The other day I was speaking with a colleague and they asked me if there were any themes that ran throughout the films I’ve made. It dawned on me that almost every short film I’ve written has children in it. They are of various ages, but I realized I am drawn to stories of childhood and the relationship children have with parents and their siblings.
The first, Karin’s shoes, is set in Texas in the 1950s. It is based on a story that my mom told me about the only time she was ever hit with a belt as a child. The second, Breathe Under Water, is about a young boy and his mother, and his experience with nearly drowning. The next, Jenny and Steph, revolves around two sisters, the eldest a teenager trying to fit in by having a house party, and in the process introduces her younger sister to drugs. Sundogs follows a single mother and her 4-year-old daughter in the oilfields of North Dakota. And most recently, the leading role of Paper Geese is a nine-year-old girl, Rowan.
I really love working with children on a film. They are spontaneous and full of energy, and I have again and again been dumbfounded by their ability to grasp what I’m asking of them at an emotional and intellectual level. Working with kids has its challenges, but it’s also very rewarding.
This article will be written in two parts, the first focusing on how I approach casting children, and the second about directing them during production. I write only from my own experiences, not any proven method, but I hope these thoughts can be helpful.
Casting children can be a challenge. There are more than a few methods, and I usually utilize a combination of them. First, of course, you can hire a casting agent, which I did for Jenny and Steph – this is especially helpful if the kids are a little older, ages 12-18, and if you are in a film production hub such as New York, Los Angeles, Atlanta, or Austin. At the time we were casting for Jenny and Steph, I was based in Austin, so kids came from the other large cities as well: Houston and Dallas. We were able to find many amazing young actors and a few who really fit the parts exactly.
There is also another method, especially helpful if you are casting outside an urban area: a public casting call. Put a call with the location, date, and a little blurb about the film out to the local newspapers. Notify schools, after-school programs, children’s theaters, etc. This was a process used when I assisted casting on one of my mentor’s films, Hellion. We traveled to the small community of Port Arthur, Texas, and had a whole day of kids coming in to audition. These kids are not necessarily actors, but those who are simply interested, curious. It is surprising how often you can find potential through this process. Often child actors have been overtrained and do what is termed “indicating”- using an artificial expression to get the emotion across. They usually read very inauthentically on film. So there are times where an untrained kid will end up being the best for the role. For Sundogs, I had specially written the film with my niece in mind, knowing she would be cast as the 4-year-old daughter. For Paper Geese we did an open casting call, contacting teachers and acting agencies in Fargo because I knew I wanted to shoot on location there and I also wanted a girl whose roots are in North Dakota.
So how is an audition different for a child than for an adult? It is usually a combination of reading from a written script and improvisation, depending on how young they are. With children under 8 or so, I usually don’t focus on a script or have one at all. With younger children, you might play a game with them. Or improvise a scene they can relate to. What you are looking for is the ability to listen and engage while the other actor is talking to them, and that they give thoughtful responses. You’re looking for imagination and connection. They should also show some flexibility when you ask them to think about something differently. The directing tool, “do this as if…” is something that is used for both adults and children. I’ve also utilized acting exercises with them. For Paper Geese, I acted as though I was the father character, and I instructed the girl to do anything she could to get me from hurting an animal. Another thing to be aware of is physical quirks. If the child doesn’t make eye contact, if they do something nervously, it can be hard to create the space to make that child comfortable enough to change that behavior once on set.
I also always meet with the family. Because children will be with their parents on set, you have to also gauge what that dynamic will be like. It can make a big difference working with families that have been in films before and know the expectations, versus families that have never been on any sort of set.
Of course, each director and casting process is unique, and characters’ personalities can vary widely. Just think about what you are looking for, and how you can best discover that in a child. Once the casting part is over, you’ll shift your focus to rehearsals and production. Working with kids on set will be in Part 2.
Elizabeth Chatelain is an award-winning writer and director from North Dakota. Her feature screenplay SUNDOGS participated in the Berlinale Script Station, the Hedgebrook Screenwriter’s Lab, and was an Academy Nicholl Fellowship Semi-Finalist, Atlanta Film Festival Screenplay Competition Winner, and Showtime Tony Cox Screenplay Competition Winner. Follow Elizabeth on Instagram @emchatelain and at her website, elizabethchatelain.com.
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