WEST & SOUTH WEST LONDON EQUITY GENERAL BRANCH

December 2012
Industry News You Might Have Missed
The Olivier Awards are to be shown in ITV from 2013. 9.4million watched Eastender Charlie Brooks crowned Queen of the Jungle, Im A Celebritys lowest finale since 2008. Local Authority funding for theatre in England & Wales fell by 6.3% in 2011/12. BBC1 orders 6 hour adaptation of Suzanna Clarks novel, Jonathan Strange & Mr Norrell from Cuba, the in house production arm of talent agent Curtis Brown. Also for BBC1, JK Rowlings The Casual to be produced by the writers agents own production company. Vanessa Redgrave & James Earl Jones to star in Much Ado directed by Mark Rylance at the Old Vic. Popstar to Operastar to be remade for Vietnamese TV. Dreamthinkspeak set to produce new large scale promenade performance at Somerset House early in 2013 inspired by da Vincis apocalyptic painting BSkyB agrees to give more onscreen space to credits. BBC agrees to ensure at least one episode of a series features full, unsqueezed credits. Matilda star, Bertie Carvel, to debut on Broadway in the RSCs Matilda. The Abridged Shakespeare Co.s Complete Works to be revived for a UK tour following its 9 year run at The Criterion Theatre. Doc Martin commissioned for 6th series.

NEXT BRANCH MEETING ANNUAL GENERAL MEETING

When: Where: Who: Saturday 5 January 2013, 10.30am to 1.00pm CAA, 20 Bedford St., London WC2E 9HP Christine Payne, General Secretary, Equity

The first 2013 meeting is back to a Saturday morning but at a new venue, the Concert Artistes Association. It is open to EVERYONE including student members. Christine Payne is the most senior member of Equitys staff. She has held the post since 2005 after joining the Union as an Organising Assistant in 1979. She has been at the forefront of moves to modernise & streamline the Union. Whilst billed as our guest speaker, the intention is to have more of a discussion than usual. A chance to hear what Christine thinks about Equity but also for her to hear what you think. However, this is not an invite to come & whinge & moan. It is a chance to have a constructive discussion about the role you would like Equity to play in your professional life. If you value anything about what this branch or Equity is doing, I urge you to attend this meeting. ALL members will be welcomed. A chance to air your views & be heard! EQUITY NEWS Recently appointed Secretary of State for Culture, Media & Sport Maria Miller rejects an invitation to meet with Equity. In response to a letter congratulating Ms. Miller on her appointment a member of her staff replied advising she was unable to accept the kind invitation. High profile arts leaders including Danny Boyle & Nicholas Hytner have already been given the brush off. Without dialogue how can we make ourselves heard? What can individual members do to protest against the unnecessary snub? Recently reported defamation case success for singing group, The Gillettes, turns sour as despite the successful judgement, 75% of costs have been claimed by the opposing lawyers as one of the members Equity was defending tried to deceive the Court during the case. Despite a low turnout (6%) at the Rule Referendum, members have voted 3 to 2 in favour of a smaller Equity Council and giving rights to English AGMs to send reps to the ARC (Annual Representative Council). This follows a reorganisation of the committee structure already agreed with 3 newly created Industry Sector committees being the key change. EBACC consultation is now closed. Leading figures from the arts world warn the Government that leaving arts subjects out of the English baccalaureate could destroy Britains creative economy within a generation. Newcastle City Council is planning to cut all funding to the arts including Live Theatre, creator of worldwide success The Pitman Painters. Equity, including branch member Daniel York met with both the RSC the Arts Council to discuss the lack of British East Asian actors in a recent production of The Orphan of Zhao. Positive discussions with an Open Day to highlight the issue proposed by the Arts Council.

