Eve Battaglia

    The first time I met Eve Battaglia, she called me on my bullshit. I originally met Eve as part of the NY Connection program at Actors Connection, which I've cited before as a great education on the business and how you, as an aspiring actor, should look to make moves within it. Prior to the class, we'd all received sides that we'd be reading for Eve, roles we'd been cast in by Eve based on our type. I'd worked out what I was going to do, paying cursory attention to the lines of the other character (guess where this is going), having all this great crap in mind to really show my stuff, or so I thought. So when my turn came, I got up, hit the mark, asked how much room I'd have to work with as we were being taped, and then began the performance. In between the lines of the reader, I totally did exactly what I planned on doing. Awesome, no? I waited optimistically for my feedback.

     Eve paused for a moment, and then said, politely, that though she liked what I did in sections, she didn't think my work showed any kind of response or listening to what I was getting from my other actor. I felt the hit in my solar plexus - primarily because, well, I realized she was right. I had the chance to do it again, focusing on my listening, and it went better, but the damage (which should be read as "opportunity for growth") was done. It was a very important moment for me as an actor. For one, it was that five thousandth time I'd gotten the note about "listening" - and, for whatever reason, I finally got it. Now, that isn't to say that as of today I'm a flawless listener in my acting (which would result in the best acting I could do, no?), but in that carpeted, air conditioned room I got the kind of gentle ass kicking that most students need at various points in their journey, the kind that makes you face your weaknesses.
    I had the chance, about nine months later, to take another class with Eve at AC. I trained for that "rematch" (not really an appropriate term, but stay with me) like Rocky 3. I was the last actor to register, and waited through everyone's work - watching and listening like a hawk to their work and Eve's feedback for last minute education. I was as nervous as I've ever been in my acting career prior to going up - because I respected her opinion. That she commended my work that night was, on a personal level, one of the prouder moments of my journey thus far.
  I try not to "pull focus" onto myself (after three paragraphs of it) in this series, but I feel it's important to highlight the positive effect a casting director can have on an actor. I think that by talking about what Eve was able to impart to me, casually and gently, I've told you a lot about her. I was very excited to have her as a subject for the series. And, once again, she was teaching (without realizing it). This was, after all, my third interview! I was Mike Wallace'd up with my outline and clear idea of how I'd guide the discussion. I asked my "icebreaker" question - not like there was really that much ice to break, but I like routine - and got a substantial, interesting answer. I picked up my outline and got ready to steer the boat, only to realize Eve was remembering additional stories of bizarre casting challenges. It was a loose, casual talk, which resulted in the worst chicken scratch notes of my young journalistic career.

How to be invisible in the internet age
   Eve has somehow managed to keep any photos of herself from appearing anywhere in cyberspace, a rare feat in this privacy-starved age (why wouldn't a casting director want to be recognized? Next question). She does admit that there might be a baby photo of her out there on the internet somewhere.

The most difficult job(s) Eve ever had to cast
   Eve recalls a local Payless Shoes commercial she worked on as a casting assistant in 1990. It called for a beautiful, 5'8" - 5'10" female model. The catch was, she had to have a size 5 shoe. A good fit (ha ha) was eventually found, though there was a bit of "squishing" to get the model's feet inside the shoe. She also recounts casting for the film Sorry, Haters 8 years ago, and needing an actor who could speak Arabic. It was disheartening to see how many actors spoke every language from the Arabic world (such as Farsi or Hindi) but didn't speak the distinct language of Arabic. Again, the role was cast with an actor who wasn't necessarily fluent in Arabic but was convincing in his portrayal of it. Eve also faced a challenge 2 years ago during a project for the Sundance Directors Lab. The project dealt with African immigrants in Italy. Eve had to find 3 people from Burkina Faso who spoke French, English, and Wolof (a sub-Saharan language).

How it started
   Eve graduated high school early. "I had no clue what I was going to do," she says. Her dad suggested taking an acting class. She enrolled at the American Academy of Dramatic Arts, and obtained an Associate's Degree in Drama. Eve eventually earned a BA in Theatre & Film from Hunter College. Upon graduating from AADA, she got an internship at the Circle Repertory Theatre. She was working on a stipend initially. In 1985, Eve cast the off Broadway production of As Is - which ended up going to Broadway and winning the Drama Desk Award. It was a very important play, one of the first to deal with the AIDS epidemic. The early success didn't faze Eve. "I was too young to understand the importance of it." Eve did spend some time in front of the camera: she had a brief stint on a soap opera, and landed a few commercials before becoming fully immersed in casting.

Transitioning to Film
   Eve was always interested in casting for film. She started under Barbara Shapiro as a casting associate, and also worked as an associate in the casting department at Warner Brothers. She was on a moderate salary, and was basically starting over after having established herself casting theatre. Barbara primarily cast commercials, but she did cast some film - including a few John Sayles features. Eve assisted in the casting for City of Hope, Eight Men Out, and Matewan (which, interestingly, also had some of its casting overseen by Avy Kaufman). In the middle of this period, Eve took almost two years off from casting after the birth of her daughter, Clare, in 1991, aside from six weeks spent as a Casting Assistant on Sleepless in Seattle.

