Top 5 resources
Spotlight link
casting call pro
Constant casting
Castnet
Talent circle
I am a member of the above websites and they update me everyday with new jobs coming in. Sometimes I wonder why I am being offered the chance to audition for an eighty year old authentic Eskimo but that’s the carpet bombing emailing from Spotlight.
There are more auditions through Casting Call Pro but only 25% of their jobs are paid.
Constant Casting can be more of a cattle market extras needed.
Castnet has brought me good roles but mainly Student films
Talent Circle is worth a look now and then.
I have tried other websites; Shooting People, Stage online but they can be worse than my listed sites at the present time.
Conclusion…get a good agent or start writing like I did, save some cash and put on your own damn play
Monday 12 October 2009
Sunday 11 October 2009
Anthony Hopkins
Born to a working class family in a small welsh town, it took the inspiration of Richard Burton (they were both from the same town of Port Stanley) to give him the impetus to climb the acting ladder.
It was an ascend that came easily to his natural gifts with a long apprentiship under the auspicious guidance of Laurence Olivier at the National Theatre.
However, his heart, he found, belonged in film acting. Over the last forty years he has, to my belief and admiration, produced some of the best screen performances in that recent history.
For the first twenty of those forty years he honed his craft taking the roles that challenged him and widened his acting chops. In 1991 he gave the world Hannibal Lecter. Through the money Hollywood made from the world loving his delicious over the top serial killer; Hollywood gave Anthony Hopkins in return nearly twenty years of picking and choosing great, passionate, brave and subtle performances that have, in my opinion, left his Oscar-nabbing signature role eating fava beans and drinking Chianti firmly in the shade.
Look at any of the films he has made in the last eighteen years (admitting a couple of quick buck real duds with performances he phoned in, but was still watchable) and enjoy an actor squarely in his prime thinking every thought through before a line is spoken. Feeling every nuance another actors lines suggest to him and delivering all this with the style and holding of a character who may from now or the early twentieth century.
There is a pure, clear honesty which resides in his eyes on screen which leaves no doubt in the viewers mind the decisions his character is making. He may play a cannibal but there’s sympathy for the devil due to his clear understanding of how his character has arrived where his is on screen.
I spoke to Anthony Hopkins for five minutes on Piccadilly in 1993. He walked passed me and I was compelled to talk with him. I approached him and he gladly took the time to speak about the business with me. He urged me to persevere and never give up and he left me with the most inspiring words I have ever heard.
Kenneth Branagh
This working class Belfast boy has created a body of work in his short 48 years that rivals a couple of lifetimes work of most other actors on stage and screen.
In his late teens he won a place at RADA bur he was already well versed in the classics having spent most of his earlier years camping out in Stratford for the RSC festivals, soaking his muscle memory in the performances of his stage heroes to the point of obsession.
He went on to win the gold medal for best actor in his year at RADA and left that prestigious drama school walking straight into a six month run in the west end. Countless TV, film and stage work followed due largely to his excellent sight reading at auditions and his very passionate approach to winning a role.
At twenty three he was the youngest Henry V for the Royal Shakespeare Company kicking off their 1984 season. He researched the role of the young prince who became king by gaining an audience with Prince Charles questioning him for possible parallels with his ancestor.
The proverbial cup would appear to runneth over for this very skilled and very fortunate luck-of-the-Irish lad. The establishment had received and accepted him as one of their current and future star of tomorrow.
But then Branagh did something that everyone around him considered professional suicide. Unhappy with the running organization of the RSC season and finding no inspiration or spiritual guidance from the institutions hierarchy he had idolized since those festival camping days, he spoke out against the machine. A premeditation that would destroy any chance of a future with the company he originally believed to be his birthright to play with.
What makes him truly admirable to me from that position he cornered himself into was within two years he had put his money (and doggedly pursued investor’s money) where his mouth was and produced and acted in a sold-out Shakespeare season directed by a British theatrical hall of fame AND then directed himself on screen as Henry V with said hall of famers plus a host of screen legends garnering Academy award nominations for directing and acting.
He was twenty seven.
Michael Fassbender
This German born Irish actor is only thirty two but set to be a true titan of his craft enjoying a career of thought provoking work.
One of the first qualities I noticed from this actor was very recently in Quentin Taratino’s “Inglorious Basterds”; you simply can’t keep your eyes off him. That’s probably one of the best compliments an actor can achieve. I say achieve because its not attraction that holds the eye but a genuine screen presence born from intense homework, grounded concentration and a technical common scene of the role of the camera. All this with an “I know something you don’t know” twinkle in his eye. Something my drama school screen directors pushed for but rarely produced.
His two relatively short scenes in that movie eclipsed with relative ease the two showier theatrical performances from Mike Myers and Brad Pitt, both no slouchers of recent acting history.
