How to be a casting director

The other day I saw an acting website advertising a package where you pay a certain amount of money to get 37 Twitter handles of top casting directors. I can promise you one thing – contacting a casting director on Twitter will NOT get you an audition. But there is a way that to contact casting directors that is professional, and might actually lead to a relationship. So let’s take a look…

But first, can you contact casting directors?

Though there is one camp in the industry selling Twitter handles of casting directors, there is another camp on the opposite side selling a fear campaign that you should never contact casting directors directly. I understand this fear, but now having interviewed a number of casting directors I am well and truly out of that camp. You definitely can reach out to casting directors and most of them are really open to it. (More proof in our interview below, with Casting Director Stevie Ray)

Before I get properly stuck in you need to read this second, important point…

Do you have an agent?

Your agents job is largely to get you in front of casting directors and they have specific ways of doing this. They have developed relationships over years and years and they know what they are doing. If you do have an agent, you need to respect that and always run anything past them. I still think this information is valuable if you have an agent, but don’t go wild contacting casting directors behind your agents back.

Play it safe

Casting Directors are the most powerful people in the industry. Having even one casting director on your side could lead to an acting career. Having a few on your team, and you are flying! So they are incredibly important, and mucking up those relationships can be disastrous. So, right from the top of this article, I want to caution you to play it very safe. Even if you decide to reach out to a casting director after reading this article, you cannot over do it.

My advice is reach out once every 4-6 months at the most! And even then you only do it when you have something to show, which we will talk about in a moment. I also want you to avoid asking directly for auditions or roles, and please don’t say that you want to be famous!

Email, don’t call

Cold calling is brave, I will give you that, but it isn’t what I would advise. I think a professional email is the way to go. No social media direct messaging, no cold calling, just stick to good old fashioned email! It won’t always lead to a response but it is the safest way to reach out.

Always have something to show

If you are starting a conversation with a casting director you need to have a reason. Here are a few ideas…

#1 Introduction. If you’ve never been into that casting director, I think it’s fine to reach out introducing yourself. This is particularly useful if you have just moved to a new city or are coming back to acting after some time away.

#2 New content. If you’ve just made a great short film, or got a great new showreel, it’s definitely worth flicking that across. A new bit of content is a conversation starter, and is definitely a good reason to reach out. (Just make sure it’s good!)

#3 Upcoming show. If you have a show happening, it is definitely great to invite casting directors along. Always offer free tickets and make it as easy as possible for them to get along. Even if they can’t make it, it shows that you are working in the industry and gives you something to get in touch about.

These are the main three types of emails I would send. I generally would avoid reaching out asking for auditions, as that could be problematic. I also would only email about exciting new developments, it’s not sending them a different headshot each week.

Keep it succinct

Regardless of why you are reaching out, please always keep your emails succinct and to the point. CDs are busy people and they simply won’t read an email detailing your life story. You have a much better chance of getting your email read, or your showreel viewed, by writing a succinct and professional email.

Note: though I recommend being professional, still aim to keep a casual tone. It doesn’t need to be as formal as ‘Dear Sir’ or ‘Dear Madam’!

Don’t expect a response

As I’ve mentioned already CDs are extremely busy, so you can’t always expect a prompt response. If they don’t reply it doesn’t mean they haven’t read your email or looked at your work. If you want to do one casual follow up a few weeks later, you can, but after that DO NOT BUG THEM! Remember the number one goal is to not annoy these industry players. If you send out a few emails and don’t hear back, suck it up, and make a note to get in touch later on in the year.

Conclusion

So there you have it. You definitely can reach out to casting directors, and though you won’t always get a response, in my experience most of them are happy to receive emails from actors. Being a freelance actor is a genuine alternative and some actors do really well dealing directly with casting directors. I have a friend who is freelance who has developed a great relationship with a local Casting Director, and goes in to audition for them once a month – so there is hope! He doesn’t bug them, but they’re always interested if he’s got a new showreel edit, or an invite to Opening Night of a new show he’s in. It also helps to be friendly, and genuine!

