The official web home of Team J, a frabjous transmedia company.

Category: Casting (Page 1 of 7)

Casting Notice: Proof-of-Concept Shoot for Paranormal Metaphysical Thriller “Grey Angel Journals”


Woburn-Roxbury Media

Shawn Vanden, dir.; Kent Belli, prod.; Austin Reeves, DP/Prod.; Bjorn Munson, casting dir. 

Production Description

Casting a “proof-of-concept” for “Grey Angel Journals,” (GAJ) a paranormal metaphysical thriller, to be produced both as a traditional TV series/streaming episodic series. 

GAJ explores themes of love, loss, redemption, and discovery wrapped within a time-travel mystery, woven into a deeper multi-verse enigma. This Gothic-themed saga places ordinary, fallible characters, within a race-against-the-clock, labyrinthine story.


Ian McDermott (Lead): Male, Mid 40s
Athletic, Alpha, Ian is a brooding, introspective former off-the-books Federal Agent and analyst. He has been trying to raise a teenage daughter (teenage son Phillip 17, who is away at a Military School, is revealed mid-Season in season 1). Married for 18 years to his wife, Amelia, who mysteriously goes missing — with the only clue being a vigilante code sketched onto his kitchen ceiling. 
Ethnicity: White or Caucasian

Helena Caron (Lead): Female, Mid-Late 30s
Helena is an attractive, intense, and quirky Internal Affairs Investigator. She is separated from her husband and on the cusp of finalizing a divorce while raising two elementary school aged kids. Helena is ambitious and seeks to unravel Ian’s professional secrets.
 Ethnicity: Caucasian or Mixed

Melanie Lange (Lead): Female, Mid-Late 30s
A nurse at a local hospital with a troubled past. A former athlete, an injury when she was younger led to an addiction to increasingly powerful opiates. She has been involved in illicit activity, a strange domestic dispute with her current boyfriend, and is the “caretaker” of Elder, a former drug kingpin. 
Ethnicity: Hispanic or Mixed 

Max QC (Supporting): Male, 50s or older
“Max QC” is the moniker of the eccentric host of “Revelations and Conspiracies,” an online talk show that explores the strange and unusual.  Max QC is revealed to be Capt. Tutor, a former army officer who worked for DARPA in the late 70’s on top secret projects.  

Now a disillusioned security analyst and former member of the intelligence community, he currently lives off the grid on a prepper farm in Canada where his small, but loyal YouTube following validates and fuels his obsessive investigations. 
Ethnicity: Any 

Adam Livingston (Supporting):  
Male, late 30s/early 40s An 18th century Pensylvannian who is a family man and farmer. He’s average height, build, darker hair/eyes, a man who seeks to do right by the world, but the world does not do right by him. Seek an empathetic, earnest looking type. 
Ethnicity: White/Caucasian

Bian (Supporting): Female, late teens/early 20s
Vietnamese teenager whom the young Capt. Tutor (Max QC) fell in love with before having to evacuate with the US Army at the end of the Vietnam war. She remains mysterious; he only knows her first name and that she came from a village outside Saigon. She will be a B&W Photo in the proof-of-concept, with plans to have Max QC/Capt. Tutor attempt to go back in time to find her during the series.
Ethnicity: Asian 

Rehearsal and Production Dates & Locations

Online rehearsals begin November 2020.

Tentative shoots between November 21-22 or 28-29.

1-day location shoots to be done in Maryland, West Virginia, approximately November 2020 – April 2021.

Depending on COVID-19 precautions, initial shoots may be remote/online

Compensation & Union Contract Details

Deferred Pay

This GAJ proof-of-concept will be produced under the SAG-AFTRA New Media Agreement. Union and non-union talent may apply

Key Details

Anyone submitting for “Max QC” (Capt. Tutor) should submit by Monday, November 2nd.
Other roles may submit by November 15th.
Headshot and resume required.
Links to video reel or video clips highly recommended (if you do not have a video reel with Backstage, please provide links in the cover letter section)
After reviewing submissions, we will be asking for self-tapes from actors.

