Film: Short Films

'The Script/N'a pas un gramme de charisme'

Casting notice expires: April 11, 2013

This listing has expired.

Search for similar casting calls

Company

Claude Wampler and The Kitchen
Amelia Saul, video artist-dir.; Claude Wampler & Peter Azen, with Illium Pictures

Production Description

Amelia Saul, (video artist-dir.) is casting "The Script," a short film about the performance of "N'a pas un gramme de charisme" at The Kitchen, NYC, which premiered January 2013. "The Script" shows everything but the performance itself: the audience members arriving in the space, waiting for the show to start, waiting in the bathroom line, gossiping, watching each other, and vying for better seats when they enter. All characters are ‘art-world’ types, often in a satirical or comic way. They can be of any race, and most can be of either gender. The character descriptions are left purposefully vague. See the sample sides for an idea of

Producers state: "Amelia Saul is a video artist, performer and screenwriter based in Brooklyn who has screened her work in New York, Berlin, Lithuania, Paris and Taiwan. Claude Wampler is a performance artist based in New York and Charlottesville, VA who has exhibited extensively in museums and performance spaces across Europe, Asia and the Middle East. This project is the next step in the collaboration the duo premiered at The Kitchen, NYC January 2013. We are thrilled to be working with the cinematographer and steady-cam operator Peter Azen in association with Illium Films, who has recently finished his second feature and hails from Brazil.
'The Script' will be screened in galleries and art museums, performance art spaces such as The Kitchen and The Walker Arts Center, and short film festivals."

Rehearsal and Production Dates & Locations

Two rehearsals in April; shoots early May (exact locations TBD).

Compensation & Union Contract Details

No pay, but copy provided.

Auditions

Seeking submissions from: New York City, NY Sign up or Log In to apply.