A casting director that we recently had in our online scene club was chatting with me at an event and she told me a couple of our students had emailed her multiple times. She told me flat out how frustrating it was and how it WILL NOT WORK to pester a casting director. So I ask you all to be cautious. Use your better judgement, put yourself in their shoes. Would you want to receive an email every week from a pesky actor who is begging to be on Netflix? Probably now. Reach out, but please don’t annoy these influential people.

Casting Director [FULL INTERVIEW]

Definition & Examples of a Casting Director

Casting directors find talent for roles in film, television, theater, and commercial work. They negotiate contracts, manage a casting budget, and coordinate and hold auditions.

Learn more about casting directors and how they work.

What Is a Casting Director?

Casting directors play an essential role in entertainment, including television shows, films, commercials, theater, and videos. They work to find the best talent for every part while staying within the casting budget. They typically don’t make the final decision on who’s cast (that falls to the director and producers), but they provide a shortlist of candidates for consideration.

How a Casting Director Works

A casting director’s work starts well before meeting any actors. They typically start by meeting with the producers, director, and possibly the writer, to learn more about the project and the roles involved. They’ll also closely read the script, making notes on the various characters.

Once they know the scope of the project and the roles, the casting director gets to work. In some cases, lead actors may not need to audition, so the casting director may contact those actors’ agents to determine availability and interest.

For other roles, they’ll set up auditions with actors or agents. They may also send information about open roles to talent agencies and Breakdown Services, a service that provides daily lists of acting opportunities to actors and agents.

The casting director then holds auditions, looking for actors who are a good fit for the production and sending information on the top candidates to the director and producers.

Requirements for a Casting Director

Like many careers in entertainment, there’s no one path to becoming a casting director. Some start with a degree in film or theater. Acting classes help aspiring casting agents learn about the acting process.

Business classes could also help future casting directors, as managing a budget and negotiating contracts is a critical part of their work.

Many aspiring casting directors start by looking for work as a casting associate for an experienced casting director. They may also start as a production assistant.

Here are a few more essential skills for casting directors:

Eye for Talent

A good casting director can tell right off the bat whether or not a given actor is right for the role they are auditioning for. This is usually an innate skill but can be fine-tuned and developed over time. Casting directors also keep a pulse on upcoming talent by seeing shows at local theaters, colleges, and universities and watching short and independent films.

Patience

It often takes a lot of time to find exactly the right person for a role, so casting directors need patience. The contract negotiation process can also be taxing. Casting directors need to be able to keep going until they find the right person for every role.

Making and Maintaining Connections

Casting directors need good relationships with directors, producers, writers, actors, and talent agents. This helps them land their next job and perform each job to the best of their ability since they have an established pool of talent to draw from.

Organization

Casting directors can’t afford to be disorganized. They need to know what’s happening with multiple roles at any given time and be flexible enough to make changes if actors pull out at the last minute. They may also be supervising casting associates, so they need to have a handle on several moving parts at all times.

Some casting directors start as actors, which gives them an understanding of how to work with actors and how to make them feel comfortable during auditions.

Casting Director Jess ica Ronane shares an insight into the world of casting.

Describe an average day (pre lockdown) for you and your team

My team and I always have what feels like an insurmountable amount to do each day so we divvy up projects and plans and start every day with a strong coffee at around 9.30am.

The phone usually starts ringing off the hook from 10am so that half hour of peace to wade through emails, reply to invites to showcases and plays and generally catch up with each other is valuable.
On many of our days we are in the audition room so the whole day is concentrated on ensuring the actors and director have the right environment for successful meetings and these are the most thrilling of our days. Introducing brilliant actors to projects and teams – witnessing characters finding life – is a privilege.

What would you say are the casting fundamentals?

Fundamental to casting is a love for actors, performance and writing. Detective work is often needed and much of casting is research and therefore relentless and detailed. We need to be able to confidently stride through the process of casting a play, knowing we are talking about the right actors for the roles but moving and shifting as requirements and tone adjust. We also might need to abandon a particular route and change tack. It can be emotionally charged and we need to remain flexible and tuned in to the taste of the team.