Over the last eight weeks I have watched his back catalogue and had my initial speculations confirmed.
In “Eden Lake” he’s second fiddle to the screaming heroine in a low budget British horror. Fassbender plays it heroic everyman straight with a darkly undeserved screen death which still leaves me sick from the plot injustice.
As a visionary courageous colonel in the TV drama “The Devil’s Whore” he commands the respect and following from England’s potentially new parliament and the inspired love of a singular strong-willed new age woman with an intense utterly believable performance.
However his finest two hours to date in the service of his craft belong to his role as imprisoned IRA terrorist Bobby Sands in celebrated artist Steve McQueen’s high art film “Hunger”. Fassbender plays the hunger striking prisoner for real, dropping weight to uncomfortable viewing and delivering the conviction, however misguided we see it, of a “freedom fighter” who saw no other choice but to die for his cause.
Here is a wise part picking practitioner of my craft whose work I already admire greatly.
Interests and motivations
Directing
I co-produced and directed a semi professional production of Tennessee Williams “Orpheus Descending” back in the winter of 2001. I had seen a production in the summer at the Donmar Warehouse starring Helen Mirren and Stuart Townsend. The play found a special place within me and I simply had to see the play performed through my own interpretation.
I belonged to an in-house company of actors at a studio theatre and I arranged an appointment during a committee meeting where I could hopefully sell the company the idea of directing me in the play. I made a scaled model of my set with specialist dolls house props and impassioned the committee to part with £1000 for the budget. I gladly matched that amount with no return guaranteed.
This was heady stuff and nerve wrackingly exciting for a novice director but I found a vocation in collaborating with my fifteen actors to bring this piece into a theatrical American deep south slice of ignorance and forbidden love. The rehearsals were a joy to orchestrate and play out; it was one of the only times I think in my occasionally self conscious restrained craft that I could project only onto my players simply centre all attention on their journey through discovering their parts.
The weekend dress and technical rehearsals realised my love for all things creative within my field as the set props arrived from authentic 1950’s dukebox to cash till and furnishings which anchored the cast into their small town roles. The music I had found inspired me to try a scene where two well back-lit lovers’ silhouettes embrace as the scene ends and the music swells to a poignant climax. Counting the seconds in for the couples kiss and the orchestral heart string almost brought me to tears and a vision to fruition moment lodged n my memory forever.
The run brought high praised critical response for all involved and I earned the high respect from my very talented cast.
Auditioning
I have a partnership with a production company who have decided to produce and shoot a feature film screenplay I wrote (and still writing; draft 12 needs to be on the producer’s desk next week).
Back in August we held a large all day audition in an excellent, well lit large open room on the South Bank. Being an actor I have experienced many a position on the other side of the casting table and because I wanted to do something about that I greeted the actors and stayed on their side of the table. Taking that piece of wood out of the equation was releasing and being on the same level encouraging all auditionees to attempt their best work really inspired me and motivated me to run through the scenes vigorously with the potential personifications of my imagination.
Being the writer of the screenplay I expect this is as all auditions should run since, if he is even there, the writer should obviously want the best for her or his piece. However I have auditioned at many a meeting where the writers have appeared disinterested and barely kept awake during my recital, (that could be my acting thought).
The best part of the day came when a very fine actor took my writing and simply flew with it, guaranteeing him the part and proving to me that my writing has lots of room to grow and be an integral and, let’s hope, financial part of my creative life.
I am looking forward to shooting that scene next year, hopefully well, and to experience it cast in celluloid so I can re-watch it and enjoy it ad infinitum.
Born to a working class family in a small welsh town, it took the inspiration of Richard Burton (they were both from the same town of Port Stanley) to give him the impetus to climb the acting ladder.
It was an ascend that came easily to his natural gifts with a long apprentiship under the auspicious guidance of Laurence Olivier at the National Theatre.
However, his heart, he found, belonged in film acting. Over the last forty years he has, to my belief and admiration, produced some of the best screen performances in that recent history.
For the first twenty of those forty years he honed his craft taking the roles that challenged him and widened his acting chops. In 1991 he gave the world Hannibal Lecter. Through the money Hollywood made from the world loving his delicious over the top serial killer; Hollywood gave Anthony Hopkins in return nearly twenty years of picking and choosing great, passionate, brave and subtle performances that have, in my opinion, left his Oscar-nabbing signature role eating fava beans and drinking Chianti firmly in the shade.
Look at any of the films he has made in the last eighteen years (admitting a couple of quick buck real duds with performances he phoned in, but was still watchable) and enjoy an actor squarely in his prime thinking every thought through before a line is spoken. Feeling every nuance another actors lines suggest to him and delivering all this with the style and holding of a character who may from now or the early twentieth century.
