Other considerations vary from state to state, with California having some of the strictest child labor laws in the country. Nudity is absolutely forbidden, regardless of context (that “Man of Steel” scene featuring naked baby Clark Kent had to be shot in Vancouver). Real cigarettes are forbidden on set. And the number of hours a minor works is rigidly enforced.
But when it comes to moral content, the labor commission leaves it to the discretion of parents. “The parent is No. 1 in the children’s lives. They have to decide what’s best for them,” says Coast to Coast agent Meredith Fine, who takes pride in matching her clients to appropriate material. Fine reps three of the young actresses in the R-rated haunted-house chiller “The Conjuring,” but insists, “It wasn’t scary on set because there are lots of people protecting the kids.”
In other cases, something as innocuous as a Nickelodeon or Disney Channel series may cross a child actor’s comfort line. “I do have clients who pass on projects because the material is too scary for them, or because a young girl is not ready to have her first kiss onscreen,” Fine says. “You have to recognize what makes sense for your child. I think the success of these kids is that they have a good support team around them.”
In addition to parents or guardians, the law dictates that a social worker be present on set whenever minors are involved, usually in the form of unionized studio teachers. Because the production pays that additional salary, “They combine this role into one: I’m a teacher, social worker and lawyer,” says Tom O’Flaherty, the studio teacher on “The Nether.” “The parents are the first one to make the decision if they want their kid to do this type of role, and then we’re there as a support system for the kid and for the family, to make sure they’re comfortable, safe and taken care of in every aspect. We’re the watchdogs.”
With “The Nether,” O’Flaherty was hired by the production early on, giving input during rewrites and planning so playwright Jennifer Haley could portray the show’s predatory virtual world without putting teenage Fleming at physical risk. As for the emotional demands, “The actress was very aware of the material,” O’Flaherty says. “She had done a lot of TV and film, so she had an idea how to portray a role like this.”
“The Walking Dead” exec producer Gale Anne Hurd felt similarly confident about working with Riggs, whom she describes as “an actor, not just a child actor,” explaining, “A lot of child actors essentially play versions of themselves, but if they need to go to a deeply emotional place or do something that they themselves in real life wouldn’t do, they have trouble performing those scenes.”
Riggs had a chance to work his way up to the mom-killing scene over the course of three seasons. The young actor and his parents (who are both teachers) were familiar with the graphic novel and always received scripts, so there were never any surprises.
“You know going in that a lot of these characters are going to have a short shelf life,” says Chandler’s father, William. (The pilot featured a zombie girl being shot in the forehead.) “It’s always very sad when we lose a cast member. We just talk our way through it. He has always understood that it’s all pretend, but it’s still difficult because Sarah Wayne Callies was very good to Chandler, and she treated him as a surrogate mom on the set.”
Problems most frequently arise when productions are unclear with parents about what a given role entails, says Children in Film founder Toni Casala. “It’s intimidating for parents (to object) because they’re afraid their kids may never work in this town again. double sided tape The less experience they’ve had in the industry, the more they’re willing to endure,” says Casala, who points out that productions can make their content as extreme as they like because there’s always some parent willing to sign their kids up for the role. “Child performers don’t really have a say unless their parents make them team players.”
Petersen takes an even more extreme view, citing the thousands of girls who auditioned for Adrian Lyne’s “Lolita” remake, knowing the effect the (less explicit) original had on Sue Lyon: “Remember, children are chattle (under the law). They belong to the parent, no different than a slave. Bad parental choices have consequences.”
For first-time child actors taking small parts, the parents and studio teachers may not have access to the full script. In other cases, masking the full nature of the role is the best way to protect the young performers. That’s how Mexican helmer Amat Escalante ― who won director honors at Cannes for “Heli” ― staged the film’s shocking torture scene, by clearly explaining to the 11-year-old extra and his parents that the young performer would be instructed to paddle an actor whose backside was exposed, then walk off set with his eyes closed (he would then hear screaming as the tortured actor’s genitals were lit on fire via a computer-generated effect).
“We try to make it a fun atmosphere and to relieve the tension with humor, especially in scenes where we’re doing very difficult things,” says Escalante, who was very protective of the young actors, all of whom were non-pros.
“It’s very different in Mexico because children grow up much quicker. Part of the inspiration of making ‘Heli’ was seeing 12- to 14-year-old children in Guanajuato going through some really difficult things for that age,” says Escalante, who cites the fact that a 6-month-old baby cast elsewhere in the film was accompanied on set by her 14-year-old mother. “It was a minor taking care of a minor.”
