Actors are an amazing bunch. Over the course of the past week, I've seen the same lines of dialogue spun a hundred different ways and been surprised every time. It's really something to experience.
For years, these characters and dialogues have only existed in the minds of Mike, Andy, and myself as we've pushed and pulled them into their current form. We've poured over their motivations, their agency, the beats in the scenes, all in an attempt to get it just right. Then these actors came in and made me reexamine everything in a new light. (Don't worry, Mike, no notes yet.)
Choosing the right interpretations that fit my vision is when the hardships of being a director begin. But that's kind of a given. It's not meant as a slight to any actor to say that narrowing down that field is easy at first, because there are just some takes that just plain don't work. The really hard part, the daunting part, comes when I have to cut the options down to just a few. It's probably the biggest decision I have to make when it comes to the future of the movie.
Do I cast a Marla that's a tomboy or one that's a bitch? How meek is too meek for Carla? Where on the sleazy to sexy scale should Armando be? More importantly, how will the audience react? If I think about this too much, I think my brain will explode.
So, that's what I'm doing tonight; I'm making the hard decisions - and hopefully the right ones - that will propel Love in the Time of Monsters into the future. Now, if you'll excuse me, I have a lot more tape to pour over.
Special Note: I want to give a great big shout out to our amazing casting director, Doug Clayton, who did the most amazing job preping for and running these auditions. It's because of him that I'm burning the midnight oil, racking my brain trying to narrow down the plethora of fantastic choices down to a paltry few. Thanks a lot, Doug! (You can read that one with sarcasm if you want, consider it open to reader's interpretation)