The more actors we meet and witness working in all mediums the better equipped we are to use our own creativity and imagination to help fuel the casting process.

How do you work with Matthew Warchus and the creative and production teams here at The Old Vic?

At The Old Vic we work closely to plot our seasons and to ensure we are offering an eclectic programme. Once the programme of work is set we can begin introducing actors and making lists of those we feel would work well in the projects. We have actors coming in for meetings every day to talk generally or specifically. Its impossible to know everyone but we really want to keep trying!

Is there one route into casting? How did you get to where you are?

There isn’t a specific route into casting. I grew up with theatre – my dad was an actor – and trained as a dancer from a young age so was exposed to all aspects, good and bad, as I developed. I think my love for actors and the escape and magic of performance was inherent. I wanted to perform originally and did a lot as a child but when I made the move into casting it felt like a much better fit for my skills and personality. Being within The Old Vic is an additional gift as I worked front of house at the theatre when I was at college and I knew Ned (who works on Stage Door) from the age of 19 as my college was run from the top of the theatre!

I began my casting career by conducting a two year search for the boys to play Billy Elliot in the West End. This combined many of my skills – my dance training and my contacts in dance led me to many of the children I needed to meet. I understood the vocabulary and could determine the ‘potential’ of a child and report back to Peter Darling, the show’s choreographer. I learnt a huge amount from Stephen Daldry, the director of the show, who gave me enormous freedom and support.

This in turn led to Peter introducing me to Matthew Warchus when they were developing Matilda the Musical and I conducted another detailed search.

What is your best piece of advice for someone who’s interested in a career in casting?

I would suggest reading a lot and of course watching as much theatre as possible. So many iconic performances are also now available online so it is much easier to research and enjoy excellent work than it used to be!

We are also fortunate that many theatres have affordable ticket schemes for young people, like The Old Vic’s Education & Community programmes.

What do you think the biggest misconception about the role of a casting team is?

I am sorry to say that one misconception is that it is all about meeting actors and watching plays – it is also a lot of admin! Collating and editing of information. So many notable performances are in film and TV so we have to be adept at grabbing those moments and sharing key clips with our creative teams. Breaking down a script and understanding the nuances as each draft develops and changes takes concentrated time.

We have to make notes and specific lists for each kind of role and breakdown and often write character briefs to share with agents. We have to be very clear so we help the actors’ agents in their suggestions to us.

We also reflect regularly to be certain we are challenging ourselves and pushing the remit to include as many brilliant people as possible. There is a lot of outreach to work with the next generation and open the door to those who might not have considered this could be their world, and resources like The Old Vic’s Education & Community projects and their Education Hub are invaluable for allowing this to happen.

What advice do you have for people coming out of drama school?

Whilst it is scary coming out of the relative safety of drama school into this busy and competitive industry we are eager to know the next generation of actors and we have opportunity for them. Every meeting represents another relationship building that is going to nourish their careers in some capacity, hopefully, for the long haul. It’s hard to stay positive all the time but I would urge young actors to take a long view at their careers and rest assured they are valuable and we are here for them. I always love receiving invites to their work and though we cannot attend every performance we do our best to see a broad range.

Learn how to become a Casting Director

Casting Director Job Description Summary:

The Casting Director helps the production in finding all onscreen talent. Casting directors post casting calls, hold auditions, and showcase talent for the directors and producers to see the actors in action.

What does a Casting Director do?

A producer or director hire the Casting Director. They are asked if they want to cast speaking roles or background acting (extra) roles. Then, the Casting Director will go through the script, break down the character descriptions, and decide how they plan to find talent for the production.

Usually, Casting Directors meet with the director and producer and go over the characters to make sure they are on the same track. After that, it is holding casting calls, writing a breakdown, and updating the casting calls.

Most Casting Directors post casting notices on websites where actors, or their talent agents, submit headshots, resumes and demo reels for consideration. All submissions are reviewed, and the ones appropriate for the role are asked to audition. It can be anywhere from a couple of people to thousands of actors that must be broken down to the top group of people.

