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What Is a Casting Director?
Film and TV Careers
Acting on Film and T.V.
Entertainment Careers Film and TV Careers
Career Advice and Skills Required
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By Phil Breman
It may come as a surprise to learn exactly what a casting director is responsible for. Of course, they help gather a number of actor candidates for a given role in a film, television production or other theatrical production, but there's more. A casting director also reads the script and meets with the producer, director and sometimes the writer, to get an idea of the "type" of person that a given role calls for. Once this is determined, then the casting director gets to work.
As a casting director, you'll meet with any number of individuals and begin to narrow down the field in order to select the best candidates. Once a handful of hopefuls have been identified, your job is to present them to the director, producer, and often writer, of the project.
Casting directors meet with thousands of actors over the course of a given year, not to mention a lifetime. They must determine whether an actor fits the look of a character as well as whether or not that particular actor would be believable in the role for which they will be cast.
To become a casting director, you must first have the following skills:
Eye for Talent
A good casting director can tell right off the bat whether or not a given actor "has the chops" for the role they are auditioning for. This is usually an innate skill but can be fine-tuned and developed over time.
You will see thousands upon thousands of actors over the lifetime of your career so a good casting director must have a way of remembering the ones that matter. Even if you pride yourself on having a good memory, err on the side of caution and keep a library of index cards (including photos) with a profile of all candidates you've met and worked with.
It often takes a lot of time to find exactly the right person for a role, so you must exercise patience and not let yourself be pressured into making the wrong decision out of haste. Your reputation is on the line with every actor you cast.
The Importance of Casting in a Production
While final casting decisions are ultimately made by the client (i.e., producers, directors, and commercial clients), the focus offered to the production and choice of talent is guided by the professional casting director. Casting shapes the initial pre-production of just about any project. Ultimately, it is key to the success of any theatrical undertaking.
The best way to prepare for this position is to start learning as much as you can about available actors and actresses. It's crucial to know their names and faces so that you become a library of casting information. If you need to get your foot in the door, look for casting directors who might be looking to hire a casting associate or even a production assistant. This is an industry where people start at the bottom and work their way up. This is also a highly competitive industry, so don't be shy about your career aspirations. Let everyone you work for know that your goal is to become a casting director.
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Ode to E.L. Doctorow
E.L. Doctorow: Writer. Teacher. Historical Novelist. He died of lung cancer today; I am sad.
As a television interview producer, I have met many authors: Maya Angelou. David McCullough. Salman Rushdie.
I never met him. I am sad about that.
But he — more than most — affected my life.
He taught me about New York and the Civil War and humanity. He made me ask questions about politics and history and… humanity.
My favorite teachers were Ragtime and The March – I'll read them again now. There are surely more lessons inside.
Mostly, E.L. taught me that historical fiction does not have to be handcuffed to the past. It lives in the past, breathes in the past, FEELS in the past, but it is not imprisoned by that past. Historical fiction is free from the past in a way history is not.
The historian will tell you what happened.
The novelist will tell you what it felt like.
-E.L. Doctorow
I write by the lessons he gave me. I write to feel, empathize, and explore a human reaction to an epic moment. I want to write history as it was — a moment in time experienced by people. Flawed, beautiful people.
I write to let history roam in the imagination.
I don't write like him. I cannot ever hope to write that well. But I write historical fiction, in part, because he taught me to.
As an art and poetry lover, I can think of no better tribute to E.L. Doctorow than Keats' Ode on a Grecian Urn. I don't know why this feels appropriate — maybe it's something about how the rest of us will fade away, but his words will remain long after he — and we — are gone. Or maybe this poem feels right because somehow — and none of us know how — truth is beauty and beauty is truth and in a time of grief, that is all we have.
Ode on a Grecian Urn by John Keats
What leaf-fring'd legend haunts about thy shape
What pipes and timbrels? What wild ecstasy?
Fair youth, beneath the trees, thou canst not leave
Though winning near the goal yet, do not grieve;
For ever wilt thou love, and she be fair!
And, happy melodist, unwearied,
More happy love! more happy, happy love!
A burning forehead, and a parching tongue.
What little town by river or sea shore,
Is emptied of this folk, this pious morn?
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
death, E.L. Doctorow, historical fiction, inspiration, obituary, ode on a grecian urn, ragtime