Seeking talent from the Washington, DC area

If interested, please submit via the listing on Backstage.

Union/Non-union Actors, age 25 to 65, Needed for Training Videos

We are supporting the casting of multiple training videos for a DC-area organization.

These training videos are scheduled to be shot the week of April 22nd and the week of May 6th. Actors are not necessarily needed for all the dates, but check your availability.

Many details are still being worked out, including the exact character breakdowns, but here’s what we know:

They are looking for men and women, age 25 to 65. They especially want to see actors from all races and ethnicities, so we are gathering candidates for their auditions, which will be held on Monday, April 8th in downtown DC.

While we have not received final word on the payscale, both union and non-union actors are welcome to submit. Union actors would most likely be paid under the Corporate/Educational (non-broadcast) contract.

If you’re the type of actor who can tackle corporate jargon and acronyms with ease, please: 

  1. Login to or create your free Stonehenge Casting profile. You do not need a full profile for this casting notice.
  2. Make sure you list any partial or full day conflicts under “Union Status and Availability.” Not all actors will be needed for all dates.
  3. Update your headshot, resume, and video links in necessary under “Attachments and Links.”
  4. Submit to the project 2019-04 | Internal Training Videos by this Tuesday, April 2nd. 

We will also be reaching out to actors individually, especially as we get more information, but remember, submitting your profile to the Stonehenge Casting project is the best way for us not to lose track of you.

Questions (but not headshots and resumes) may be directed to casting at teamjabberwocky dot com.

Reminders Regarding Online Stonehenge Audition Videos

Summer shooting season is here — and we’ve been hearing from many actors that they’ve been contacted by filmmakers thanks to their audition videos being on the Stonehenge Auditions YouTube channel.

We’re taking this occasion to remind actors about how the videos work.

Stonehenge Audition Videos are Publicly Available
We know it’s probably obvious since they’re on YouTube, but yes, your audition video can be seen by pretty much anyone. It’s public.

Having the videos be publicly available is, in fact, why we’re still doing Stonehenge Auditions. It has served as a resource for the DC-area filmmaking community and beyond. We hear from actors getting contacted not only by local filmmakers, but ones in Richmond, Philadelphia, and New York. While there’s no guarantee any project will be good, bad, or weird, enough actors have contacted us about good projects for us to keep on posting videos.

You May Ask to Update or Remove Your Video at Any Time
As per the video release actors sign when attending Stonehenge Auditions, actors may contact us at any time to remove their video from the YouTube channel.

You can also ask for us to update your contact information listed with the video. We highly recommend you list the email address you use for your professional acting work versus a personal email address. You may also want to list your agent’s email address and phone number, if that’s applicable.

We can usually make these changes within one business day.

Always Research Filmmakers & Production Companies
The barrier to having some sort of online presence is lower than ever, so if you get contacted by producers, look ’em up!

Whether it’s a website for their company, the particular project, or even a reel of their previous work, it can be informative. Even student filmmakers may have online examples of their work.

If anything strikes you as odd or raises a flag, go with your instincts — and always ask questions. In Team J’s Casting Notes series, we have an article specifically about responding to casting notices. The section on researching and asking questions holds true when producers reach out to you as well.

Here’s hoping your summer is productive and creative!

Casting Notice – Multiple Voice Actors Wanted for Neo-Noir Audio Drama

Jabberwocky Audio Theater is looking for multiple voice actors to join our existing company members to record an action-packed, neo-noir mystery this summer for broadcast later this Fall.

The Gambler’s Tale: Outstanding Debts will be a 10-part audio mini-series written and directed by award-winning filmmaker William R. Coughlan and produced by Jabberwocky Audio Theater. Set in Las Vegas in the early 2000s, this tale follows Jimmy Harmon, a young, would-be poker pro as he stumbles into the machinations of a secretive group known as the Quorum.

