This one, frankly, was a no-brainer.
My number one college memory is: Casting Call.
Why was this a no-brainer? Well, Casting Call - the first play I wrote and directed for the RC Players - was, in many ways, a crossroads for me: creatively, professionally, and personally.
Creatively, Casting Call came right after I had started taking screenwriting classes. Anyone familiar with the play knows that it is NOT creative (all the characters, and many lines, are taken directly from other sources), but it was a big step forward from where I was before as a writer. Before, I could only write personal essays (such as "The Summer of 2009," memory #11); this was the first thing I ever wrote that had any amount of creativity to it. That enabled me to later on write more creative scripts such as "The Love You Take" (memory #17).
Professionally, Casting Call was a HUGE moment for me. It instilled in me a love of directing and working with actors that really validated my decision to go into film production. It started a relationship with the RC Players, and led to two other memories in the Top 25 that were RCP productions: "A Card Game Called Murder" (#24) and "Sleepover" (#12). It also led to me meeting all the people that helped make "Ann Arborland" (#13) a reality. And, it spawned a sequel, "Aftermath," that I directed for my Minor in Writing, which led to the script based on memory #3 ("The Designated Driver").
Personally, Casting Call was a chance to reunite old friends - Gabriela Granados from "Dr. Love" (memory #15) and Ryan Krasnoo (from memory #21); work with current friends - Sarah Goslin from memories #3, #16, and #18; and to make new friends - Grace Hawkins (who wrote "Sleepover" and "Ann Arborland"), Skye Payne, Peter Leonard, and Greg Hicks, David Brownman, and Paige Pfleger who all starred in "Ann Arborland."
THE SCRIPT
I was sitting in work, a day or two before the submission deadline for the RC Players Evening of Scenes. I remember sitting in my office at work trying to write a scene based on my designated driving experience, but that wasn't working for me (the car was impossible to do on stage). I had submitted a scene the previous semester (fall of junior year) and been rejected, so I really wanted this.
Then, an epiphany! Make fun of famous people! An original idea!
Okay, maybe not original, but easy to write and easy to follow. I just needed my characters. I wanted it to be an original idea as much as it could be, and being the movie buff that I am, I came up with the idea to make it about my favorite director, Judd Apatow, casting a new movie.
So, Apatow is casting a new romantic comedy. At the auditions, he's hired Paul Rudd and Kristen Bell, who'd been in some of his previous movies, to read with the other actors. As each famous actor or actress comes in, each one leaves with the situation somehow going awry.
Robert De Niro, for example, reciting a line from when he played Al Capone in The Untouchables, is too distracted over a fender bender from the parking lot to focus on the scene. Will Ferrell thinks it's a sex scene and strips down and starts kissing Kristen Bell. Christian Bale only uses the Batman voice. Al Pacino (with Tom Cruise in his pocket) holds the gang hostage with a gun, as Katie Holmes comes to save her husband.
John Belushi (somehow alive) wears a toga. Penelope Cruz' accent is to much for Apatow, who also can't recognize a past-her-prime Molly Ringwald. Lindsay Lohan is drunk, and has her cocaine stolen by Al Pacino. Meryl Streep, there to save the day, actually had the wrong room number.
THE CAST
I remember in the audition process for the scene, I had very few people actually read for Casting Call. I was, frankly, casting people based on whether or not they looked the part. I believed in their potential, and my potential to direct them and make the scene work.

The next person I cast was Greg Hicks in the lead role playing Judd Apatow. I was impressed by his audition. Greg would go on to become a good friend of mine and star in Sleepover and Ann Arborland. And he was never better, in my opinion, than in this role.



The last three parts to be cast, as I recall, were Lindsay Lohan, Katie Holmes, and Kristen Bell. I chose Paige for the first, and that decision was instantly met with great acclaim from the other directors who told me she was a natural for the part. The last two I cast after all the other directors had left (that's how much bigger my cast was than everyone else). I loved the auditions of Alexandria Strother and Grace Hawkins, and knew both of them were too good not to be in the show. Alex got Katie Holmes and Grace got Kristen Bell, mostly because Grace had blonde hair.
That's right, I cast Grace Hawkins, who I've since directed three times, wrote a play with, will be moving to Hollywood with, and who has become on of my closest and best friends, not only LAST, but because of the color of her hair. I am proud of every casting decision I made in this, but this will go down as the GREATEST casting decision I'll ever make.
THE REHEARSALS
Beginning with Casting Call, every time I direct anything I open the first rehearsal by saying, "my ideas are not final. If anyone has an idea, speak up, because it's probably better than mine."
After the first rehearsal, Ryan and Grace both came up and started making suggestions for what to do in the play. Grace suggested, at one point, having Peter do the Batman voice a second time. Peter's Batman voice was the one thing that consistently had everyone in the room laughing at rehearsals. Ryan added in a few jokes here and there and tweaked some things, too.

