You will need a firm start date.
You will need a firm money offer.

When you have both of these you will contact the actors
agent and make the offer. A-list talent don't audition.
They have reached the A-list based on the marketability
of their name. A producer (you) will offer them a role. If
the money offered is at or above their usual quote and
the start date is in an open period, the agent will read the
script. If the agent feels it's a good project for their client,
they will have the actor read the script.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Lastly with the A-list actor there is often a meet and greet. That is the director (and perhaps producers) and the actor meet to make sure they can tolerate each other for the length of the shoot. This is usually informal and certainly not an audition.

They may also ask the A-list to read with their costars but this is judging chemistry and the if they can tolerate the costar, not judging the A-list's acting chops because as stated before they have a name that sells movies or else they would not be on the A-list.

RJSchwarz

I've never heard of a meet and greet between an A-list actor and
the director to make sure they can tolerate each other.

Is that common?

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Perhaps when I used the word often I was overstepping because I really don't know. I've read about it in at least two different books. I think more likely in this case the A-list is judging the director rather than the reverse.

RJSchwarz

I haven't read those books. Which ones are they?

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

I can't pick out what books I picked what little bits from. Most likely it was a book about/by a Producer though so I'll dig around and look.

RJSchwarz

From a brief scan through my library I found one instance that probably gave me that idea. Art Linson's "What Just Happened?" page 42.

"Dustin Hoffman, with all of his past greatness, was now, as they say, reading. This euphemism means that he is willing to look at scripts without a firm offer, and if he is interested, he is willing to meet with the producer and director."

I assume that including the director meant 'can they get along?' Their vision and temperament and all. Perhaps they would meet for some other reason. Seeing as it is a Euphemism I also assume that means that it happens regularly.

RJSchwarz

Thanks for checking. I've read Linson's book.

I don't read it the same way you do. You have an interesting take on it.

quote:

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Originally posted by DavidScJr

... Does anyone have any experience or advice with approaching SAG actors to audition?

I have Talent Agency and Talent Management contact information for all my actors but don't know if I should go to one before the other, or if I will have success with one over the other... or if I have to go to both. ...

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I am in the process of getting my first project going. I have a little to share with you, but my talent isn't A-list. Pardon me if I'm repeating things you already know...this is based on discussions here and with my local SAG rep.

You should be a SAG signatory producer before approaching any rep; they will ask you. You probably want to talk to the agent before the manager; the agent is supposed to hunt down jobs and seems to be they would be more motivated. I'm also told that most are going to be hungry for work at the moment given the economy, but this may not apply to a wealthy A-lister who's managed money well. There are conditions which must be met for auditioning; you should see the appropriate SAG contract for these before trying to set up an audition. For example, according to the contract to which I'm agreeing, an audition has to be during normal working hours, no longer than one hour unless compensated, and must be conducted in a private but businesslike setting.

Hope this helps.

This is all perfect. Thank everyone for chiming in. I am a SAG signatory producer so we're square on the union end of things. We were just trying to tie up some talent to attach to the project before we hit the festival circuit to help land distribution.

Unfortunately, I was pretty much unsuccessful in obtaining the SAG 'A' talent we were looking to book (either because of 'no' answers, no responses or contractual obligations. The exercise of contacting the agents was great though so thanks for guiding me through!

David Schatanoff
D Studios Productions