Some of the characters who appear in this mini-series will reappear in other tales of the Quorum in future seasons, so we’ll be looking for actors we can work with long-term. You can also listen to our other main show, the sci-fi adventure Rogue Tyger, to get an idea of the work Jabberwocky Audio Theater produces.

This mini-series will be recorded at Arlington Independent Media on three separate Sundays in July and August for broadcast on their low-power FM station, WERA, in October. While this show will originate on non-commercial, non-profit radio, actors will receive $75 per recording session.

We are looking to collect all submissions (via Stonehenge Casting) by May 31st in order to schedule auditions at A.I.M. in June.

For further details, submission instructions, and the list of characters, check out the full casting notice on the Jabberwocky Audio Theater web site.

Bjorn Munson Speaking at WIFV Talent Roundtable, 2/26

Head Jabberwock Bjorn Munson will be speaking at this month’s Women in Film & Video (WIFV) Talent Roundtable.

WIFV has a series of monthly roundtables, we’re actually holding the Stonehenge Auditions at two of them in March: Session One on March 5th during the Narrative Directors’ Roundtable and Session Two on March 29th for that month’s talent roundtable.

He’ll go over things to keep in mind when doing a mass audition as well as follow-up steps and submitting to casting notices.

For those of you with memories like an elephant, you may remember this sounds similar to a talk he gave in 2016. It is.

But if you didn’t attend two years ago, we hope it will help you as an actor learn more about navigating the indie world. If you’re an actor who’s gotten the lottery results for Session One or are hoping to get an audition slot for Session Two, this should be particularly useful.

The event is free for WIFV members and $10 for non-members. You can learn more and register at their event link.

Casting Notes #16: Making the Final Casting Decisions (For Filmmakers)

This 20-part series, written by Team J’s Bjorn Munson, covers the lessons learned during the casting of The Broken Continent web series pilot in 2012. You can find the full Table of Contents in Part 1.

This series is meant to help other independent filmmakers, primarily those who are casting a large ensemble (10+ speaking parts, multiple background actors, etc.). Individual articles may be useful to production companies looking to cast other work such as commercials. There are also a number of articles specifically for actors on how to better submit for auditions, do the auditions, and deal with the statistically inevitable rejections.

The lessons learned have been applied to Team J’s Stonehenge Casting service, an online tool for producers to find actors and actors to find work.

Previous Casting Notes Article | Next Casting Notes Article

Making the Final Casting Decisions

Now comes the moment of truth.

By the way, “final casting decisions” may be a misnomer. As you’ll see in Part 17, your first choice may suddenly be unavailable, which leads to your second choice.

But this is still decision time. You can do it. And by ‘you,’ I mean the same creative team who was behind the callback decisions.

As before, the director or showrunner should get the deciding vote. However, the decision may not be obvious. The director may appreciate some perspective from the rest of the creative team.

Before meeting, all of you should try narrowing actors down with these questions:

Who’s the top choice for each role?
Yeah, this is the question some of you have been wanting to put off for the longest time — especially if the the casting director has given you a lot of choices.

What does ‘top choice’ mean? Ask yourself who’s going to be best at that particular role.

Remember any role has some essential attributes an actor needs to sell. That’s what you were testing in your auditions. Among all the contenders, you had the “green, yellow, and red” candidates, but like as not, there were one of two “green” candidates that you and your creative partners raved about. [1]

Sometimes you’re aided by the fact that one actor was good in Role A, but great in Role B, and you can’t see anyone else in Role B.

This realization is critical to building your cast — and one of the reasons you often don’t get the cast you were expecting, yet all your hard work results in a strong cast at the end of the process.