Going off on her own
  In 1994, Eve began her own casting company. She wasn't happy with the kind of films she was casting at Warner Brothers - without naming films' names, she'll only maintain that she wanted to work on films she cared about. Again, just like when she transitioned from theatre to film, there was a "starting over" process. But it allowed her the opportunity to work on what she chose to cast, and her reputation grew. Eve now casts three to five features a year of the projects that come her way.

Transamerica
  A highlight of Eve's career was casting the 2005 film with Felicity Huffman (which was made for under a million dollars). Huffman was nominated for an Oscar and won a Golden Globe, and Eve was nominated by the Casting Society of America for an independent feature. Eve was cognizant of the importance of the project. "I remember seeing the poster for the film - which showed the back of Felicity's character between a men's and a women's room - and realizing how relevant it was."

Blue Caprice
   This film - based on the Beltway sniper attacks of October 2002 - has been garnering praise at film festivals across the country, including Sundance. Eve considers it one of the most important projects she's cast. She commends its strong story and compelling POV. The film is the directorial debut of Alexandre Moors and stars Isiah Washington and Tequan Richmond. It's playing in NYC at IFC Center.

Her "Special Thanks" credit on Gimme the Loot
  The well received 2012 graffiti drama features a shout out to Eve in its credits. The filmmakers had cast every role - except the female lead. They reached out to Eve, who quickly cast Tashiana Washington in the role.

The Eve Battaglia Movie
Title? "Eve."
Portraying Eve? "Vivien Leigh - if we can defrost her."
Arthouse or Mainstream? "Arthouse! C'mon."
MPAA Rating? "(thoughtful pause)... PG-13."

Thanks to Eve, and thanks to you for reading!

link to Blue Caprice website:
http://bluecapricefilm.com/

Liz Ortiz-Mackes of Casting Solutions and I Ain't Playin' Films

"I want to see what I see out the window reflected in the collaborative projects I'm participating in."

        Liz Ortiz-Mackes' LinkedIn Summary

   This quote from Liz's LinkedIn page is rather astute in its summing up her professional priorities - namely, ensuring diversity in the projects she works on and allowing a strong creative partnership with her clients, which may go well beyond casting. The LinkedIn page also shows an impressively linear progression over the course of her career - in particular, her progression from her work with the Non-Traditional Casting Project (now known as the Alliance for Inclusion in the Arts) to her opening a casting office that emphasizes diversity, Casting Solutions, and heading up her own production company, I Ain't Playin' Films. In the neat black and white order of a LinkedIn resume, it looked to me like some brilliant master plan all along, a perfectly planned path that was meant to lead to owning and operating her own production and casting company. Liz informed me, however, that it was quite the opposite. "Making it up as you go along" might not do justice to the supreme investment Liz has afforded to her professional career. But looking at everything she's involved herself in - from teaching to writing books - it certainly suggests that you're best served by keeping yourself, as Liz describes it, "open to discovery."
   Liz is passionate about helping actors and creators find a platform for their artistry, and is a fierce champion for the projects she takes up, including securing financing. She teaches at several different institutions. And her book - "Ace Your Acting Audition" - is an efficient and effective read. Consisting of short, concise chapters on specific aspects of the audition process (and good acting in general), the book is a great tool in demystifying the art of auditioning.
 
The Most Bizarre Role Liz had to cast
    Liz recalls a spot for HSBC that required a voiceover with very specific requirements. The actor needed to be Asian, with a neutral American accent - and with fluency in Mandarin, Cantonese, and could look Vietnamese. While casting the project, Liz came head to head with a few actors guilty of having some discrepancy between the dialect skills listed on their resumes and their actual command of the languages. Liz adds that on every production team for a project such as this, there's usually an "ear" that can judge how fluent an actor truly is.

Her Educational Background
    Liz attained her BA in theatre from Fordham University at Lincoln Center. She transferred to Emerson College, but her financial aid wasn't renewed after her initial year of study and returned to Fordham. Her time at Emerson was fruitful, however, in that it afforded her the opportunity to direct her first show and discover her love of directing.

A Unique Career Path
    As a college student, Liz was working as a floating usherette at a Broadway theatre when she was asked to answer phones at a management office. She progressed from there to being a manager, a bicoastal talent agent, and a stage director. She was asked by a small NYC talent agency to open an office in LA. After discovering unsavory business practices within the office, Liz moved back to NYC and concentrated on theatre. An NYC native, Liz felt more comfortable in the east coast groove. "Everyone you meet in LA tells you they're a producer. I said I'm a producer, too, I produce estrogen."
   Once back in NYC, Liz began working for the Dramatists Guild as a producer of special events. While directing shows there, she caught the attention of the Non Traditional Casting Project - a not-for-profit advocacy organization "established to address and seek solutions to the problems of racism and exclusion in casting" (per the organization's description on airnyc.org). They were impressed by the multicultural casts Liz employed in her shows, and offered a position as their Director of Artists Files On Line. Liz managed their online database. She explains that the NTCP (now known as the Alliance for Inclusion in the Arts) wasn't a talent agency, but a support organization and a resource for inclusion. Liz's time with NTCP was a defining personal and professional moment in her journey.