Sample pages

THE ARTIST AND THE DANCER CONTINUOUS LOOP CONVERSATION
FOR TWO WOMEN. BEGUN UPON EXITING THE SUBWAY AT 14TH ST AND 8TH AVE, CONTINUED DURING THE WALK TO THE KITCHEN ON 19TH AND 10TH, AND AS THEY WAIT FOR THE SHOW TO START, AND DURING INTERMISSION, AND THEN ONWARD AFTER THE SHOW TO MORAN'S AND/OR THE SUBWAY AGAIN.
ATTRACTIVE FEMALE ARTIST: The log-line is like a dream catcher designed to catch alien dreams from space. Sort of like, you know, like Spiral Jetty except it'll be a little bit more like aliens, you know? Aliens. Well, actually how I worded it in my application is Indians, like Native Americans. It's like a footprint left by a disappeared people. Sort of like before-us-aliens, like, where did it come from. Cause they say, like in their myths, they say they came from all these other layers of the world. But geologically speaking, they might just be from China, so it's about cultural self-ontology, like identity but updated. I have all these ideas, like images you know? About visions of people having visions, it relates to my piece about disappearance. The one where I disappeared for a week?
ATTRACTIVE FEMALE DANCER: That was so amazing. You didn't even answer your phone. We were all amazed.
ATTRACTIVE FEMALE ARTIST: It was so surreal. It was such an experiential sort of thing. SO hard!
ATTRACTIVE FEMALE DANCER: I would have been like so lonely.
ATTRACTIVE FEMALE ARTIST: Hm. Well I wasn't with Channing then, so it. I mean, I would never do that today. Anyway, this piece is about disappearance too, because nobody will be allowed to actually see it, only hear about it, or be lead to some place where it actually isn't. And I'm going to build it out of like, really ephemeral natural materials, like ones that decompose really fast like leaves and stuff. So you could see it and not even notice it. It'll be shaped like a big dream catcher. Like a big circle. If you fly over it. I'm going to charter a plane with Channing cause he's getting his license. And then this net inside. It'll take weeks.
ATTRACTIVE FEMALE DANCER: You mean a web. A web.
ATTRACTIVE FEMALE ARTIST: Actually I mean net. Sounds better. Application wise. I was staying away from web because -
ATTRACTIVE FEMALE DANCER: But maybe you should say WEB. A dream catcher is a WEB. A spider WEB to catch good dreams for you from the air. That's the concept. I'm one-eighth Native. On my dad's side.
ATTRACTIVE FEMALE ARTIST: Really, wow. I mean, I know, but I'm saying net so that it has some currency, you know, theoretically speaking with the interNET. But I guess web would work too. But it's like -
ATTRACTIVE FEMALE DANCER: Oh totally. I get it.
ATTRACTIVE FEMALE ARTIST: Anyway, the curator totally loves the idea and -
ATTRACTIVE FEMALE DANCER: Who are you working with?
ATTRACTIVE FEMALE ARTIST: You mean who is the curator? Oh, Johannes van der Undermeeker.
ATTRACTIVE FEMALE DANCER: Underhof. It's Underhof.
ATTRACTIVE FEMALE ARTIST: No, not that guy, a different guy. Dutch. Anyway, So I build this net when it's spring and then it will become summer and then fall and then winter and you know, the seasons will like, erase it.
ATTRACTIVE FEMALE DANCER: Wow.
BEAT. THEY CONSIDER HOW BEAUTIFUL THIS IDEA IS.
Wow. That is so beautiful. I love ephemeral land artworks.
ATTRACTIVE FEMALE ARTIST: Thanks, I'm really excited.
ATTRACTIVE FEMALE DANCER: So when are you going?
ATTRACTIVE FEMALE ARTIST: Sometime in Spring. After Channing and I return from his parent's place in France.
ATTRACTIVE FEMALE DANCER: Oh, Hugo's parents have a place in Spain.
ATTRACTIVE FEMALE ARTIST: Really? I love Spain.
ATTRACTIVE FEMALE DANCER: Me too... Dream catchers. I love it. When you describe that work I'm seeing, like, this image. Bodies in space, in nature. Women. Naked? Maybe? I mean, naked is out of fashion right now but that's sort of a good thing. I would be totally interested in creating a choreography, a work to put in that space. Maybe the curator would be into a live performance. It brings people in, like, we're here, right?
ATTRACTIVE FEMALE ARTIST: Do you know when this thing is going to start?
ATTRACTIVE FEMALE DANCER: You could sell tickets through Performa. My friend works there.
ATTRACTIVE FEMALE ARTIST: It was just meant to be a land work.
ATTRACTIVE FEMALE DANCER: Totally, but imagine. Sort of like, a dance of a dream arriving from space.
ATTRACTIVE FEMALE ARTIST: Wow that's.. Well.. I was actually thinking of making it like -
ATTRACTIVE FEMALE DANCER: I mean, like, new moves, moves that are in the body, that are embodied. That are channels of bigger, more celestial moves, movements. Movements that are like dream catchers, that are like caught dreams, you know? I'm just thinking out loud -
ATTRACTIVE FEMALE ARTIST: That does sound beautiful but I was thinking of not allowing to let ANYONE see or touch the work. So it is THERE, but nobody actually -
ATTRACTIVE FEMALE DANCER: Oh, totally. Only the dancers see it. And the photographers. You're going to photograph it, aren't you?
ATTRACTIVE FEMALE ARTIST: Of course, of course. Photographers... But no photographs.
ATTRACTIVE FEMALE DANCER: You have to document it. Or else it never happened. But no audience. But you're so smart about the audience. Dream catchers don't like, have audiences. Or the audience is in like, a plane, or on the internet with live-feed cams. I did a work like that -
ATTRACTIVE FEMALE ARTIST: I meant like nobody - like nobody would see it. It'd be a work only airplanes can see.
ATTRACTIVE FEMALE DANCER: The dancers could be blindfolded. Or dance at night.
ATTRACTIVE FEMALE ARTIST: Uh. Anyway, I just realized something: nobody is tall enough. To like see a huge dream catcher when walking through a corn field. They NEED the plane. Uh...
AKWARD PAUSE.
ATTRACTIVE FEMALE DANCER: Seriously, Dalia, this could be so amazing. I'll make a little video so you see what I'm. Envisioning. You'll love it. So will your curator. I totally relate to the seasons, the disappearance. We could bring the dancers out and like, have them experience the seasons in their bodies, in their movements. And the planets, like, align the movements of the stars with a dancer's arm.
BEAT.
Parts of it would be really slow.
ATTRACTIVE FEMALE ARTIST: I don't know, I mean, if there's funding..
ATTRACTIVE FEMALE DANCER: I have some grant money I could put towards it.
ATTRACTIVE FEMALE ARTIST: Oh? Which grant?
ATTRACTIVE FEMALE DANCER: I actually have citizenship in Norway.
RETURN TO BEGINNING AND REPEAT.