During the first round of auditions, Casting Directors may submit video auditions to the director online; This will allow the director to watch the videos online. After that, the Casting Director will send their top choices for each role and set up callbacks. During a callback, multiple actors read the parts together. The director organizes the callback, and the producers watch to see if they can work with those people on set as the Casting Director will not be working on set during production. From there, Casting Directors share their opinion so the producers can make an informed decision; once the director has made their choice, the Casting Director books those roles.

How to become a Casting Director?

Becoming a Casting Director can happen in a myriad of ways. The first way is a person can intern or work as a casting associate for a Casting Director. They will have the chance to learn the ropes by helping organize, set up, and hold auditions. Tasks include posting casting notices, communicating with the production, and finding new talent. Intern positions are usually not paid. However, assistant roles are paid but hard to get. The casting assistant works closely with the Casting Director in the room and running the camera. If the relationship continues to grow, the casting assistant can become a partner. Alternatively, the casting assistant can start their own business as a Casting Director. Ultimately, it is a freelance business, and it requires making deals with production companies. Casting Directors start with smaller jobs, moving to larger ones over time.

What kind of education or training do you need to become a Casting Director?

There are no Casting Director career programs in school. The best way to become a Casting Director is to work for an existing Casting Director. Since there is not a traditional education path for becoming a Casting Director, people should create their opportunities by working with smaller productions or working with other casting companies.

What is it like to be a Casting Director?

The film industry is filled with a wide range of personalities. As a Casting Director, they must manage the egotistical to the emotional. Casting Directors must also work with productions who have high standards for their multi-million dollar production. Ultimately, working as a Casting Director is being a business owner. Casting Directors run their own business and have to market, network, and do their job correctly to find new clients and to continue working.

It is typical for Casting Directors to save headshots and build a shortlist of talented actors so when they are hired for a casting job; they already know a talented list of actors to work on the production.

How much does a Casting Director get paid?

Most Casting Directors work freelance. That means Casting Directors often need to negotiate their pay and develop a network with production companies to be successful. It is not unheard of for many Casting Directors to start working for free. That said, if a person does freelance, then the amount of pay varies from each project and production. However, a reasonable estimate would be a single feature film pays between $5,000 to $15,000.

Is there a union for Casting Director?

There are several resources and professional organizations for Casting Directors including The Casting Society of America (CSA).

You know you love to work with people, performers, actors, and all types of talent, but how do you take that energy and get started being a casting director in the film industry? While many casting directors begin their film industry careers as actors themselves, people come to casting from all walks of life: whether your experience is in filmmaking or administration, you can bring your skills to a career in casting. What are the key skills of a casting director? Find out in today’s article!

1. BE OUTGOING

Being a casting director requires a few kew skills, and the ability to work with people with many types of personalities is paramount. Casting directors are outgoing individuals with excellent communication and negotiation skills: after all, they have to work with directors and studios as well as with actors and agents!

2. GET THE TRAINING

To be most competitive as you start out in this field, it is a good idea to have some courses in filmmaking and theater under your belt. For film casting in particular, you’ll be ahead of the crowd if you understand the director’s perspective and have a solid understanding of the business side of filmmaking. At a top film school such as F.I.R.S.T. Institute, you work on filmmaking from every angle so that you have practical experience with each aspect of the process of producing a film. With your experience screenwriting, directing, designing, and casting during your hands-on projects at F.I.R.S.T. Institute, you’ll gain a working knowledge of team dynamics and how to keep a project running smoothly. Knowing how to provide what the director needs while keeping in mind the vision of the writers and designers will be invaluable as you seek your first professional positions.

3. GET THE EXPERIENCE

Casting directors keep a vast library of performers in their minds all the time, are organized and precise, and have an understanding of the artistic needs of every project they work on. Some people in casting seem to have an instinctual grasp of these things, but that “instinct” only comes from experience! Starting out as an intern or assistant is the best method for progressing in the field, so look out for casting agencies that are recruiting students and new help. There is a lot to do to keep an agency running smoothly, and you will usually be able to work your way up from the bottom if you work hard and learn as much as you can on the job. Check out groups like the Casting Society of America, which is a professional association, to find lists of members that you might apply to.