Read the full story at www.sdktapegroup.com/BOPP-tape_c556!
But when it comes to moral content, the labor commission leaves it to the discretion of parents. “The parent is No. 1 in the children’s lives. They have to decide what’s best for them,” says Coast to Coast agent Meredith Fine, who takes pride in matching her clients to appropriate material. Fine reps three of the young actresses in the R-rated haunted-house chiller “The Conjuring,” but insists, “It wasn’t scary on set because there are lots of people protecting the kids.”
In other cases, something as innocuous as a Nickelodeon or Disney Channel series may cross a child actor’s comfort line. “I do have clients who pass on projects because the material is too scary for them, or because a young girl is not ready to have her first kiss onscreen,” Fine says. “You have to recognize what makes sense for your child. I think the success of these kids is that they have a good support team around them.”
In addition to parents or guardians, the law dictates that a social worker be present on set whenever minors are involved, usually in the form of unionized studio teachers. Because the production pays that additional salary, “They combine this role into one: I’m a teacher, social worker and lawyer,” says Tom O’Flaherty, the studio teacher on “The Nether.” “The parents are the first one to make the decision if they want their kid to do this type of role, and then we’re there as a support system for the kid and for the family, to make sure they’re comfortable, safe and taken care of in every aspect. We’re the watchdogs.”
With “The Nether,” O’Flaherty was hired by the production early on, giving input during rewrites and planning so playwright Jennifer Haley could portray the show’s predatory virtual world without putting teenage Fleming at physical risk. As for the emotional demands, “The actress was very aware of the material,” O’Flaherty says. “She had done a lot of TV and film, so she had an idea how to portray a role like this.”
“The Walking Dead” exec producer Gale Anne Hurd felt similarly confident about working with Riggs, whom she describes as “an actor, not just a child actor,” explaining, “A lot of child actors essentially play versions of themselves, but if they need to go to a deeply emotional place or do something that they themselves in real life wouldn’t do, they have trouble performing those scenes.”
Riggs had a chance to work his way up to the mom-killing scene over the course of three seasons. The young actor and his parents (who are both teachers) were familiar with the graphic novel and always received scripts, so there were never any surprises.
“You know going in that a lot of these characters are going to have a short shelf life,” says Chandler’s father, William. (The pilot featured a zombie girl being shot in the forehead.) “It’s always very sad when we lose a cast member. We just talk our way through it. He has always understood that it’s all pretend, but it’s still difficult because Sarah Wayne Callies was very good to Chandler, and she treated him as a surrogate mom on the set.”
Problems most frequently arise when productions are unclear with parents about what a given role entails, says Children in Film founder Toni Casala. “It’s intimidating for parents (to object) because they’re afraid their kids may never work in this town again. double sided tape The less experience they’ve had in the industry, the more they’re willing to endure,” says Casala, who points out that productions can make their content as extreme as they like because there’s always some parent willing to sign their kids up for the role. “Child performers don’t really have a say unless their parents make them team players.”
Petersen takes an even more extreme view, citing the thousands of girls who auditioned for Adrian Lyne’s “Lolita” remake, knowing the effect the (less explicit) original had on Sue Lyon: “Remember, children are chattle (under the law). They belong to the parent, no different than a slave. Bad parental choices have consequences.”
For first-time child actors taking small parts, the parents and studio teachers may not have access to the full script. In other cases, masking the full nature of the role is the best way to protect the young performers. That’s how Mexican helmer Amat Escalante ― who won director honors at Cannes for “Heli” ― staged the film’s shocking torture scene, by clearly explaining to the 11-year-old extra and his parents that the young performer would be instructed to paddle an actor whose backside was exposed, then walk off set with his eyes closed (he would then hear screaming as the tortured actor’s genitals were lit on fire via a computer-generated effect).
“We try to make it a fun atmosphere and to relieve the tension with humor, especially in scenes where we’re doing very difficult things,” says Escalante, who was very protective of the young actors, all of whom were non-pros.
“It’s very different in Mexico because children grow up much quicker. Part of the inspiration of making ‘Heli’ was seeing 12- to 14-year-old children in Guanajuato going through some really difficult things for that age,” says Escalante, who cites the fact that a 6-month-old baby cast elsewhere in the film was accompanied on set by her 14-year-old mother. “It was a minor taking care of a minor.”
Read the full story at www.sdktapegroup.com/BOPP-tape_c556!
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