Secretary Jennifer Thorne 56 Melrose Avenue London SW19 8BX 020 8946 1859

Chair Andrew Macbean andrewmacbean@talktalk.net 0780 890 1249

Treasurer Philip Anthony 2 Park Drive London W3 8NA

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WEST & SOUTH WEST LONDON EQUITY GENERAL BRANCH

BRANCH UPDATE

December 2012
South Hill Park Arts Centre to live stream Jack & The Beanstalk into childrens hospices, hospital wards & care homes following 140K Arts Council grant. Young Vic Associate Walter Meierjohann appointed first artistic director of new Manchester venue, Home. Celebrity spin off of Great British Bake Off as a 4 part series to raise money for Comic Relief. Royal Court associate director, Simon Godwin, wins London Evening Standards Emerging Director award. BBC1s Merlin axed after 5 series. Whilst ITVs Downton Abbey to return for a 4th series. Londons O2 announces expansion into further theatre ventures following this years foray, Aladdin: A Wish Come True starring Lily Savage. Gasington Opera appoints conductor Douglas Boyd as new artistic director. Globe to name new indoor Jacobean-style theatre after Sam Wanamaker, the organisations founder. James Corden signs up to star in Working Titles Christmas movie, School for Santas to be written by Richard Bean. BBC3 commissions sit com about 3 guys who set up an assisted suicide business! Along with factual based drama, One Day Like This, about the impact of a fatal car crash on a small community to be produced by Darlow Smithson.

Election Turnout A motion at the last Council meeting was agreed to set up a working party to investigate low turnout at elections & the general lack of member engagement despite on-going claims that Equity is a member led Union. A motion was passed at the last W&SW London meeting about the very same issue, namely to survey branch members and ask their opinions. A SHORT questionnaire will be e mailed soon via Survey Monkey. It will take just 3 minutes to complete, so please give us your views. Opera Singers are there any branch members who are Opera Singers? If so we have been approached to organise an audition workshop for you. Would you be interested? If so e mail equity.wswlondon@gmail.com. New Committee announced Jennifer Thorne, Philip Anthony, Ayesha Casely-Hayford, Deborah Charnley, Taya De La Cruz, Sheila Mitchell, Andrew Macbean and Daniel Page. A special welcome to Taya and Daniel as branch new members and a welcome back to everyone else. The new committee takes over after the January meeting. A big thank-you to Freddie Stabb, Tony Dunn, Kate Nieland & Clare Welch for their hard work over the last two years. On-going discussion about 10 to 16 year olds attending branch meetings. It was agreed that it is unacceptable for under 16s to attend branch events without a parent or guardian. The proposed motion has gone back to the drawing board for refining to be re-presented in January 2013! Student Survey Committee member Ayesha has sent out a survey to 481 student members of which 30 responses have been received so far. Main reasons for not making meetings or other events are about lack of clarity as to if student members can attend plus the time pressures of classes. A question asking do you know what you get from Equity was revealing suggesting effective communication between Equity (Head Office and Branches/committees) is a problem. Many thanks to everyone who replied. We will be re-sending it as a reminder. Your replies are incredibly useful & will help the new committee focus its work & provide as valuable & as useful a service to members as possible in the future. We are already working on a brilliant new format for the newsletter which will be simpler, clearer and easier to read. Audition Guidelines - a branch motion passed earlier this year asked Equity staff to open discussions with the Casting Directors Guild to agree a set of guidelines to minimise the practical problems actors increasingly face, for example short notice, self-filming & printing out long scripts. Council member, Anna Carteret has raised a related issue of filmed auditions turning up on YouTube. Further discussion planned for the January meeting. Come & make your views known to equity.wswlondon@gmail.com. Rehearsed Readings with Theatre 503 the December reading is now cast. 26 branch members have taken part in readings over the past 4 months. Dates for 2013 will be announced on the Branch Facebook page. To sign up click on https://www.facebook.com/groups/133672460073/

Last but not least, from all the Branch committee, we wish you all a very Merry Christmas and a fun filled and healthy 2013!
Secretary Jennifer Thorne 56 Melrose Avenue London SW19 8BX 020 8946 1859 Chair Andrew Macbean andrewmacbean@talktalk.net 0780 890 1249 Treasurer Philip Anthony 2 Park Drive London W3 8NA

