CASTING CALL FOR "FREEDOM REAL TIME"
Posted 31 Mar 2007 22:40:33 UTC
The musical adaptation of "Freedom Downtime" is accepting submissions for several key parts. In addition a number of non-speaking extras will be cast in the weeks ahead.
The Hollywood production, whose working title is "Freedom Real Time," has taken the key elements of the award-winning documentary and turned it into a complex major motion picture, complete with a murder mystery and a high speed car chase through the streets of Wilmington, North Carolina. The decision to make the production into a musical was not without controversy and was said to be responsible for the departure of Julie Andrews and Luciano Pavarotti from the production, both of whom claimed they were absolutely sick to death of singing. Andrews had been set to play Kevin Mitnick's grandmother while Pavarotti had been signed as computer sleuth Tsutomu Shimomura. There is no word yet on a replacement for either.
There are a handful of parts which have been opened to the public. We're told that it is not necessary for you to have acting experience. The producers are interested in people who can bring reality to the parts. If you're interested, pick a scene from the four below, make a video, and upload it somewhere (YouTube is fine). You can notify the producers by emailing downtime@2600.com with the URL of your video. You can also send your headshots to this address, whether or not you're applying for the specific scenes below.
Shooting of "Freedom Real Time" is set to take place from mid August to late September at various locations in the United States, including New York City, Los Angeles, Las Vegas, Wilmington (North Carolina), and East Rutherford (New Jersey).
The Fedex Connection
The Landmark Building
Harvey's Fear
Tapping with Kevin
EXT. PARKING LOT
A small parking lot next to a two-lane highway. A Fedex dropbox is visible facing away from the highway.
The street is moderately busy as traffic goes by. We hear the WHOOSH of the cars.
Into the scene walks FEDEX GUY. He matter of factly and without any sign of fear walks to the Fedex dropbox and crouches down. He is there to open it.
FEDEX GUY
Well, here I go again. Time
to open the Fedex box and empty
it of all the packages and
envelopes that customers have
deposited.
He opens the box. Two cases of domestic beer fall to the ground.
FEDEX GUY (CONT'D)
What's this? Cases of beer?
But how?
He stands up and turns around. He looks in all directions.
FEDEX GUY (CONT'D)
A package of this size couldn't
possibly have fit in the chute.
There's no way anyone could have...
CLOSE UP ON FEDEX GUY
He has a sudden look of fear.
FEDEX GUY (CONT'D)
Unless....
*******************************************************************
INT. BUILDING LOBBY
A small lobby with a RECEPTIONIST, a 30ish MAN, and a SOUND MAN for another film in the background. The MAN is smoking a clove cigarette.
ELEVATOR MUSIC can be heard from the stairwell.
EMMANUEL enters the lobby with CAMERAMAN.
MAN
Sorry, you can't film in here.
EMMANUEL
(incredulously)
You can't film in here?
MAN
(nervous laugh)
Is there an echo in here?
I already said that.
EMMANUEL
(insistent)
But why can't we film?
MAN
Why? Why?
(to the RECEPTIONIST)
He wants to know why.
(takes a drag of his cigarette)
I'll tell you why.
(beat)
Because.
EMMANUEL
Uh... that's not a reason.
MAN
(flings the cigarette down
onto RECEPTIONIST'S desk)
Oh now you want a REASON.
A REASON. I see.
RECEPTIONIST
Hey!
MAN
Well the REASON is that you can't
film in here because it's...
Because it's...
EMMANUEL
Yes?
MAN
(he moves towards EMMANUEL)
Because it's a landmark! Aha!
It's a landmark building. You
can't film a landmark building.
There's your REASON.
EMMANUEL
(not backing down)
But that doesn't make any sense.
The MAN has moved directly in front of EMMANUEL. The two are posed in a confrontation worthy of "High Noon." The tension can be cut with a knife.
MAN
(his anger rising)
Oh now you want it to make SENSE.