If you’re truly stuck on two different actors for one role, it’s probably because you found both actors were very strong at selling those essential attributes. [2] Now’s the time to step back and consider not just that character’s essential attributes, but how they relate and must relate to other characters. Understanding those key relationships and how the two actors sell that relationship can be crucial, which also leads to:

Will the top choices work with each other?
Don’t ignore this question! This is more than chemistry, though that’s a big part of “working with each other.” One of the biggest issues I find consistently arise in indie film productions and smaller theater productions is uneven casting. By this, I mean that it’s clear some actors are more experienced than others — or their acting styles are remarkably different and aren’t meshing.

A veteran actor can be generous and give younger actors a great deal to work with in a scene, but that sometimes depends on the temperament of the actor and skills of the director.

Who are the next choices?
You won’t want to do this and it hopefully won’t be important, but it’s all part of risk planning.  You want to think about other actors now versus when you suddenly need a replacement for your lead.

The reasons for this are multi-fold. Not only may your preferred actor be unavailable when you first contact them, they also may suddenly need to bow out because of an emergency.

Will those choices work with one another?
Don’t worry about figuring out every iteration of who will work with whom. There’s no reason to go through a neverending thought experiment on this. However, if you have a key relationship, especially between leads, it’s worth while to spend a moment considering if the new match will be uneven in any way (for the same reasons mentioned above).

Is everyone happy, or at least comfortable, with these choices?
If you’ve gone through all questions above diligently, this particular question should be answered. Nevertheless, it’s good to ask yourselves this question at the end. Nagging doubts and tingling spider senses should be voiced and addressed (though perhaps not always resolvable in that same meeting). Does one of your creative team really feel you need to call in more actors for one role? Do you all agree that you have the strongest cast you can have? [3]

Once you’ve answered these questions, you can move on to who will be contacting actors and what information to be conveyed, but that’s the focus of the next article.


Previous Casting Notes Article | Next Casting Notes Article

FOOTNOTE # 1: If you recall in part 11 about running the auditions themselves, I recommend always taking a minute after each audition to discuss the actor who just left the room. This is because, yes, you can remember the actor’s audition and, yes, you can review the tape — but you absolutely remember if you raved about a particular actor to your creative comrades. This happened for various actors for all of us while casting The Broken Continent. Enthusiasm counts.

FOOTNOTE # 2: It’s not uncommon for an actor to discover something about the character that you –even as the writer/director– may not have realized that still rings true to what you intended. You may find that actors sell a character’s essential attributes in much the same way OR you may find two actors find two ways to play a character that are different, but you find equally compelling. So long as the chosen actor’s approach meshes with the other actors and their approach, that’s fine.

FOOTNOTE # 3: Every project has a different timeline, so answering the question of if you have the strongest cast you can have is constrained by how soon you need to move into production. There have been many projects where I would have loved to have audition or outright cast certain actors and the schedules didn’t work out. You need to be prepared for that unhappy possibility.

Team J Casting Notice: General Call for Student Films – Spring 2017

Just like the last two years, Team J has been approached to help cast some student films.

Therefore, we’re creating rosters of actors who are interested and available for student films during February, March, and April 2017.

You can learn more about Team J’s use of ‘actor rosters’ here.

While each project is different, we expect most of these films will be shot under a SAG-AFTRA Student Film agreement. Most films will have deferred pay. If actors are paid, it will probably be no more than $125 per 8-hour day. In other words, actors are doing this for what will hopefully be a great acting experience with a talented, aspiring filmmaker.

Team J is collecting actor submissions via Stonehenge Casting. Please create or update your actor profile (it’s free) and be sure to note any schedule conflicts you have for February, March, and April 2017. We expect most shooting to be done in March and early April.

Once your actor profile is updated, submit to one or more of the casting notices below:

General Call: Principal and Speaking Parts for Student Films, Union Agreement – Spring 2017

General Call: Principal and Speaking Parts for Student Films, No Union Agreement – Spring 2017

General Call: Background Performers for Student Films, Union Agreement – Spring 2017

General Call: Background Performers for Student Films, No Union Agreement – Spring 2017

Which casting notices should I submit for?
You can submit for one notice or all of them — depending on your interest. You’re basically pre-qualifying yourself as interested in this type of work (student films) for this period of time (February, March, and April 2017).