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Email: equity.wswlondon@gmail.com

WEST & SOUTH WEST LONDON

Minutes of the Branch Meeting 3.12.12.
1. Andrew Macbean welcomed everyone to our last meeting of the year. 2. Present: Andrew Macbean*, Gita Ragone, Richard Owens, Pamela Binns, Philip Anthony*, Brian Harty, Felix Pring, Catherine Harvey, Lewis Rae, Tony Parkin, Annabel Pemberton, Adrian Grove, George Staines, Michelle Ghatan, Robin Chalk, Ayesha Casely-Hayford*, R ODowd, Sheila Mitchell, Sarah Waddell, Jack Lewis, Noush Skaugen, Orestes Sofokleous, Suzanne Kendall, Cheryl Anderson, Victoria Barnes, Howard Morgan, Edward Donnelly, Ben Galpin, Franklin Scott, Samantha Ritchie, Maria Perry, Joan Blackham, Ingrid Evans, Provence Maydew, Martin Wimbush, Gareth Bennett-Ryan, Marie Gibson, Michael Grinter, Marie Collett, James Wrighton, Carmen CB, Noush Skaugen, Amerjit Deu, Kevin Shen, Clare Welch*, Tim Block, Sibeal McGuinne, Jennifer Thorne*, Tony Dunn*, Marjorie Hayward, Chris Tranchell, Claire Vousden. 3. Apologies: Tom Emlyn Williams, Andy Medhurst, Alan Charlesworth, Paul Williamson, Prunella Scales, Tim West, Jill Gerard, Rosemary Macvie, Kate Nieland*, Jenni Bale, Julia Sandiford, Doremy Vernon, Rebecca Naylor, Annie Harris, Ian Flintoff, Clive Webster. 4. 5. Corrections to last minutes: none. Matters arising from last minutes: none.

6. Committee Report: The January meeting will be the Branch AGM (Annual General Meeting) on Saturday morning, January 5th. Equitys General Secretary, Christine Payne will be attending and take part in a discussion our industry issues and what members look for to support their working lives. Our new committee for 2013 to 2015 is finalised there was no election as only 8 members stood. There is space for one more co-optee. We have 3 additional members who wish to join our branch although they live in the area covered by another branch. A transfer motion was proposed by Sheila Mitchell, and seconded by Cheryl Anderson: The W&SW London General Branch requests that members Lynette Ann Creane,Catherine Harvey and Claude Starling be registered with our branch, although resident in areas covered by other London branches.They have made a personal request to do so. This motion was passed unanimously and will be sent to Martin Brown at Guild House. 7. Council Report: No Council member present. Andrew raised the following points. The Brighton branch put a motion to Council requesting more space in the magazine for Branch news. It was decided to leave the magazine as it is and encourage increased use of electronic communication. Feeling of the meeting was we should have a little more space, and what we do have could be better used for example to highlight issues raised at Branch meetings. A reminder to members of the insurance that can be taken out against inspection by HMRC, which can be very difficult and expensive if they decide to investigate. The On-line Branch is under way the committee consists of Michael Branwell, John Carnegie, Julia Carson Sims, David Cockayne, Mary Lane, Caron J Lyon, Sheila Mitchell, Terry Victor and John Webb. They are still keen for members to get involved in a testing focus group. Membership of the on-line branch will not prevent membership of and earth-bound branch. The motion about attendance of 10 to 16 year olds was discussed and agreed in principle. However it was decided it needed a further redraft and would be re-submitted at the January meeting. Some months ago a branch motion was passed to Council asking for a guide-lines for better conditions for auditions and castings to be discussed with the CDG (Casting Directors Guild).

