The entry begins:
It’s not fair to ask me to play this game. I became a writer after a 25-year career as a film and television producer. In my prior incarnation, one of my customary tasks was to create lists of potential cast for every project on my slate. I rarely even took a script on if I didn’t understand its casting potential from both a creative and an economic standpoint.Visit Nina Sadowsky's website.
Because of this history, it’s impossible for me to have a dreamy-eyed vision of my perfect cast. Of course I think first about creative fit. But past that, I inevitably weigh a litany of other factors, starting with box office appeal, both domestic and foreign. For example, if I’m trying to fund a project through the pre-sale of foreign distribution rights (a typical practice in independent filmmaking), I have to gauge an actor’s appeal in each individual market. How an actor performed in past movies or television shows of a similar genre is one consideration in the determination of that appeal. I also have to look at the balance of the value of one actor to the ensemble as a whole, and then those relative values must be weighed with respect to the budget. While spending extra for a star director or “name” cast certainly happens (it’s called “breakage” because it “breaks” the budget), every project...[read on]
Writers Read: Nina Sadowsky.
The Page 69 Test: The Burial Society.
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