Ever written a part for a celebrity?

I recently realised a certain well-known actor would be perfect to play a particular character in my sitcom. My idea's pretty unique, becuase, if he agrees to take the part, he'll be playing an almost identical character to one he played in a well-known film, back in the late 80s. I say almost identical, because there's a big comedy twist to his character's story, this time around. He's not the show's lead character, so it won't destroy the whole script, if the actor turns it down. Anyway, I was wondering, has anyone else ever written a part, with a specific actor in mind?

yes. but not intentionally. after reading my script I realised the chap in question would be perfect. I then wote a few additions with him in mind. Am waiting for a reply - fantastic if he agreed but not expecting anything. Are you planning to send it to your man?

Actually, I hadn't even thought about sending him the script. I thought it would be best to wait for a production company to show interest first.

Maybe he'll like it and sway it for you. You never know.

I've got a couple of similar ideas in mind.

Yes, Rich Hall.

I often imagine certain actors playing certain roles, but I'm going to find it difficult to get the young John Cleese in anything of mine.

I wrote a fabulous sex scene staring myself & Colin Farrell.

Quote: David Chapman @ October 16, 2007, 12:09 AM

Maybe he'll like it and sway it for you. You never know.

I've got a couple of similar ideas in mind.

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I did, and was told the two people in question liked it and didn't mind attaching their names to it.

That didn't really help anyone though, as they don't really have much clout.

I wrote about 10 pages of a sitcom for an actor in mind. To test it out, I put it on writers dock and got slated for how it was effectively actor X.

Mission accomplished!

I disagree fundamentally with the concept of this. The only way is to develop a character then see retrospectively if actors suggest themselves to you.

If you start writing with an actor in mind, you're in danger of melding together character traits from their most famous creations (or their on-screen persona) rather than create a truly original character. Cleese will always (in the back of our minds - if we're honest) be associated with Fawlty and if we wrote for Cleese we're writing for Fawlty.

Plus if the part is heavily-based on an actor (or a disguised character they once played) and the actor isn't interested, you're knackered.

But getting an actor involved can make the difference, if they have clout.

Quote: SlagA @ October 16, 2007, 5:04 PM

I disagree fundamentally with the concept of this. The only way is to develop a character then see retrospectively if actors suggest themselves to you.

If you start writing with an actor in mind, you're in danger of melding together character traits from their most famous creations (or their on-screen persona) rather than create a truly original character. Cleese will always (in the back of our minds - if we're honest) be associated with Fawlty and if we wrote for Cleese we're writing for Fawlty.

Plus if the part is heavily-based on an actor (or a disguised character they once played) and the actor isn't interested, you're knackered.

But getting an actor involved can make the difference, if they have clout.

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I think that applies more to certain actors defined by specific sitcoms - gervais/ the office...cleese/ fawlty towers...coogan/ partridge, leap to mind.

a part written with a specific actor outside the above group (OK there might be a few others) is very rarely mutually exclusive to that actor i.e. someone else could easily have played Robert Lindsay in My Family. And, if Lindsay had his way, he probably wished they had !

it would have been different, sure, but that's due to the idiosyncrasies any particular actor brings to a production. I think visualising an actor before can be a good way, especially for new writers, of ensuring a consistent character throughout the script. If that actor doesn't agree to it, which, lets face it, is likely, i'd be very surprised that the script would, on that eventuality alone, be redundant.

i agree with nick. its a tactic i use regularly. i imagine an actor playing the part and how his dialogue would sound. obviously you don't do it with every character in every piece but it can work well.
also, if you have a good idea then there is no harm in getting it to an actor. there's no guarantee it will get made, but if Peter kay wants to be in your sitcom, it will get you started.

I think we're talking the same point. Just emphasis on different parts. My argument is that setting out specifically to write a part for an actor is not a good idea because it has already set you up with certain basic characteristics that are not strictly your own creation rather an amalgum of the actor's roles (the reason you thought of him / her) and the actor's persona (what they personally add to a role) but yes, finding the right actor after is a bonus. Which I think is contained in parts of what Nick and Johnny have said.

As Nick rightly points out (re: Lindsay) each actor adds his own idiosyncracies to a role but (using the Lindsay example) it is those very 'idiosynchrasies' that makes a writer think 'oh, Lindsay will be ideal for ...'

The problem with having the actor or character in mind before writing being that we don't start with a blank canvas but that we write for a character that is set in our minds already.

Quote: Pilot @ October 16, 2007, 4:48 PM

I wrote about 10 pages of a sitcom for an actor in mind. To test it out, I put it on writers dock and got slated for how it was effectively actor X.

Mission accomplished!

View original

Whoooo was it?

it was rik mayall, I had no intention of going the whole way sending to it his agent etc, I just wanted some practice for writing for a specific performer. On the board they twigged it, so I was glad to be called unoriginal on that occasion.