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Meeting: 2 October 2010

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Equity staff member and Head of Live Entertainment, Hilary Hadley, has advised they had held meetings in the past resulting in an addition to the West End contract. We feel that our main target was TV and film rather than theatre auditions. Further discussion at the January meeting. 8. Treasurers Report: Philip Anthony explained that branch funds are generated by a 25 pence payment for every member registered with the branch, from branch collections & from events such as workshops. This pays for events such as the audition days. Whilst all of the casting directors gave their time for free & the space was also provided without charge by Spotlight, nevertheless there were costs. For example lunches, flowers to thank the casting directors & so on. The casting directors who held workshops were paid a fee. Spotlight provided the space for free. Participants paid for the sessions and a small profit was made. Spotlight charged a much reduced fee for space hire for the Andrew Hilton (Shakespeare at the Tobacco Factory) audition day of 75 plus VAT. Treasurers Report: 3.12.2012 Debit 5.11.12 Credit Balance 1691.68

Printing Centre Hotel Bill (Shakespeare @ the Tobacco Factory Poppy Appeal (instead of Joyce Nettles flowers Audition Day) Actors Benevolent Fund (instead of

142.84

80.10

30.00

Polly Hootkins flowers audition day) 30.00 Audition Day expenses (lunch, Flowers etc.) Acting for Others (annual donation) Spotlight rent Tobacco Factory Audition Day Collection 5.11.12 90.00 61.22 206.70 30.00

Balance at 3.12.2012

1143.26

In addition to the amount detailed above for printing costs, two previous months are outstanding from Equity and awaiting reimbursement. 9. Members Issues: The meeting considered a motion concerning restricting attendance at branch meetings by under 16 year olds unless they are accompanied by an adult. Legally, 10-16 year olds can sign contracts without consent of parents or guardians. However Andrew pointed out the huge responsibility if we allowed them to attend alone. It was agreed that the motion needed further re-wording before being voted on and Sheila Mitchell agreed to work with Andrew to redraft. It was pointed out that organisations are legally obliged to have a safe-guarding policy and we should ask whether Equity has this in place. The recent Rule Referendum was passed on a 6% vote. The meeting considered reasons for this low figure including the amount and attitude of information circulated to enable and encourage voting. An emergency motion was put to the meeting: The West and South West London Equity branch notes that only 6% of Equitys membership voted in the recent Rule Referendum. Rather
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than simply berate the 94% who didnt vote, it would like to work to help the Union understand why there is this ongoing lack of engagement. It plans to develop a questionnaire aimed at understanding the reasons members dont vote. It hopes that the results will lead to a more informed approach to engaging the membership especially around election time. With the right support, it believes branches can play a more active role in informing members about Union issues and encouraging them to vote. The motion was proposed by Sheila Mitchell and seconded by Cheryl Anderson and passed unanimously.

ARC (Annual Representatives Conference): Andrew reminded the meeting that the ARC (Annual Representative Conference) is held in May each year. Branches are given the opportunity to submit Motions for debate. If passed by more that two thirds they become Union policy. Draft motions can be submitted any time over the next two weeks. A final decision will be made in March. Some concerns about Spotlight were expressed and support urged for other casting facilities such as Casting Networks, Vocaleyes.co.uk etc. One member said he felt that the role Spotlight undertook should be fulfilled by Equity itself. Philip Anthony registered an issue about the size of the printing in Contacts. 10. Members Activities: Maria Perry has a book out The Chocolate Cake Fairy obtainable on Amazon as a Kindle. All profits go to the Childrens Wards at the Chelsea and Westminster Hospital. Ingrid Evans will be touring in A Murder is Announced for 7 weeks starting in January. Tony Parkin will be in Mitcham library again with some poems. Paddy Glynn, currently in Once Upon a Mattress at the Union Theatre, will be repeating her performance in Sofka at the Calder Bookshop (opposite the Young Vic) from January 9th to February 3rd, Wednesdays to Sundays at 8pm. Full details are on the Equity web site in a special section in the Branch page.