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Hillary Clinton's Precocious Kid Questioners
By Tamara Keith
Hillary Clinton greets supporters, including 10-year-old Zoey Verbesey (left) and her friend Catherine Dooley during a 'Women for Hillary' fundraiser in November.
It happens almost like clockwork, former Secretary of State Hillary Clinton casts her gaze out over the crowd at her town hall style event looking for someone to call on, and then she spots cuteness.
Clinton's stump speech has changed from the summer when she was seen as the prohibitive front runner, to the fall when Vermont Sen. Bernie Sanders started gaining on her, to today with Sanders leading in New Hampshire and quite possibly in Iowa too. But one part of her campaign has not — her habit of calling on kids at her town hall style events.
Her campaign says she has called on more than 500 people since she started running for president last spring, and child questioners make up only a small share of that total (she was asked at least 29 questions by kids since July). But they are by far the most memorable, and a couple have wound up in campaign ads and videos.
Critics, including Jeff Bechdel from the Republican opposition research firm America Rising, say these questions are all too convenient. They are either softballs that allow the candidate a chance for a cute interaction or they are just a little bit too on-message to seem authentic, questions about "things that are maybe not discussed on the playground," said Bechdel.
Questions about gender pay equity, gun control and mental health and bullying on the day GOP candidate Donald Trump started attacking Clinton also led quite a few people including Trump to speculate that the questions must be planted. Clinton's campaign communications director Brian Fallon insists they are "absolutely not" planted. "Some of the most unscripted questions come from the kids," said Fallon.
We'll let you decide for yourselves. Here are some of them:
Sports and equal pay: "Will more jobs in sports be open to women and will they get equal pay?" (Cedar Rapids, Iowa)
Dog or cat? "Do you have a dog or cat?" (Cedar Rapids, Iowa)
Had to ask: "Can I have a picture with you?" (Cedar Rapids, Iowa)
Mental health and guns: "When you become president, what is your plan to connect mental health problems and guns to make sure me, my brother and my friends are safe from violence at school?" (Portsmouth, N.H)
Equal pay: "I think my mother is working much harder ... than my father and she deserves to get more money than my father. I just don't think it's fair." (Portsmouth, N.H)
Vision for America: "What is your vision for America in 2024?" (Mason City, Iowa)
Addiction and foster care: "I want to know how you would help the children of parents doing the overdoses?" (Windham, N.H.)
Girl Scouts: "You mentioned you were a Girl Scout. What character traits did you learn while scouting that you would use to be a successful president?" (Orangeburg, S.C.)
Tamara Keith
Tamara Keith has been a White House correspondent for NPR since 2014 and co-hosts the NPR Politics Podcast, the top political news podcast in America. Keith has chronicled the Trump administration from day one, putting this unorthodox presidency in context for NPR listeners, from early morning tweets to executive orders and investigations. She covered the final two years of the Obama presidency, and during the 2016 presidential campaign she was assigned to cover Hillary Clinton. In 2018, Keith was elected to serve on the board of the White House Correspondents' Association.
See stories by Tamara Keith


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Vulcan 7 Review
Matthew Sedman
On a remote glacier near Reykjavik, filming is taking place for the latest installment of the well-known (but perhaps less well-renowned) sci-fi movie franchise, 'Vulcan'. Vulcan 7 is proud to feature the world-famous - but ultimately washed-out - Hugh Delavois and Gary Savage, but unfortunately a long and complicated relationship of (un)professional rivalry means the duo are less excited for their reunion: perhaps because the last time they were in the public eye together, Savage covered Delavois in custard in front of Alan Bennett. As Eyjafjallajökull begins to emit volcanic tremors and dislodge the icecap, the formidable duo become trapped in Delavois' personal trailer, and it seems that set runner Leela will have more on her hands than her job description had entailed.
With a script written by comedic old-timers Adrian Edmondson and Nigel Planer, the premise certainly holds an assumed reputation that precedes it. As the show progressed, however, it became apparent that this potential is to remain unfulfilled. In the programme, Edmondson recalls that he and Planer had been looking to work together for a while, and that this production was borne through the rejection of yet another project that wasn't 'quite right'. It is regrettable, then, that what is 'quite right' falls on the wrong side of contemporary politics – choosing to mock the #MeToo movement and the radical idea that women in the film industry may exist as more than the sexualized objects of their male counterparts, not to mention the supposedly easy laugh in calling your rival 'gay'. Though I'm sure the humour was intended to land in a post-ironic sense – to mock the fact that we are even having this conversation in the 21st century – it came across in poor taste and aided to undermine the integrity of the production.
Lois Chimimba has the difficult task of portraying Leela: a character who is charged with maintaining harmony and an actor who must single-handedly hold the entire production together. Her excellent characterization afforded Edmondson and Planer the wiggle room to wallow in the self-indulgence of their superfluous narrative; providing a large majority of plot points and humorous moments if indeed there were any.
Her performance is well-complemented by Simon Higlett's charming set design, which takes the form of Delavois' personal trailer on the film set. Mounted on some form of invisible, hydraulic piston system, it becomes increasingly tilted with every volcanic tremor and is dislodged to a frighteningly sharp angle – providing a most entertaining curtain call and I'm sure an unenviable number of risk assessments.
An unsatisfying production, Vulcan 7 is obnoxious in its comedic preference and undermined by a dry and inconsequential script: though the film may be futuristic, its stagecraft remains very much rooted in the past.
Vulcan 7 runs at the King's Theatre until Saturday 10th November 2018.
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Q: big-calendar react show event only one day per week how can i show this event only Monday with big-calendar react
const events = [
{
      id: 2,
      title: 'testevent',
      start: new Date(2020, 4, 29),
      end: new Date(2020, 5, 26),

  },

]
thanks

A: I'm not sure what you're looking to do, as I understand you want to show an event with a long duration only the day when it starts?
I thats your case maybe you should use the allDay?: boolean on the Event Object or just set at the end value the same start as value.
I hope it helps you.

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