4. BUILD YOUR NETWORK

This is the most important part of becoming a casting director! A film school education and experience are key, but you should begin networking as early as you can — you never know how you’ll be able to help someone (and then they might be able to help you down the line!). Part of being a casting director involves knowing lots of people, so get practice networking as much as possible. Not only will it benefit your general film industry career to get to know a wide variety of people, it will help you make casting choices later on. You’ll find yourself working with the same agents and auditioning the same people frequently, so building positive relationships in every step of your film career is key.

Step One: Find out who is casting the projects that are right for you.
Visit to find projects that are actively casting, and then follow the instructions in the breakdown to apply for the roles that you’re right for. Then, visit to find the most up-to-date theater, film, and television production listings in your area. Backstage’s production listings cover major film, TV, and theater projects — including productions that might not be currently running casting notices.

Highlight any current or upcoming productions you’re interested in. Then, search for the production titles at if the project is currently running a casting notice, then that will be the best way to apply. For the rest of the production listings you’re interested in, make a list of the casting directors associated with each project. Make special note of any casting directors that are linked to more than one project that you find interesting. Are there any casting directors that seem to be doing a lot of casting for a specific network or director that you like? Take note of any patterns or correlations that you see. Now search for the casting directors in the Call Sheet database.

Step Two: Check out the casting office’s credits and personnel.
In addition to the list you made from Step One, go through the Call Sheet list of casting directors, and look at each listing’s credits. Are there any projects listed here that you are particularly interested in? If no credits are listed, look at the types of performers they cast. Do you fit into this category? If you are interested in both film and commercial work, it may be good to make note of the listings that cast both, as you may discover more than one opportunity if you are able to audition for the casting director. Note that many of the listings have more than one casting director on staff. Make sure you know which casting director casts the projects you are interested in. Also, it’s worth paying attention to who the casting associates and assistants at the office are, as they may be the people who initially bring you in for an audition.

Step Three: Follow the submission policy.
Take note of each listing’s submission policy. It is very important to follow this policy exactly when submitting for any project. If you found a casting director through an online casting call, always follow the policy listed for the specific project rather than the more general policy listed in our directory. If you have an agent or manager, make sure they are aware of your interest in this specific casting director, and that he or she knows how they would like to be approached as well. Submit a professional headshot and résumé, along with a cover letter explaining why you are interested in working with them. You can highlight why their work is of particular interest to you, and how your background lends itself to similar projects. Make sure to invite them to any performances you have coming up, as you never know when they might be available to attend.

Bonus: Advice for producers and directors.
Call Sheet is also a great resource for finding casting directors to hire to cast your productions. Search Call Sheet online to find casting directors that specialize in casting the types of projects you’re producing, check out their credits, and contact the casting offices that fit your interests. With Call Sheet, you’ll be able to find the best casting directors for everything from films, TV shows, web series, and commercials to theater productions and more.

how to email casting directors and additional ways to network with casting directors.

Before you decide to email a casting director, make sure you have your marketing materials in order. Read our guide on how to become an actor to learn how to create a resume, headshot, and contact information. Whether you are looking to audition for Disney, or find the latest movie role to star in, this guide will help you get started with the film industry.

In our previous guide to the film industry, we discussed, “What does a casting director do?” Check out that article to learn the ins and outs of the entertainment industry.

If you have a talent agent or a manager and are getting a lot of acting auditions, you should not have to submit directly to a casting director, producer, or network. That said, if you have a strong relationship with a casting director and believe you are right for a role, then it may be in your best interest to contact a casting directly by email, mail, or through your agent.

However, if you do not have adequate representation and looking to book an audition for a role, then you may want to email a casting director for opportunities.

When should you contact a casting director?

Once you have your headshot and resume, you want to contact the casting director when they are casting a role you are right for or when you are in a project they can watch.

It is essential to understand that everyone’s time is critical. As a result, only send your information when a casting director is casting or when you have something to showcase to a casting director. Sending your marketing materials to a casting director when they are not casting anything is arguably pointless.

How to network with a casting director?