11. Guest Speaker Andy Pryor AP - Im glad to finally make it here. Ive not prepared a big speech but I think that the current and mos t interesting thing to talk about is how people access casting directors (CDs) and how you present your CVs and show reels. We are now in an electronic age and that is making things easier. The question is, should you be posting or emailing your CVs and headshots? At the Casting Directors Guild (CDG) we all disagree on this subject. Personally, I have always firmly felt that you should just post your documents - I still think this, because I believe you get noticed more via post, your documents are in hardcopy- otherwise you will just sit in my emails. Then again, Im aware of the cost of posting so Im starting to come around to the idea that emailing is a good idea. However I think it is a go od idea to supplement this once in a while by sending documents via post. In the CDG, we are currently talking about show reels. My view is that anything is better than nothing the quality does not need to be slick. Essentially we need to see you, as you are, recently. We generally all agree that we dont like montages. They are flashing images which are not useful. We will forward the show reel to the director who will watch less than a minute. I suggest you keep your show reel relatively brief but not too snappy. We still want to see earlier work but put your recent clips first. We are interested in what you look like now - it is the same in relation to your headshots. It is frustrating if we meet you and you look older or different in real life. It is not about looking your best, it is about accuracy - the director otherwise gets distracted by the discrepancy. The CDG - before it was not so effective, now it has grown and it is much better. The information available via CDG makes it easier for actors. CDs are seen as gate keepers, but we are more accessible than people think. If you are in a casting, we want you to succeed. Actors think they have to impress us and to an extent that is true but it is more the point that you need to impress the director and producer. It is our job as a CD to create the best atmosphere for you to succeed.

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Meeting: 2 October 2010

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Question and answer session: Qu: What makes you successful? How do people decide which CD to use? AP: I dont really know. It is a collaborative process. There is talk about creating an award for CDs but I am not keen on this. I dont think it is possible to reflect which CD is best at their job. The main argument against these awards is that it is a collaborative process. I think that success is also about being aware of new talent, being aware of the actors who are around and then luck. Its the same as for actors - you need a degree of serendipity. Qu: How did you get involved with working on Call the Midwife? AP: Worked with Pippa Harris, the Exec Producer, before and she asked me to do it. I also knew the writer. Qu: How did you start casting for Call the Midwife? AP: Call the Midwife is the most successful TV project Ive done in terms of viewing figures. Usually we are required to find names but now there are fewer of the same faces on TV than there were 5 years ago. It used to make it a difficult brief when we were required to find names. Now the BBC leaves us to get on with it more and it is easier. Qu: In respect of Call the Midwife, how did you get Miranda Hart on board? AP: Phillippa Lowthorpe (the writer) said - I've seen this girl on the Telly, I want her. So we did! Having Miranda took the pressure off and it was then easier to do the rest of the casting, there was less pressure in creating the ensemble which is a relatively young cast. Qu: Why do you think Call the Midwife has been so successful? AP: I think it because it is memoirs, something real. It satisfies the Sunday night genre - it is easy watching but still a bit gritty. Qu: I find that if you ask them, the public do not really know names. Do you agree? AP: Yes I agree, the broadcasters think of names as important more than the general public. Qu: Going back to what you said about posting being preferable to emailing, you are the first person to say hard copy is better. AP: We (CDG) are divided on the subject. Im slightly torn because Im aware of the cost of posting. Qu: Do you mean you should only post for a specific job? AP: No, also if you are writing cold. I will get to look at a hard copy eventually but I cant guarantee that with emails. Also you should use emails sensibly. If you send me something with an attached file which is too large its not a good thing. I may forget to go back to look at it or get back to you about any issues with it. Generally I think you should do a bit of both, use email and post. I look at a lot of e mails (and attachments) on my phone. Qu: But dont most CDs just use spotlight? AP: Not necessarily. We are on Spotlight all the time, but a hardcopy might still get you noticed. Qu: Is sending a Spotlight link in an email annoying? AP: No. Sending the link is fine. Ideally you should also put your photo in the body of the email and some relevant credits. Qu: When I audition for TV or film, I am always told to do more and give a bigger performance. I have a theatre background and I worry about doing a larger version - it may be received okay in the room but what about afterwards on the camera? AP: It is tricky. The note I usually give is do less - Its always obvious if someone is doing too much. Particularly if you are not experienced in TV and film, you need to trust people in the room and let them direct you. If you fret about it, it will influence your technique and you will tie yourself in knots. Qu: What is your position on learning lines? Due to when the script is sent to me, I dont always have sufficient time. AP: My preference is that you be familiar but not necessarily off the page. Actors can become very fixed and then no longer flexible in their acting. The director may have had an idea which you need to respond to. If you have a recall you should definitely be off script. The thing about getting the script the night before, it is frustrating for all of us. But remember all the actors you are up against are in the same boat. Please dont come to the audition saying I only got the scene last night. We all only got it last night.

