NOTE — The intention in advertising roles at this early stage is to identify key cast and crew members now and to take our time during fundraising to familiarize with the series, the roles, the objectives and with each other. That way, if and when sufficient funding is available, we’ll have already built the relationships and the knowledge to be ready to roll on production. If that’s okay with you, please send word to studiotar@icloud.com, with the desired role as subject. Thank you!
Devika — F, 30s. Ideally knows Hindi or Arabic.
Mei Ling — F, 30s. Ideally knows Mandarin or Indonesian.
Samirah — F, 30s. African-descent. Ideally knows a second language.
Valya — F, 30s, Ideally knows Russian.
Al-Haj — M, 30s. Ideally knows Arabic or Hindi.
Dwi — M, 30s. Ideally knows Indonesian or Mandarin.
Jonathan — M, 30s. African-descent. Ideally knows another language.
Jenny — (Major guest). F, 30s. Hispanic or European-descent.
NOTES
— The lack of character breakdowns is intentional. While characters have been written a certain way to start, we expect changes in profiles and arcs after final casting. We’ll look for people first, who meet the general age and cultural preferences, and reshape the final characters and scripts, as needed, around the selected actors.
— Rates can be agreed upon now, within the target budget. For production dates, a future, filming window can be decided upon by the main cast and crew players. Travel and housing are included in budget, so we welcome applicants from anywhere.
Production Designer — In 2025, begin discussion on the design template(s) for the series and begin cataloguing settings ideas, before ultimately leading on the build/design of sets next year.
Casting Director — Ideally someone with casting and/or coaching experience. In 2025, offer insight on selecting main cast, before ultimately leading the ensemble development and casting for support characters and featured guests.
Art Director — In 2025, discuss and catalogue ideas on art and copy direction for the series as a whole (including the website and campaigns), before ultimately executing on artwork and installations.
Costume Designer — In 2025, begin discussion on style types and looks that can later be transferred to characters (or for characters, if cast), before ultimately leading the wardrobe/styling department.
NOTES
— “Discussions” on the series through this year means 1-2 calls, per month, on structured topics as well as general ideas.
— Rates can be agreed upon now, within the target budget. For production dates, a future, filming window can be decided upon by the main cast and crew players. For the above departments, work is either remote or travel and housing is budgeted, so we welcome applicants from anywhere.