The entertainment industry is all about who you know. If you do not have a talent agent or a manager, then the best way to network with a casting director is through an audition, acting class, or showcase. After you meet a casting director, maintain contact with the casting director by submitting directly to casting directors for projects they are now casting. Try to see each significant casting director each year at workshops or acting classes to stay fresh in their mind and remind them you are still working on your acting career. Overall, the goal is to remind casting directors of your acting skills when they begin their next project.

Should you send casting directors a thank you letter or gift?

Casting directors often work hard to push you for a role in a movie or TV show. Their goal is to find the right talent for production, and sometimes that individual may not know what the director, studio, or producer is envisioning for a project. If you discover a casting director was the person who pushed you to get cast for a TV show, a movie, then a gift is appropriate. However, we do not recommend sending a casting director a letter or gift for an audition. Most importantly, do not send money to a casting director; This is completely uncalled for in any relationship, whether if it is in the entertainment industry or not.

If you do decide to send a gift, then attach your headshot and resume to remind the casting director of your look and acting style.

How to contact a casting director?

• The best time to email a casting director is when a casting director is casting a project.

Your goal is to showcase your skills for a casting director so they will cast you in the next project. One of the best ways to get noticed by a casting director is through self-submissions.

Self-Submission Auditions

• Self-Submission auditions are when an actor submits themselves for a role without the assistance of a talent agent or manager.

How to self-submit

TV casting directors have a quick turn-around for a role. Typically, a casting director will post a casting call and look for talent within the week to audition for a position. When this occurs, casting directors may ask actors to self-submit with an online video audition for a role.

If you do not have an existing relationship with a casting director, self-submissions are not that effective. That said, read entertainment news to see what projects are coming soon and see the casting director who is working on the project. Research their contact information and send a self-submission with your marketing materials.

If you have previously met with a casting director, attach a separate note saying where you guys met and what you have done recently.

Conclusion

Ultimately, casting directors do not like to get self-submissions as it is not an effective way to manage auditions. However, it is a great way to get noticed by casting directors. But, an email to a casting director is just the start. From there, actors must prove themselves in the audition.

What does a casting director do?

Casting directors find the stars to bring the characters in a film or TV drama to life. They are hired by the production company to match actors to roles.

Casting directors read scripts and meet with producers and directors to get a sense of the type of person they are looking for. They have to find someone who looks right for the role as well as acting it well. They need to understand the art of acting. Sometimes producers will have a lot of demands. Other times they won’t give much guidance at all. Casting directors consider the actor’s availability, fees and how much box office buzz they’re going to create.

Casting directors need to know the talent that’s out there, so they attend theatre productions and graduation shows to spot potential actors. They organise auditions and look at headshots, demos and reels. Then they present a selection of candidates to the producer and director, and together they make the final decision.

The casting director’s job also involves negotiating actors’ deal points or conditions which they put into a casting advice note, or deal memo. Then the production team can draw up the actual contract with the actor’s agent.

Watch and read

What’s a casting director good at?

• Knowledge of the industry: have strong knowledge of and a passion for cinema or TV drama and an appreciation for changing trends in the industry
• Knowledge of actors: understand the art of acting and be aware of a wide range of new and existing talent, have a good memory for actors you have seen in the past
• Eye for talent: be able to spot actors with star quality and who will fit well into individual projects and roles, have the patience to conduct a long and thorough search for the right actor for each role
• Communication: communicate well with the producer and director to understand their requirements and be able to give direction to actors
• Negotiation: be diplomatic, work with agents to negotiate contracts, have good financial skills, stick to a budget

Who does a casting director work with?

Casting directors work with producers and directors (and sometimes writers), and with actors and their agents.

How do I become a casting director?

There are no specific qualifications or training to work in casting. The most important thing is to have a wide knowledge of film or TV productions and be well informed about new and existing actors. You need good taste and an eye for talent. You also need experience of working with actors. A casting director is a senior role so you need a lot of experience and connections before you can become one. ScreenSkills’ Trainee Finder will help you make these connections. A good route into this role is as a casting assistant. Go to the casting assistant profile for details on how to do this.