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Also, one of the most frustrating things is when actors have been sent the whole script but they dont read it and then say well I looked at my bits. Even if its true, dont draw attention to that! Qu: In Dr Who - How do you get the big names to be monsters? AP: More often than not, they would rather be monsters than human! They want to be an iconic figure they want an action figure. You wont get an action figure if your character is a lawyer! Qu: So are people queuing up to star in Dr Who? AP: Not exactly. Like everything, its got its fans but then some actors say its a kids show so I absolutely dont want to do it. Qu: Do you go for actors who have kids? AP: Yes! I know well know actors who say their kids wont accept them as on actor until theyve been on the show. Qu: Is it too much to ask for feedback from a CD? AP: No. I always give feedback if asked. To be honest there is often not much to say. It is generally just that someone else had a spin on it, that it felt right. Actors walk out thinking they were terrible when actually they were brilliant and vice versa. I can count on one hand when feedback would be negative. So yes, I am always happy to give feedback if asked, especially if there is bafflement about the audition. It would not be appropriate to ask for feedback if you just auditioned on a couple of lines though. Qu: In respect of commercials, Im asked to do the same thing every time - it is so stereotyped. Why dont they audition more variedly? We are actors after all. AP: Yes I agree with you. I dont do commercials. I used to but stopped for that exact reason. I didnt enjoy it and I find it very two dimensional. Qu: Were you looking for someone specifically with a period look for Call the Midwife? AP: No. There is costume and make-up for that. You dont need to look for a period look. However, woman might have eyebrows plucked in a certain way, hair too long or too short - women cant win! You need to have flexibility in your appearance - we get through lots of wigs! Qu: Will there ever be a woman cast as Dr Who? AP: We have talked about this. Its interesting, whether it will actually ever happen.... Qu: On two occasions Ive found I was called to an audition but I was cannon fodder. I felt the CD was just going through the motions and the part was already cast. Do you do that? AP: No. I dont approve of cannon fodder, it happens but I dont do it. How were you aware that was the case? - because I was not asked to show my performance in any other way. AP: Well that can genuinely happen. Ive worked with a director who says they dont give notes to the actor. He said he doesn't have the time. I think there is no point to work in this way. I also find it disrespectful to the actor. Qu: Is it up to you which actor gets chosen? AP: Not exactly. It is a collaborative process. Some directors have little to say and the producer signs off. In some jobs I have more choice than others. Directors rarely get vetoed. In Dr Who, we all have a say and we pretty much come to a consensus each time. Qu: On some occasions, I meet the CD and it is clear that they have a perception of what should be done. They only ask me to read once and then thats it. Do you think it is part of the CDs role to direct? AP: Yes. I say always give a note, anything. It doesnt need to be the right note because actually it is more about seeing if you can work together. Qu: Do you think the casting director is scared of his/her job then? They would prefer if someone is just able to do it? AP: Yes. Qu: You said about being sent the whole script. If this happens, do I need to print the whole script? AP: No. Sometimes you will be sent the whole script but you dont need to print it off. You can read it on the screen - unless you have a wealthy agent who can print and bike it over! I expect younger actors to