What should I put in the “Roles” field?
Since we have not character breakdowns, we suggest some variant of your logline.

When will I hear back from Team J?
You might not hear from us at all — at least not until mid-May.

When we are casting a particular film, we may do a specific casting notice and ask you to submit for it — or we might just contact you and ask you to come in and audition.

But that’s all based on what roles the scripts call for and how well we think you fit said roles.

In Team J tradition, we will follow up with everyone who submitted at the end of the casting period whether or not they were cast (in this case, after April 30th).

Should I put these dates on ‘soft hold’?
Absolutely not.

By submitting to the notices above, you are not on hold, “first refusal,” or anything like that. Keep on looking for work as you see fit.

Team J creates these general calls to help us cast projects quicker by pre-qualifying actors who are interested and available for these types of projects. However, we haven’t offered you a job and you haven’t accepted. You’ve simply said you’d be up for this type of work for this time period. If something works out, great. If not, no worries.

What if you ask me to audition for a particular project and it’s not my thing?
Say “No thanks.”

By putting your virtual hat in the ring for these as-yet-undefined student films doesn’t mean you’re saying yes to appear in any of them.

Some scripts may not be your thing. We’re establishing the general type of work (student films), the general payscale ($125 to probably deferred for all eternity), and time period (February, March, and April 2017).

What if my availability changes during February, March, and April 2017?
Please update your availability in your profile as soon as you know.

Note, we’d love you to keep your availability calendar up-to-date on Stonehenge Casting not just for this project, but for any project we or other filmmakers are casting (we have area producers using the site month in and month out).

If you are not available because you’ve actually heeded our advice and sought work in addition to this general casting notice, congrats! Feel free to submit to future general calls.


Other questions? Send them to

Finding Audition Videos of DC-Area Actors

Casting, more often than not, is on a tight schedule. It’s one of the reasons we here at Team J love developing rosters of talent.

But while the concept of rosters is all well and good, you still need tactics for how to find the right actor to call in and audition as fast as possible (assuming the client didn’t give you a last-minute requirement and you need the talent for the shoot tomorrow!)

So for those of you in the DC area, here’s one tool to add to your bag of tricks:

Check out the actor’s audition videos.

Team J has been running the Stonehenge Auditions since 2005 and posting the videos of said auditions online since 2006.

You can visit our YouTube channel and scroll through the names. Alternately, you could just type in an actor’s name and “Stonehenge” and you’ll see if they have a Stonehenge audition.

We have over 700 auditions online, but bear in mind, actors can write us at any time and ask for an old audition video to get taken down (usually because they don’t think that video still showcases their best work).

We’re happy to hear that the Actors’ Center film and video auditions are now online as well so you should be able to do the same thing on their YouTube page.

When to use this casting tactic
As much fun as just randomly clicking on videos can be, we’re assuming you’ll want to use this in when you have limited time. Here’s some actual use cases we’ve used and other producers have told us they’ve used.

1) If someone tells you about Jane Actress and you want to quickly see their work

Let’s say you’re at a party. You mention the project you’re working on and you mention you’re looking for an actress who has both clowning and stage combat experience.

“Jane Actress is great at both,” your friend says. When you get home –or perhaps even then and there on your smartphone– you type their name into the YouTube search. Bam!

2) If you’ve narrowed down headshots/resumes to a handful of names and want to see them act

You’ve put out the call for headshots/resumes and received a bundle. You’ve pared down the contenders based on look and the experience they list on paper… but are they really a fit? Checking out some of their recent auditions might help you know before you call them in yourself.

Open a link to the Stonehenge YouTube channel and open a link to the Actor’s Center channel and search the name both places.

Similar Tactics You Can Use
Obviously, you could just plug in their names into a Google search, you might get their website which might have clips, or just clips in general. We’re not saying don’t do that.