The parts of Paul Rudd and Kristen Bell were smaller in the script, too, and so Ryan and Grace had the freedom to help invent those characters some. The Al Pacino cocaine bit was added in rehearsals, the Kristen Bell sloth joke was added, as was the the "six to midnight" line, I believe.

-Making sure the three leads served to not only move the plot along, but bring out the humor by playing the straight characters to the other actors. A lot of the humor, I thought, was going to come from Greg's reactions to what people were saying and doing.
-Making Lindsay Lohan appear as drunk as possible.
-Making Penelope Cruz as hot as possible. I even had Gabi bring in multiple dresses to see which was best for the scene.
-Planning and managing the many entrances, exits, and how to incorporate the paper scripts into the scene (as in who received one on stage, who already had one, who threw there's angrily, etc). Those scripts also came in handy as several actors just read them on stage.

The first was when Sean, the actor playing Will Ferrell, missed a rehearsal three days before the first show. He texted me afterwards to say he slept through it. I was so pissed off at him, that I sent a long, angry email to the whole cast telling them that they were all expendable and that all remaining rehearsals were full dress and anyone who didn't make it would be recast. They responded beautifully, and the next two rehearsals were awesome.
The second was when I was trying to get Greg to get really angry at the end of the play (when he finds out Meryl Streep screwed up and it's the last straw for him). Greg is such a nice guy, he couldn't do it. Like some of my dad's more unorthodox coaching and motivational tactics from my youth, I came up with an odd plan. First, I had Greg play the "penis game" with me (we alternate saying "penis" louder and louder until we're screaming, and whoever quits first loses). Then, I went to the trash bin and grabbed a stack of newspapers, a soda can, and a water bottle.
"Greg," I said. "After your last line, I want you to rip these papers, smash this can, throw the bottle into the seats, storm out, and kick the door on your way out." He did it, and it was so good we kept the props for the final show.
THE PLAY
The play itself was a huge success. It got at least the second-biggest laughs of the night (out of 7 scenes). I had several people congratulate me afterwards. The best compliment was from a fellow director who admitted he thought the scene would fail because it relied on the actors' abilities to play famous people, but that it worked very well. The second was when Greg said the same thing, after publicly doubting the scene and me as a director.
I was so nervous going into it, but confident. I told my cast, in my pre-show pep talk, that they were incredible and that we had the best cast and how I got my first choice for all thirteen roles (which was true). I loved all of them so much: Peter's voice, Sean's borrowed wig and ridiculous underwear, Paige's insistence on dying her hair fot the role.
THE "AFTERMATH"
So, for a writing class I was assigned to repurpose an existing project (that is, to give it new meaning) and then to put that new paper into a new medium. I chose to write a sequel to Casting Call, called "Aftermath." I couldn't just do a sequel, though, because that didn't really change the purpose. So I wrote the new script as a hybrid of a sequel and a documentary about the play.
Grace and my friend, Jennifer, both gave me some great notes on the script. Grace was very adamant that we not be misogynistic, and also suggested that Meryl Streep be doing incredible things during her interview (catching a ball, doing the heimlich, etc), and Jen helped a lot with the setting and some finer details. I haven't talked much about Jen in the Top 25, mostly because we didn't become friends until later, but Jen is a very good friend of mine. She was tremendously helpful in writing "The Love You Take" (memory #17) and has been a fun, caring part of my life for awhile now. Jen is also one of those people who doesn't fake anything; what you see is what you get, and in the best way. She's just a very kind, very warm human being.
Here's the sequel:
And, with that, I conclude my countdown of my Top 25 College Memories. I hope the few people who have read these enjoyed them as much as I did.