There is a pure, clear honesty which resides in his eyes on screen which leaves no doubt in the viewers mind the decisions his character is making. He may play a cannibal but there’s sympathy for the devil due to his clear understanding of how his character has arrived where his is on screen.
I spoke to Anthony Hopkins for five minutes on Piccadilly in 1993. He walked passed me and I was compelled to talk with him. I approached him and he gladly took the time to speak about the business with me. He urged me to persevere and never give up and he left me with the most inspiring words I have ever heard.
Kenneth Branagh
This working class Belfast boy has created a body of work in his short 48 years that rivals a couple of lifetimes work of most other actors on stage and screen.
In his late teens he won a place at RADA bur he was already well versed in the classics having spent most of his earlier years camping out in Stratford for the RSC festivals, soaking his muscle memory in the performances of his stage heroes to the point of obsession.
He went on to win the gold medal for best actor in his year at RADA and left that prestigious drama school walking straight into a six month run in the west end. Countless TV, film and stage work followed due largely to his excellent sight reading at auditions and his very passionate approach to winning a role.
At twenty three he was the youngest Henry V for the Royal Shakespeare Company kicking off their 1984 season. He researched the role of the young prince who became king by gaining an audience with Prince Charles questioning him for possible parallels with his ancestor.
The proverbial cup would appear to runneth over for this very skilled and very fortunate luck-of-the-Irish lad. The establishment had received and accepted him as one of their current and future star of tomorrow.
But then Branagh did something that everyone around him considered professional suicide. Unhappy with the running organization of the RSC season and finding no inspiration or spiritual guidance from the institutions hierarchy he had idolized since those festival camping days, he spoke out against the machine. A premeditation that would destroy any chance of a future with the company he originally believed to be his birthright to play with.
What makes him truly admirable to me from that position he cornered himself into was within two years he had put his money (and doggedly pursued investor’s money) where his mouth was and produced and acted in a sold-out Shakespeare season directed by a British theatrical hall of fame AND then directed himself on screen as Henry V with said hall of famers plus a host of screen legends garnering Academy award nominations for directing and acting.
He was twenty seven.
Michael Fassbender
This German born Irish actor is only thirty two but set to be a true titan of his craft enjoying a career of thought provoking work.
One of the first qualities I noticed from this actor was very recently in Quentin Taratino’s “Inglorious Basterds”; you simply can’t keep your eyes off him. That’s probably one of the best compliments an actor can achieve. I say achieve because its not attraction that holds the eye but a genuine screen presence born from intense homework, grounded concentration and a technical common scene of the role of the camera. All this with an “I know something you don’t know” twinkle in his eye. Something my drama school screen directors pushed for but rarely produced.
His two relatively short scenes in that movie eclipsed with relative ease the two showier theatrical performances from Mike Myers and Brad Pitt, both no slouchers of recent acting history.
Over the last eight weeks I have watched his back catalogue and had my initial speculations confirmed.
In “Eden Lake” he’s second fiddle to the screaming heroine in a low budget British horror. Fassbender plays it heroic everyman straight with a darkly undeserved screen death which still leaves me sick from the plot injustice.
As a visionary courageous colonel in the TV drama “The Devil’s Whore” he commands the respect and following from England’s potentially new parliament and the inspired love of a singular strong-willed new age woman with an intense utterly believable performance.
However his finest two hours to date in the service of his craft belong to his role as imprisoned IRA terrorist Bobby Sands in celebrated artist Steve McQueen’s high art film “Hunger”. Fassbender plays the hunger striking prisoner for real, dropping weight to uncomfortable viewing and delivering the conviction, however misguided we see it, of a “freedom fighter” who saw no other choice but to die for his cause.
Here is a wise part picking practitioner of my craft whose work I already admire greatly.
Interests and motivations
Directing
I co-produced and directed a semi professional production of Tennessee Williams “Orpheus Descending” back in the winter of 2001. I had seen a production in the summer at the Donmar Warehouse starring Helen Mirren and Stuart Townsend. The play found a special place within me and I simply had to see the play performed through my own interpretation.
I belonged to an in-house company of actors at a studio theatre and I arranged an appointment during a committee meeting where I could hopefully sell the company the idea of directing me in the play. I made a scaled model of my set with specialist dolls house props and impassioned the committee to part with £1000 for the budget. I gladly matched that amount with no return guaranteed.
This was heady stuff and nerve wrackingly exciting for a novice director but I found a vocation in collaborating with my fifteen actors to bring this piece into a theatrical American deep south slice of ignorance and forbidden love. The rehearsals were a joy to orchestrate and play out; it was one of the only times I think in my occasionally self conscious restrained craft that I could project only onto my players simply centre all attention on their journey through discovering their parts.