There's no end to your demands,
is there? I've had it up to here
with you people who come into this
building - this LANDMARK building -
from the STREET and you prance about
wanting to take pictures and make
films and turn the lives of good people
upside down.
He jabs his finger at EMMANUEL.
MAN (CONT'D)
Well, no more! This is the line
in the sand. This is where history
is made. Your reign of terror is
now over. Canceled. Not picked up
for another season.
He pivots and turns away, as if he's just dismissed a pupil.
EMMANUEL
(in desperation)
Listen, let me just --
MAN
(whirls around in indignation)
No, let ME just tell YOU that a
new day has dawned today. No longer
will the people of this building
have to put up with the likes of you
coming in and capturing their images
and the images of the building for
distribution to the public at a
later date. No longer will --
VOICE (O.S.)
Emmanuel, this isn't even the
right building.
EMMANUEL
(turns)
What?!
VOICE (O.S.)
We're supposed to be across
the street.
(beat)
EMMANUEL
Oh great.
(to MAN)
Well, thanks for your help.
EMMANUEL and CAMERAMAN walk out.
MAN
(follows EMMANUEL to the door)
Yeah you BETTER leave. That's right.
(shouts out the door)
And don't you be filming us from
outside neither. Don't even LOOK at
this building! It's a LANDMARK!
LANDMARK!
*******************************************************************
INT. HARVEY WEINSTEIN'S OFFICE
This office screams money. There are leather couches and expensive bottles of sherry as far as the eye can see. HARVEY is pacing the marble floors holding a cigar in his hands, not entirely sure whether he will light it.
From the outside can be heard the chanting of a demonstration. "Miramax distorts the facts" and "Free Kevin" are words which can be made out quite clearly.
(beat)
He stops to look at the HO-scale model trains on the southern end of the office. He picks up a Union Pacific locomotive and gazes at it, as if asking the diesel engine for its assessment of the situation. Suddenly, he hurls it into the distance. We hear the CRASH and ensuing SCREAMS of the SECRETARY.
He rushes to the window.
CLOSE UP on HARVEY
HARVEY
(a crazed look of panic on his face)
The hackers are outside.
(louder)
The hackers are OUTSIDE!!
(he turns and shouts to the
still screaming SECRETARY)
Unplug the fucking phone! Get everyone
the hell away from the window!
He turns back to look outside once more, as if to confirm his worst fears.
EXTREME CLOSE UP on HARVEY
HARVEY (CONT'D)
(a look of ashen horror)
Oh my God.
(beat)
We're dealing with hackers
on our own soil.
*******************************************************************
INT. FEDERAL PRISON
We see KEVIN standing at a window approximately one half inch wide, struggling to get the attention of the people down below in the street by TAPPING on the window.
Around him, other PRISONERS come and go, attending to their daily business.
KEVIN
(to himself)
Well, this is a fine mess I've
gotten myself into. Tapping on a
window of a prison so these clowns
downstairs can look up at me and
wave or point the camera or
something. I don't even know.
TAP, TAP, TAP
KEVIN (CONT'D)
(looking dreamily into space)
Why am I here? Where am I going?
What does the future hold?
He sings as the MUSIC builds to a crescendo.
KEVIN (CONT'D)
Sitting here in limbo
But I know it won't be long.
Sitting here in limbo
Like a bird without a song.
Well they're putting up resistance
But I know that my faith will lead me on.
Sitting here in limbo
Waiting for the dice to roll.
Sitting here in limbo
Got some time to search my soul.
Well they're putting up resistance
But I know that my faith will lead me on.
I don't know where life will lead me
But I know where I've been.
I can't say what life will show me
But I know what I've seen.
Tried my hand at love and friendship
But all that is past and gone.
And now it's time to move along.
Sitting here in limbo
Waiting for the tide to flow.
Sitting here in limbo
Knowing that I have to go.
Well they're putting up resistance
But I know that my faith --
PRISONER (O.S.)
Mitnick, shut it!
KEVIN
Sorry.
TAP, TAP, TAP
FADE TO BLACK
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