy: Festival Season: Spring (usually April)
Comments: The Dallas Film Society celebrates and honors film-
Deadline: November (check website for exact dates)
makers for their achievements in enhancing the creative community,
Entry: $50 for features. $30 for shorts.
provides educational programs to students to develop a better under-
Comments: An oasis for both film lovers and filmmakers in the
standing of the role of film in today’s world, and promotes the city of
Southeast, the Florida Film Festival is an annual showcase for the best
Dallas and its commitment to the art of filmmaking.
in American independent and foreign cinema. This 10–day celebration
of filmmakers and their art includes an American Independent Film
Dances With Films
Competition for features, docs, shorts, and animation, along with an
1041 N. Formosa Ave., Formosa Bldg., Second Fl.
international showcase, spotlight films (those already with distribution),
West Hollywood, CA 90046
midnight movies, florida student works, special screenings,tributes,
email: [email protected]
special guests, panels and seminars, parties, and more.
website: www.danceswithfilms.com
Staff: Leslee Scallon (Festival Director), Michael Trent (Co-Founder), Full Frame Documentary Film Festival
Robert Mellette (Executive), Felicia Lambreton (Theatre Manager), 320 Blackwell St., Ste. 101
Richard Scott (Assistant to Festival Director), Kim Luperi (Social Durham, NC 27701
Media Director) email: [email protected]
Policy: Festival Season: Spring (usually late May to early June) website: www.fullframefest.org
Deadline: February (check website for exact dates) Staff: Deirdre Haj (Festival Director), Sadie Tillery (Director of
Entry: $70 for features. $45 for shorts. $30 for music videos. Programming), Emma Miller (Programming Coordinator), Lani Simeona
Films made by kids and films made for kids also accepted. Fees vary (Production Co-Director), Dan Partridge (Production Co-Director),
depending on deadline. Ryan Helsel (Marketing and Educational Programs Director), Lindsay
Comments: Since Dances With Films’ inception almost 20 years ago, Gordon-Faranda (Communications Manager), Suzanne Spignesi
it remains an original on the festival circuit, presenting over 120 films (Development Associate)
each year to the L.A. filmmaking and filmgoing community. We seek Policy: Festival Season: Spring (April)
films (features, short subject, docs, music videos, and films made BY Deadline: October (check website for exact dates)
kids) of any type or genre as long as they are captivating and compelling. Entry: $40 for features and shorts regular deadline.
Dedicated to giving opportunities to those creative talents who Comments: The Full Frame Documentary Film Festival is an annual,
may not be considered “names”, DWF stands out from the crowd Oscar-qualifying, international event dedicated to the theatrical exhibi-
with not only the community we’ve built, but by the success of our tion of nonfiction cinema. Each spring, Full Frame welcomes filmmakers
alumni and the shared loyalty of DWF relationships. and film lovers from around the world to historic downtown Durham,
North Carolina, for a four-day, morning-to-midnight array of over 100
FirstGlance Film Fest Los Angeles films, as well as discussions, panels, and Southern hospitality. Set within
P.O. Box 571105 a four-block radius, the intimate festival landscape fosters community
Tarzana, CA 91356 and conversation between filmmakers, film professionals, and the public.
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