In '98 I was approached by the National Theatre to produce a campaign for their Connections programme. Connections is one of the world's largest celebrations of youth theatre. Produced by NT Education and Training, Connections was established in response to a demand for new plays by the best writers around. The NT commissions writers at the top of their game to write one hour plays for actors aged 11-19 to perform. Hundreds of youth theatre and school groups from around the UK, Ireland and increasingly abroad then apply to take part. Writers have the opportunity to write for cast sizes as large or small as they like knowing that they will be produced across the country in a variety of different productions.
With an open brief and a budget of a couple hundred quid I set about the task. I wanted to get away from the trodden format of the doe-eyed urchin asking for our 'elp. It stood to reason that the campaigns ratings (and production values) would be boosted if it was endorsed by recognised actors. Hours were spent hanging around the corridors and back stages of the NT waiting to accost any unsuspecting thesp. Any space was commandeered as a studio: rehearsal rooms, offices, stair landings. A trip to the set of Star Wars resulted in a take with Samuel L.Jackson. None of the budget could go on fees, the idea had to be simple, convenient and quick to execute; in-out. An audition setting would satisfy the criteria and allow the actors creative freedom. All I needed was a camera, a light and a black background to disguise the location changes. This was the script I gave the actors: audition, speed date, no written lines, the successful actor would play lead role in a romantic play. Off-screen in a dimly lit theatre, two casting directors (actresses Shona and Kirsty MacKay from Connections) are auditioning actors. The actors must assess the situation and deliver a chat-up line to win over the girls. Each gives his best shot. None get the part and are all turned down with a pertinent next. Conclusion: chat-up lines don't work.
The idea needed no scriptwriters. It didn't require a crew. It was shot on a Sharp mini-dv handycam to give an authentic feel and keep costs to an absolute minimum. I needed only one light; I could do everything except hold the mic boom. For this I enlisted anyone in the vicinity. The budget would be used for tape stock and tube fares. I would do all of the editing and post production in-house. I kept within budget.
All of the actors rose to the challenge. For some it was the first time in many years that they had been required to improvise, let alone audition. Throughout the shooting of the campaign the extraordinary performances and interpretations never ceased to amaze. In the end I filmed so many actors that most were consigned to the cutting-room floor. Since shooting, several actors have passed away, their takes unseen. For the 10th Anniversary of the shoot I decided to revisit the project and see what could be made of the lost rushes. From the out-takes came 6 new edits.Credits- Actors: Ralph Brown, Daniel Craig, Ken Cranham, Alan Davies, Adrian Dunbar, Adam Faith, Dexter Fletcher, Nigel Havers, Richard Hope, Geoffrey Hutchins, Sir Derek Jacobi, Samuel L.Jackson, Steff Taylor James, Ryan McCluskey, Ewan McGregor, Sir Ian McKellen, Bill Paterson, Ron Pickup, Denis Quilley, Oliver Reed, Maurice Roeves, Michael Sheen, Eamon Walker, Samuel West, Richard Wilson, Casting agents: Shona and Kirsty MacKay Director/lighting camera/edit etc: Gavin Evans. Commissioned and produced by Suzi Graham-Adriani. Assistant producer: Helen Prosser. Production assistant: Flora MacIntosh. Sound engineer John Vick. Boom operators: Rob Fawcett, Alan Grimwood and the staff at the NT.
I wish to sincerely thank everyone who generously donated their time, talent or services in the making of 'next'.
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NT Auditions:Tape 5by thegavinevanschannel297 views
Coo. I never saw that. What a lovely bunch of coconuts ! So young...
RBIKO5 1 year ago
nice
fleurtjevla 2 years ago