Jesse danielle ...

*URGENT* Looking For : 2 Male talents in short Film

Character Overview: Malakai/ Kai, Young Male (ages 17-23) AGE: Late teens - Early twenties. HAIR: Brown PHYSIQUE: Thin, wiry. Character Overview: Death, Young Male (ages 20-28) AGE: Early Twenties to late Twenties HAIR: Dark Brown - Black PHYSIQUE: Healthy. CHARACTER ANALYSIS: MALAKAI/ KAI: AGE 17 IN SCRIPT! Backstory: Set in the impoverished suburbs of England in 1789, Malakai’s life was marked by hardship from the very beginning. Afflicted by illness since infancy, he faced the harsh realities of a time when sickness often meant an early death—particularly for those living in poverty. With little access to medicine or proper care, survival itself was a struggle. For Malakai, life had been a steady descent since his earliest days, shaped by both his frail health and the unforgiving world around him. Physical Structure: Malakai stands as a haunting figure of quiet resilience. His eyes — large, sunken, and brimming with unspoken sorrow — hold the weight of a world that has never been kind to him. His tall, wiry frame seems fragile, as though one strong gust could carry him away. Pale skin catches the light like porcelain, its fragility laced with an unintentional beauty. His hair, soft and loosely curled, tumbles across his face — overgrown, untouched, as if time itself forgot to tame it. High cheekbones carve gentle shadows beneath tired, purple-tinged eyes, lending him an ethereal, almost tragic grace. Mindset: Malakai’s turmoil lies at the heart of The Blue Bird Boy’s central theme — the fragile pursuit of hope in the face of inevitable decay. His fading spirit mirrors the desolation of his surroundings, yet it is within his despair that the story’s quiet beauty emerges. The “blue bird” becomes a symbol of what Malakai has lost — innocence, freedom, and the dream of something beyond his suffering. His internal struggle reflects the universal human conflict between surrender and survival, between accepting one’s fate and daring to imagine more. In this way, Malakai is not simply a victim of his era, but a vessel through which the story explores resilience, loss, and the faint glimmer of redemption that flickers even in the darkest corners of existence. DEATH: IMMORTAL Backstory: Having died at a young, undisclosed age, Death exists as a quiet, celestial presence — an angel not of fear, but of compassion. Unlike the grim and merciless depictions often seen in folklore, this embodiment of Death is tender, almost human in his warmth. He carries no scythe, speaks no threats; instead, he offers solace and understanding to those crossing into the unknown. When he appears to Malakai, it is not as a harbinger of doom, but as a brother — a kindred spirit who understands the ache of living and the relief of letting go. His presence brings guidance, acceptance, and an unexpected sense of peace, transforming the idea of death from terror into transcendence. Physical Structure: Death possesses an otherworldly beauty — a quiet, haunting grace that feels both human and celestial. His features are sharp yet soft, sculpted with a stillness that draws the eye. His skin holds an ethereal pallor, not lifeless but luminous, as though light itself hesitates to leave him. His dark hair falls effortlessly, framing a face both youthful and timeless — the face of someone who has seen eternity but carries it gently.There is a calmness in his gaze, deep and knowing, as if he sees through the layers of existence itself. When he moves, it is with the unhurried weightlessness of someone untouched by time. His presence fills a space without words — not cold, but serene, carrying an inexplicable warmth that settles the air around him. It is as though his very soul radiates outward, a soft glow of compassion that contradicts the darkness his role implies. In The Blue Bird Boy, Death is portrayed not as the end, but as the embodiment of stillness and release. His beauty is not meant to seduce, but to comfort; his silence speaks of understanding rather than absence. When he appears to Malakai, it is as if the universe itself pauses — not in fear, but in reverence for the delicate balance between life, loss, and peace. Mindset: In The Blue Bird Boy, Death serves not as an antagonist, but as a mirror to Malakai’s suffering — a reflection of the peace that follows acceptance. His presence redefines the concept of mortality, shifting it from an ending into an act of mercy, a quiet release from pain. Through Death’s gentle demeanor and unwavering compassion, the story challenges the audience’s fear of the inevitable, portraying death as a natural extension of life’s fragile beauty. To Malakai, Death becomes the embodiment of understanding — the brother he never had, the friend who arrives when all hope has faded. Their bond blurs the line between life and afterlife, illustrating that love and connection persist even beyond the final breath. In this, The Blue Bird Boy transforms tragedy into transcendence, finding serenity in surrender and grace in the act of letting go.

Eindhoven, NL

Casting Onkosten

Bart Huisman

Casting Call [Niks Gezien]

We zijn op zoek naar gepassioneerde acteurs die zich willen onderdompelen in een realistisch verhaal met emotionele diepgang. Ervaring is geen vereiste, dus als je denkt het in je te hebben, meld je aan! Op set en in het proces naar de draaidagen zullen we genoeg repetitie dagen inplannen. KARAKTERS: Stefano: Stefano is een gecalculeerde, scherpe en slimme jongen. We vinden Stefano aan het begin van de film op zijn laagste punt, maar als hij de kans ziet om zijn breakthrough te maken in de criminele wereld gaat hij 100% er in op. (18 - 30) Francesco: Francesco is een jongen met grote praatjes, hij is charismatisch met een vlotte babbel. Francesco heeft een romantisch beeld van de criminele wereld in zijn hoofd, maar als de realiteit van deze wereld echt wordt ontstaat er twijfel in hem. (18 - 30) Giovanni: Giovanni is iemand die geniet van het criminele leven, hij krijgt een kick uit de macht over andere mensen, maar is ijskoud als de situatie er naar roept. (20 - 40) Maria: De baas van de criminele organisatie. Een onvoorspelbare intimiderende vrouw. Ze laat niemand over haar heen lopen en geen actie is meedogenloos genoeg om haar organisatie goed te laten runnen. (30 - 50) Eva: Eva is een van de onderdelen van de organisatie. Zij samen met Giovanni als de linker- en rechterhand van Maria. Eva is een onderhandelaar, zeer intelligent. Vergeleken met de rest van de organisatie oogt zij niet als het criminele type, maar ze weet zich slim in de organisatie te bewegen (18 - 25) Jacob: Jacob is een jongen zonder ruggengraat, hij kijkt het liefst uit voor zichzelf en vindt vooral zijn eigen succes het belangrijkste. Het is iemand die graag het eindresultaat wilt hebben zonder de moeite. (18 - 25)

Arnhem, NL

Casting Onbetaald
NL / EN
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