At school or college:
If you want to go to university, A-levels or Highers in drama and theatre, English, film studies or media studies are useful. Or you might want to take the following Level 3 vocational qualifications:

• OCR Cambridge Technical Diploma/Extended Diploma in Performing Arts
• BTEC National Diploma/Extended Diploma in Performing Arts
• BTEC National Extended Diploma in Creative Digital Media Production

If you want to go straight into a job, the following Level 3 vocational qualifications will equip you:

• Aim Awards Diploma in Creative and Digital Media
• OCR Technical Diploma in Digital Media (Moving Image and Audio Production)
• BTEC National Diploma in Film and Television Production
• BTEC National Diploma in Film and Television Visual Effects
• RSL Diploma/Extended Diploma in Creative and Performing Arts
• UAL Diploma/Extended Diploma in Creative Media Production and Technology
• UAL Diploma/Extended Diploma in Performing and Production Arts

Get a degree:
A degree in media studies, film production or film history will equip you with knowledge and experience of cinema or television and production sets. H ave a look at ScreenSkills’ list of recommended courses and select one in film and TV. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the film and TV industries.

L ook for a job as a runner:
M any people start their careers in casting as production runners. For details of how to do this, go to our production runner profile. Apply to ScreenSkills’ Trainee Finder scheme. Get the skills, make contacts and start working as a production trainee. Sites like The Unit List and The Talent Manager and the Facebook group People looking for tv work: Runners are good places to find work. TV Watercooler gives advice from production companies on how they recruit runners. Some will advertise on their own careers site like ITV .

Look for a job with a talent agency:
This will help you develop a taste for talent and give you experience working with actors. Look for a junior role or enquire about work experience. The Personal Manager’s Association (PMA) provides a list of their member agencies as well as advertising vacancies.

Network:
Go to ScreenSkills’ events like Open Doors to meet people working in development departments. Go to how to network well for some tips. Getting a job in casting is often down to word of mouth, so making connections in the industry is essential.

Network online:
Create a LinkedIn profile. See if there are Facebook pages or other social media groups for people making films or TV in your area. There might even be groups for runners and trainees. Join them. Create a ScreenSkills profile. Engage with production and talent companies’ social media accounts. The Talent Manager also have a twitter account you can follow. There are a lot of crewing agencies that will charge you to be on their books. Sign up to the free ones initially. Wales Screen, Northern Ireland Screen and other areas offer free crew databases. Find a film office near you and get connected. If you do sign up to paid sites, make sure they specialise in the areas in which you’re interested.

Become a trainee:
Get onto ScreenSkills’ Trainee Finder scheme.This will help you make the contacts and build up the industry knowledge to get work in film or TV drama.

You might also be interested in…

Working as a talent agent or a director. Alternatively, you could consider being a celebrity producer or casting producer in the unscripted TV industry.

Related

There are many people who are thinking of getting involved in the entertainment industry, but perhaps they don’t know where to start. A number of different jobs and career paths are available for you to explore in this industry, and whether the job you desire is in acting, screenwriting, costume design or in public relations, the list of available career paths is strong. One very interesting job you can also look into is becoming a casting director. Casting directors play an important role in the business and the job is a great opportunity to work with others.

Job Description

If you’re wondering, “What does a casting producer do?” it’s important to understand that casting producers have many different responsibilities. However, the main job involves casting actors and actresses for various roles in a film or a play. To do this, casting producers have to work with other people involved with the film, including the writers, the producers and the director. They will need to interview the applicants to decide “who makes the cut” to become part of the cast. They will have to consider the applicants’ experience, their reputations, their abilities and even their look, and whether or not it fits the role. Once casting directors select a cast, they will work on the terms of each actor’s contract, being the liaison between the actors and the higher-ups involved in the production.

Education Requirements

If the job of a casting director sounds like something you’d like to do, then the next step is to figure out how to become one. To become a casting director, a college degree isn’t necessarily required, but those who have one may have a head start in terms of background knowledge, skills and networking.