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be more technically savvy and it is very frustrating if they are not. We otherwise try to make allowances in respect of printing and accessing technological data. Qu: In respect of accents, is it appropriate to arrive at the audition speaking in the accent? AP: It can work. Ive seen it done once before successfully, but if youre good at accents I would suggest that you dont do it - just be yourself then do the accent for the script. Qu: Do you have preferred agents that you use? AP: Inevitably there are some I deal with more than others. There are relatively few that we dont work with. There are some we dont work with, yes. I try to do a list of agents and I change the list around. If I send out castings to all agents, I will never get though the suggestions I receive in response. Qu: Going back to accents, is it ok to choose the accent ourselves based on our interpretation of a script? AP: Generally, yes. You should do the accent you think is right. Do ask a question about it though, if youre comfortable switching between accents. However, if an accent is specified in a script, stick to that. Ive had it before that an actor did the accent referred to in a script and then the director said now try it in your own voice and the actor was flummoxed because they had studied it one particular accent. Being flexible is always a good idea. Qu: What are the opportunities for minorities - is the script writer specific about using a particular minority group? AP: Usually not. Sometimes they are. It is a tricky question. The greater problem about writing is whether they are writing about experiences or do we cast blind. I prefer to cast blind - generally they dont mention ethnicity in the script. Qu: So is it your call to bring in minorities? AP: Yes. Qu: In respect of Show reels, can you say a bit more about the content? Should you have a range or stick to your default character? AP: To have a range on there is good. It is a virtue. You should have an example of your natural default character too. Qu: I have a friend who is now working to support a CD. He said that the CD would reel off 20 people off the top of his head, people he has worked with before, people who are hot right now. So it seems quite closed. How wide do you go? AP: As wide as I want to, time allowing. Sometimes I am able to cast relatively inexperienced people in fairly big roles. The aim is to get the best person for the role. Qu: What is your position on using colour headshots? AP: Im not really bothered about them. Most CDs still prefer b/w headshots. I think that colour headshots suffer from stylization. The colour is not quite real. They seem treated in a way. Most CDs feel this way. Whether it is us just being old fashioned, I dont know, but personally, I think b/w works best. Qu: How many actors do you see for a part? AP: 2 to 10. Qu: Do you ever watch a programme you have done and regret the casting? AP: Yes. But Im not telling you what! Qu: I presume that is inevitable? Its like that when you watch your own work. AP: Yes. I have a friend, an ex-casting director, who says it is so nice to watch TV post retirement and not know anything about it. It is hard to watch what you have done - I always think of the other people I have auditioned and directed for the part. Qu: Are you likely to come to watch something from a direct invite from an actor? AP: I usually go to shows I am invited to by agents but I do go to watch actors of my own volition when I can. I am booked long in advance. I like to go to see something unusual - to learn something new. Qu: In the casting process is it a question of luck, hair and size as opposed to acting ability? Miranda Hart was perfect because she looked right but her acting is not actually great! (Personal opinion!) AP: With her, I wasnt responsible for the casting. Her character is supposed to be a good 10 years younger. I understand the question but I dont know how to answer it. It is a visual and spoken medium, you need a certain look and combination of things - I cant answer the question more than that.