The weekend dress and technical rehearsals realised my love for all things creative within my field as the set props arrived from authentic 1950’s dukebox to cash till and furnishings which anchored the cast into their small town roles. The music I had found inspired me to try a scene where two well back-lit lovers’ silhouettes embrace as the scene ends and the music swells to a poignant climax. Counting the seconds in for the couples kiss and the orchestral heart string almost brought me to tears and a vision to fruition moment lodged n my memory forever.
The run brought high praised critical response for all involved and I earned the high respect from my very talented cast.
Auditioning
I have a partnership with a production company who have decided to produce and shoot a feature film screenplay I wrote (and still writing; draft 12 needs to be on the producer’s desk next week).
Back in August we held a large all day audition in an excellent, well lit large open room on the South Bank. Being an actor I have experienced many a position on the other side of the casting table and because I wanted to do something about that I greeted the actors and stayed on their side of the table. Taking that piece of wood out of the equation was releasing and being on the same level encouraging all auditionees to attempt their best work really inspired me and motivated me to run through the scenes vigorously with the potential personifications of my imagination.
Being the writer of the screenplay I expect this is as all auditions should run since, if he is even there, the writer should obviously want the best for her or his piece. However I have auditioned at many a meeting where the writers have appeared disinterested and barely kept awake during my recital, (that could be my acting thought).
The best part of the day came when a very fine actor took my writing and simply flew with it, guaranteeing him the part and proving to me that my writing has lots of room to grow and be an integral and, let’s hope, financial part of my creative life.
I am looking forward to shooting that scene next year, hopefully well, and to experience it cast in celluloid so I can re-watch it and enjoy it ad infinitum.
my cv
Scott Barrington
hair brown eyes blue height five eleven
equity no. M00265030 view pin 029945050576
training
Drama Studio London
Jack Yates The Angelic Aspiration Brendan Murray
Sir Robert Chiltern The Ideal Husband Stephen Henry
Dorimant The Man Of Mode Brendan Murray
Don John Much Ado About Nothing Chris Pickles
Antigonus The Winters Tale Crispin Harris
Peter Sorin The Seagull Peter Craze
Henry Horrible Jack And The Beanstalk Chris Pickles
David Love And Money Michael Kingsbury
George Amongst Barbarians Illona Linthwaite
stage
Les East Keith Lancing
Biff Loman Death Of A Salesman Helen Dyer
Larry Meath Love On The Dole Tanya French
Greg Relatively Speaking Elizabeth Ayres
Feste Twelfth Night Keith Lancing
Captain Blood Dick Whittington Joe Wenborne
short film
Lionel Lime The Life & Times Of Lionel Lime John Abraham
Alex Carson Alex Carson & The City For Ransom Ash Jones
Jeremy Grant Staying Put Trevor McCallum
Chris Dax Haircut Hardman Graham Ball
radio
Demetrius A Midsummer’s Nights Dream Keith Lancing
accents RP Northern Cockney Australian Standard American
sports Tennis Swimming Skiing Boxing Football Scuba Diving
licenses full driving license
workshops TV acting with Mary McMurray, David Tucker & Sharon Miller
contact tel : 07904 855994
email:barringtonscott01@gmail.com
hair brown eyes blue height five eleven
equity no. M00265030 view pin 029945050576
training
Drama Studio London
Jack Yates The Angelic Aspiration Brendan Murray
Sir Robert Chiltern The Ideal Husband Stephen Henry
Dorimant The Man Of Mode Brendan Murray
Don John Much Ado About Nothing Chris Pickles
Antigonus The Winters Tale Crispin Harris
Peter Sorin The Seagull Peter Craze
Henry Horrible Jack And The Beanstalk Chris Pickles
David Love And Money Michael Kingsbury
George Amongst Barbarians Illona Linthwaite
stage
Les East Keith Lancing
Biff Loman Death Of A Salesman Helen Dyer
Larry Meath Love On The Dole Tanya French
Greg Relatively Speaking Elizabeth Ayres
Feste Twelfth Night Keith Lancing
Captain Blood Dick Whittington Joe Wenborne
short film
Lionel Lime The Life & Times Of Lionel Lime John Abraham
Alex Carson Alex Carson & The City For Ransom Ash Jones
Jeremy Grant Staying Put Trevor McCallum
Chris Dax Haircut Hardman Graham Ball
radio
Demetrius A Midsummer’s Nights Dream Keith Lancing
accents RP Northern Cockney Australian Standard American
sports Tennis Swimming Skiing Boxing Football Scuba Diving
licenses full driving license
workshops TV acting with Mary McMurray, David Tucker & Sharon Miller
contact tel : 07904 855994
email:barringtonscott01@gmail.com
Friday 9 October 2009
first post
Hi, I'm new to this blogger lark! Sorry about the delay, my second child has arrived and time, sleeping, work, important stuff like that has been hard to grap for longer than 5 minutes. Luckily I've just sold my family for adoption and have the weekend to type this all up, looking forward to getting to know you all over the web thingy x
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