What we are saying is that going right to the Stonehenge Auditions or Actors’ Center channel and searching will automatically cut down on some of the irrelevant search results.

For those of you producers who use Stonehenge Casting, Team J’s online casting system, we also keep on pushing the actors to list their clips and demo reels. They can list up to five and you can do a search just for profiles with videos. As of this writing, about 570 do, but obviously we’d like that number higher.

So there you have it: one more casting tool for your toolbox. We’ll be posting more in the months ahead.

Team J Casting Notice: Washington, DC 48 Hour Film Project – 2016

Not a year goes by where Team J’s chief, Bjorn Munson isn’t asked, “Say, do you know some actors who would be interested in being in a 48 Hour Film?”

Well, now we’re going to do something about that.

The Washington DC 48 Hour Film Project will be the weekend of April 29 to May 1st this year. What’s the 48 Hour Film Project you ask? It’s an adrenaline and caffeine-fueled weekend where over 100 teams will be filming 4 to 7 minute films all over the DC Area — and some teams always need more actors.

We’ll be using Stonehenge Casting to collect rosters of actors who are interested in principal or speaking parts as well as background performers (hey, many of these 48 filmmakers have grand visions!).

Two important things actors should remember regarding the 48 Hour Film Project:

First, all the creative work is one within those 48 Hours. No scripts will be written until Friday night, and will need to incorporate a randomly drawn genre, prop, character, and line of dialogue.

Second, the 48 Hour Film Project is an all-volunteer contest. No one on the cast or crew gets paid. Historically, this means both union and non-union actors can and do appear in 48 Hour Films, but SAG-AFTRA actors appear via a short film agreement with deferred pay per the agreement.

There are two different categories you can submit for:

48 Hour Film Project | Washington, DC – 2016 | Principal and Speaking Roles

These are for any and all speaking roles. It could be a big role, it could be a small role. You don’t know any more than the screenwriter does. There might even be frantic script changes when you shoot on Saturday.

48 Hour Film Project | Washington, DC – 2016 | Background Performers

Any 48 Hour Film is, by one measure, an exercise in fun and glory. If you’re up potentially helping out a film — and potentially getting an email blast late Friday night or early Saturday morning seeing if you’re available to just hang out and have fun as a cowboy, a martian, or simply a bar patron, this is for you.

Submission Directions

0) Create a free actor profile on Stonehenge Casting if you haven’t already

We have a FAQ on Stonehenge Casting as well as plenty of How To articles here on the Team J blog.

1) Update the Availability Calendar on your profile
Before you even submit, make sure you’ve listed any conflicts on April 29th, April 30th, or May 1st. 99% of the teams will be doing almost all of their shooting on Saturday, April 30th. If you’re not available then, it’s best to skip this year (hey, there’s the Baltimore 48 in June).

2) Click one or both of the links above to submit to that category
Or you can do it while you’re in Stonehenge Casting. We have an article about it.

3) Fill out Roles (it’s a required field)
In the “Roles” field, you can just look at your logline and tailor it for here. If, after looking at the required genres, you know you can bring something special to something like Western (you’re a horseback rider) or Martial Arts (you’re a black belt), list it.  But remember, you’re still limited to 200 characters for that field, so if you want to list every genre, just put “any genre.”

4) Fill out the Video Audition URL (optional)
If you want to put a demo reel from your main profile here, that’s fine.

5) Click Submit

6) Join a team as you see fit
The casting notices will be open from now until Friday afternoon, April 29th. 48 Hour Filmmakers may contact you beforehand, hoping to lock you into their ensemble — or they might contact you frantically Friday night as they realize they really need someone who knows karate and has clowning experience (for example). It’s completely your call.

We hope you have fun… and frankly, we’re hoping this helps at least one crowd scene happen.

« Older posts

© 2024 Team Jabberwocky

Theme by Anders NorenUp ↑