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Meeting: 2 October 2010

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Qu: In respect of show reels - what contact details should you include? AP: Include your name and your agents details. If you dont have an agent put your contact details. Ideally the length should be about 3 minutes. Ive watched show reels up to 5 minutes before but there is not much point in any longer than that. Qu: I did a workshop. It was improvisation. They literally said you go, you stay you go etc. When is this a usual process? AP: I dont know. For certain projects it might be appropriate but I would expect those occasions to be for a scripted projected, not improvisation. I think what you have described is pretty awful. In Misfits, I know they do a lot of improvisation because they write the scripts with the actors in mind. However, most people take a scripted approach and personally I think the script is everything. Stephen Poliakoff says that using improvisation makes him physically sick and he would not dream of using it. Qu: You said you only see up to 10 actors for a role? How is that possible? AP: Its achievable, if you monitor yourself. I use a green, amber, red system. Based on CVs, what actors have done. One look can be very important. Qu: You go on faces? AP: Yes along with my experience of seeing and meeting thousands of actors over the years. Y ouve got to go on your feelings. There is a slight over reliance on Spotlight links. I use my knowledge of actors, conversations with agents, plus sometimes going with a hunch. A lot of agents suggest anyone for a part - you learn whose suggestions are more useful than others. Qu: How often do you use the best of the 10 or do you continue until you find the best person for the role? AP: When working autonomously, I choose the best for the role. I keep going until I find the best person - 10 is actually a large number - I usually narrow it down to 4 or 5 and usually go with one of those. However, if it doesnt work, I keep looking. Qu: How do you feel about the actor talking about the script in the audition, talking to the DOP about a shot etc.? AP: Completely fine. The questions should be within reason though. If it will make the difference in audition, if it would make the audition better and you more comfortable then definitely do it. Qu: How do you go about casting co-productions? Such as Torchwood. AP: The last series of Torchwood was a co-production with the US. They was an American casting director who took control of the bigger parts. Their expectations were different in relation to who we could get for the smaller parts. There were also financial differences, yes. Actors dont get paid up front here as they do in the US. The pay only increases if the show does well. Qu: How do you feel if an actor presents themselves as this is the kind of work I do ? Should you show variety? AP: That is a big difference between us and the States. I started in the theatre as a theatre manager - at the Royal Court then at the Bush Theatre then back to the Royal Court. Im passionate about theatre. Personally I want variety. If I care passionately about what someone has done, my job is to sell that to the producer and director. If you have a different background, my job is to make the director and producer understand. In the US they dont give a toss about a theatre career if you go for TV/film work but here we do. Qu: Do you need to narrow yourself down to a type? AP: No. However, there may be a time, for a particular role, when a particular photo is suited or you need to tweak your CV accordingly. Qu: For Dr Who, do you cast in London or Wales? AP: Usually in London. At the beginning we did the casting in Wales but then we had Welsh accents when they werent wanted. Torchwood is set in Wales - we cast Welsh actors - we are getting to know the actors there. Qu: Does it still happen that you get to know the company around you, move in the same circles?

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Meeting: 2 October 2010

WEST & SOUTH WEST LONDON

AP: To a degree. It used to be that you knew actors personally. The industry used to be smaller. It often happens that a writer or director says they worked with someone before and who they want to work with again, so we get her or him in for the job. Qu: Do you keep the documents sent to you on file? AP: Yes, But we have less and less room. Thats another argument for a move towards email contact. Qu: Is it possible to build up a relationship and help a casting director by writing to them so that they build up a profile for you? AP: Yes. Plus a bit of luck, its a game of roulette. Something you send might stick in someones head because of timing.

Qu: Is it alright to contact you and say I met Andy Pryor so Im getting in touch? AP: Yes - thats what your agents should be doing. They should be hustling for you. If they contact me, I prefer if they just speak about one person for particular roles rather than trying to push load of clients for things they dont actually suit. Qu: I have been told that it is best not to mention a particular skill. For example I used to be a senior staff nurse and I went for a job on a medical programme and was told not to refer to my medical career. AP: Thats bizarre. I love it when someone has a particular skill or interest - has something to talk about other than acting. I find it hard to believe what youve said because I love it. Qu: You cast Trainspotting. There are so many names in there. Was it good to work on and what was your involvement? AP: I was assisting Gail Stevens. She had 3 young children and was very busy at the time- things were taking off for her. This meant I was able to have a big hand in the casting. It was a relatively simple job we were finding the most exciting actors around at the time- I know its boring but it was really straight forward. Qu: Did you and Gail argue? AP: No. We have remarkably similar tastes for something which is a subjective matter. A few CDs work in pairs - if you get on it is a nice way to work - you have to be lucky though. Qu: You said about Trainspotting that it was about young and exciting actors - you watch people, the young actors, age on Telly. Are the doors closed for older actors? AP: No not at all. People are exciting at different stages. People may have had previous careers. You often find actors who have had other careers. I hope to always be aware of people coming through at different stages and of all ages. Andrew thanked Andy for being so open and honest and answering so many of our questions. The meeting closed at 8.30pm Meeting Minutes by Jennifer Thorne and Speaker Minutes by Ayesha Caseley-Hayford.

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Meeting: 2 October 2010