Diversity as a Priority
   Liz credits her time with the NTCP for "showing me what I didn't know I wanted to do all along." The quest for inclusion goes beyond ethnic, gender, and lifestyle lines, also addressing the frequent absence of people with mixed abilities (a preferred alternative to the term "disabled" which Liz learned from actress Blair Wing) in film and theatre. The final section of Liz's "Ace Your Acting Audition" is a message to mixed abilities actors that addresses the issue. "Most people (unless they've had a personal experience with disability) are completely clueless; they cannot conceive of or appreciate the challenges faced each day. The entertainment industry, for the most part, reflects this insensitivity." Liz's dedication to inclusion was a cornerstone principle for her casting office, Casting Solutions. Among the most inspiring projects Liz has supported is as producer of the currently in-development documentary Re-Walk-Me, chronicling actress/dancer Jamie Petrone's journey to walk again after having lost the use of her legs due to Stevens Johnson syndrome in response to an egregious medical error. Liz successfully attained fiscal sponsorship through the NY Foundation for the Arts for the documentary. In the short teaser for the film currently on Vimeo (http://vimeo.com/68915273), Ms. Petrone eloquently summarizes the struggle for inclusion when discussing the reaction of her teachers: "Through the pain, fear, frustration, and confusion, I looked around at everyone's extravagantly normal lives, and I was convinced no one would ever understand what I was going through, having been asked by the director of our musical theatre program to leave the school and come back when I was better, because 'you can't be an actress in a wheelchair.'"

Casting Solutions and I Ain't Playin' Films
   Liz had been getting requests to do casting independently while working at the NTCP, so she decided to "take the plunge" and start her own casting office which would allow her to integrate her passions and priorities. Liz's eagerness to get involved in projects beyond casting led to the organic development of I Ain't Playin' Films. The film company started almost as a joke, based off of Liz's frequent assertion that "I ain't playin'." It's existed as an official production/casting hybrid for 2 years, although Liz was acting as a producer prior to that through her involvement in projects she'd initially cast. "I love putting people together and strategizing," she says. One constant through all of the projects she involves herself in is good writing. "The script is the thing. If I'm gonna bust my ass for your micro-budget movie, the writing had better be good." Amongst the upcoming projects Liz is excited about is a script written by her producing partner, Lizbett Perez, whose Act Your Age (a Latino comedy) is in development.

Teaching and Writing
   In being "open to discovery," as she described it, Liz learned the value of diversifying her skill set (and resume) to ensure success and longevity. "I didn't want to be in the trap of 'you're only as good as your last...'" She never actively sought teaching; the opportunities came her way, and she took advantage of them. Among the institutions she teaches at is The Performing Option, which was founded by Madelyn Burns, a pioneer in bringing in working casting directors to teach aspiring actors. The school, in its fourth decade, specializes in training children and young adults. Liz has been amazed in what she's learned from the talented classes of young actors she's taught. She's also part of the faculty at the New York Film Academy and the American Academy of Dramatic Arts, where she teaches Career Preparation for the Actor and the Business of Acting. She's currently close to completion on the second edition of "Ace Your Acting Audition." She conducted an 8-question industry wide survey for the new edition which informed the new book's content.

Fiscal Sponsorship
  In addition to Kickstarter and similar fundraising options for projects, Liz has utilized fiscal sponsorship to help fund projects such Re-Walk-Me. The process can be arduous, especially given the specific type of fiscal sponsorship one is applying for. Liz clarifies that fiscal sponsorship doesn't obtain money in and of itself, but rather legitimizes a project to grant writers and gains valuable assistance for a project, such as managing of the account and mentorship.

Mutually Beneficial Alliances
  Liz advises actors to rethink the concept of "networking." As it is, many actors' efforts at "networking" can be empty and blatant gestures that invade space and seek a one-sided relationship, benefitting the actor only. Liz suggests instead looking at forming mutually beneficial alliances that will benefit both parties. "Put yourself in an intelligent, detailed context," Liz says, when approaching casting directors in hopes of beginning a relationship.

The Liz Ortiz-Mackes Movie
Title? "This is not a Porn Tape."
Portraying Liz? "Tina Fey - if she was Latina."
Mainstream or Art House? "Art House."
MPAA Rating? "Rated R for using 'f---' too many times." (This response was frighteningly similar to Brette Goldstein's. When I told Liz this, she laughed and said they were pals.)

Thanks to Liz, and thanks to you for reading!