One of the most frequently asked questions I’ve gotten on making Sunset Stories is — “How do you get good professional actors to agree to work on your film?” Of course, each project is a different case and you can do anything from contacting their reps, getting to them personally, or stalking them (I kid…), but nowadays, access seems a lot easier especially in this age of social networking, and of course, the help of a great casting director (shout out to Brad Gilmore) doesn’t hurt either.

But that’s not really what I’m writing about here. Not about access, but how does one hook an actor when you have access? Basically speaking, what is the actor looking for in the material and in the filmmaker that will have them agree to long, unglamorous nights of production hell that is the micro-budget films. I’m pretty sure the promise of a whopping $100 per day isn’t going to do it. With Sunset Stories, we were very lucky to assemble an incredibly talented group of actors and I’ve asked two – Mousa Kraish and Michelle Krusiec to answer a few questions on what they look for in joining low budget productions. Better to get it straight from the horse’s mouth – what does that even mean?

MICHELLE KRUSIEC

LIKES?

I love microbudget if I get to work with people whose vision I trust and am excited to see. If they conceive great characters and the script is compelling, it’s a way for me to build relationships with people I’d like to work with again and again because this is a tough business. People fall off like flies…the only lasting and rewarding part of this process is getting a chance to use your creativity and forming the friendships you get to form. Oftentimes, these films don’t make it to market, so it’s the experience of making it you’re after and if making a small film together is an opportunity to work with talented people who become part of your community, it’s a terrific opportunity.

I like filmmakers who understand how to work with microbudget. You’ve got to work fast, you’ve got to be improvisational and in a way, I like the adrenaline, but generally this isn’t for first time filmmakers. Either they’ve had to have made a lot of shorts or have some film school experience, but a complete virgin with microbudget features (not shorts), full-length features, can be really challenging.

This kind of experience is like traveling with strangers to some far off country and…making it back tattered, torn and still in one piece. You can forge friendships that last a lifetime. That’s one of the best things this experience can give you. It’s character building and these people might be the same people you work with, ten, twenty, thirty years from now if you stick together.

DISLIKES?

I can’t do microbudget if the script and characters are not compelling to me. You’ve got to write a film that is suited for microbudget, generally this means really great story/characters that can be achieved with very little. Making a film is actually quite easy these days, making a great film is extremely tough no matter what size your budget, so if I’m going to do the work, I have to be in love with what’s on the page because generally you’re limited by lack of resources. Imagining what’s not on the page like effects, tone, style, editing etc… can be an unrealistic approach if the script just simply doesn’t work.

One of my dislikes about microbudget is that oftentimes, there’s no money for wardrobe, so you have to wear your own clothes. This is a huge pet peeve of mine, because as an actor I don’t want to wear my own clothes in a film. Unless I’m playing myself, the look of the character is really important and part of the illusion of story telling. In this situation, generally what happens is you’ve hired a really angry and pissed off costume designer because they’re doing your project a favor and guess who didn’t give them enough money? The producer. Guess who has to deal with their anger? The actor. We show up and we feel awful because we don’t have the right clothes and wardrobe feels like they can’t do their job and everyone’s screwed. So now instead of concentrating on our parts, we’re dealing with onset politics. And then no one wants to go to work. I love what I do, I’d like to keep it that way!

Bottom line of what I’m really trying to say is…when you hire, people have to WANT to be there and they have to WANT to play with you, and you have to know that people can work WITH your limitations, not in spite of your limitations, because everyone is on board for no money, it’s a given, every person’s attitude counts and no one wants to do this kind of work when the atmosphere is sour. Oh and find good ADs. They make a huge difference!

FROM AN ACTOR’S PERSPECTIVE TO DIRECTORS AND WRITERS WHAT CHARACTERS AND FILMS DO YOU LOOK FOR ?

I’m at a place in my career where I’m looking for characters that are a little more vulnerable. I play a lot of intense and emotionally “tough” characters and I think I may be looking for lighter, maybe even dare I say, feminine roles? I’m working on a really terrific role that is pretty dark and quite daunting actually. I’m already starting to research and digest the character now and it doesn’t shoot till May. And the truth is I love researching and figuring out a part, but I think after I’m done with this one, I’d like to switch gears. You know…do something not so dark and heavy, but honestly, you can’t turn down a good role no matter what the genre and I’m drawn to a lot of unusual things and then I like traditional things, which I don’t play a lot, so who the hell knows?!

Films I look for…I may be different in that since I’m in the industry, I look at films as process, but I’m almost always hoping for a film to simply…sweep me off my feet. I think the thing I really look for in a script is if the writing tells me that you, the writer, are trying to talk to me using this story, that there’s an overall voice behind the characters, descriptions and dialogue. With directors, I want to experience what your world looks and feels like and I want to be in that world somehow, a part of it, not just as an observer. A terrific song puts me in a certain mood, I’d like a director to be able to shape my experience as an audience member for at least 90 minutes. That’s hard, but what a great challenge….

WOULD YOU DO IT ALL AGAIN?

I’m assuming with Sunset Stories? The answer is YUP to working with you guys. I thought the set vibe was, in particular, quite charming on your film. It was a small enough crew to feel like family and the rapport was very strong. You guys also chose wisely with food–makes a huge difference! I still remember eating Indian food on the terrace on location like it was yesterday and someone pulled out their guitar and started to sing…. Those memories stay with you for a long time.

MOUSA KRAISH

LIKES?

I really like Sung Kang’s hair. I’ve found myself on set getting lost looking at how feathery and light it was. Oh, I remember one time, where there was a scene between him and Monique Curnen and I just walked into frame. He screamed and shouted at me, but I understood…I interrupted his moment.

DISLIKES?

Small dogs and healthy chips…oh and Sung Kang.

FROM AN ACTOR’S PERSPECTIVE TO DIRECTORS AND WRITERS WHAT CHARACTERS AND FILMS DO YOU LOOK FOR ?

I always like the underdog. I like the characters who seem to just hit wall after wall. And somewhere along the story, they redeem themselves. The beauty is that you can be a good guy or a bad guy. No matter the role, you have a wall, and getting around it in a story is the fun part.

WOULD YOU DO IT ALL AGAIN?

Yes. And I’d like to do a Tango and Cash remake with Sung Kang.

There you go, two different perspectives from actors.

It is true that the success of your film hinges on many things but having talented actors you can count on really does make a world of difference. Sure you can use your best friend, brother or next door neighbor, but in most cases if you want professional actors, then do the legwork and don’t be intimidated – go after what you want. My only remaining advice is to respect your actors, they really are doing an incredibly difficult job, and the utmost respect you show them is TO DO YOUR JOB — be absolutely prepared, don’t do it half-assed, phone it in or wing it. And if you think you can fake it with an actor, that they can’t smell it a mile away, you should quit while you’re ahead.