However, most people can become a casting director by getting a foot in the door of the industry. Try to get a job at a theatrical agent’s office to gain experience or look for a job as an assistant at a casting agency. If you’ve worked in TV, film, music or a similar business, that’s also a good way to get into the business. Even those who had been actors and actresses may decide to go into casting. Overall, you must be able to determine “good talent;” be extremely organized, have strong interpersonal skills and be able to work under pressure and tight deadlines.

Industry

Casting directors mostly work in the film, TV or theater industries. Any time a production involves hiring actors, actresses or even hosts and contestants for a game show, a casting director will be there. Some casting producers may travel all over the world to find the actors and actresses they are looking for, and other times, the applicants may come to them. Depending on the company, casting directors make need to work many hours in order to get the job done.

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How to Set Up a Music Production Company

Building a thriving casting agency takes drive, business acumen and an eye for talent. According to the Casting Society of America, a casting director’s main focus is to find and hire talent–in a sense, act like a human resource department for actors. Unlike talent agents, casting directors don’t work on commission, and they are not franchised by SAG (Screen Actors Guild) or Actors’ Equity. Casting agencies and casting agents are paid by production companies to find talent. Here’s how to get started in this exciting and lucrative side of the entertainment industry.

Know what you are not. The entertainment industry is competitive, so you’ll need the edge of positioning your casting business properly. According to the Casting Society of America, casting directors are not talent agents. Talent agents are state licensed and their job is to get work for their clients. They earn a percentage of the fee paid to the client–typically 10 to 15 percent. As a casting director, you’ll be working with actors and production companies, but the production companies are the ones who’ll pay you for finding talent.

Work as a casting director’s assistant. Before stepping into your business-owner shoes, learn the business from the bottom up. One of the best ways to do this according to startupbizhub.com is taking on a casting director’s assistant internship. While the a casting director’s salary in the U.S. in 2005 averaged $55,989, according to swzsalary.com, you won’t make anything near that as an intern. However, the experience you’ll get is priceless. Contact casting companies in your area and inquire about working as an intern.

Network and build your contacts. Wallflowers make lousy casting directors. You’ll need to network to build your client list. There are two productive ways to do this–network with producers, producer’s assistants and talent–and join a local casting or talent association. Networking and attending area entertainment functions allows you to meet with producers and talent, and introduce yourself to potential clients.

Write a detailed business plan. You’ve networked, entertained and partied your way to your own client base. Now comes the part that’s just as vital–the details. Business plan software makes it easy to write a profitable, actionable, detailed business plan. Skipping this step is like getting in your car to go on a trip with no map and no destination in mind. Know how much your overhead will cost–down to the paper clips.

Step out on your own. With your internship behind you, your business plan in hand and your own clientele, you’ve done what you need to position yourself to run your own casting company. Once you have enough clients to pay for your overhead and make a nice profit for yourself–you’re ready. And as Ann Salon of Salon Casting in New Mexico puts it, “I won’t tell you how much successful casting companies make, because it’s a range that’s as large as in the acting field–but I can tell you–we do pretty well.”

It may come as a surprise to most people as to what a casting director actually does, even if you’ve considered yourself a professional talent for a number of years. It may interest you to know a casting director does not “rep” you; a talent agent represents talent.

A casting director (or casting agency) contacts a number of talent agencies, often by utilizing an online casting service such as Voicebank.net (for voiceover), Castingnetworks.com (primarily for commercial work), or Breakdownexpress.com (mostly for film and television). Talent agents, managers, and in some cases, individual talent, submit for specific auditions based on the talent needs of the specific production being cast. The casting agency then selects the talent they feel are most suitable for the job based on their promo, such as headshots, demos, and reels. Then they schedule the actor and hold auditions for the director and producers.

Generally speaking, final casting decisions are ultimately made by the client: namely, producers, directors, and commercial clients, as the case may be. However, the focus offered to the production and choice of talent is guided by the professional casting director. Casting shapes the initial pre-production of just about any project, especially when done well, because, by design, casting agents elevate any production with their experience, insight, and ability to articulate the project demands to the talent, often better than the producers, writers, and directors. This is true often because producers and directors have so many production demands to contend with. Additionally, articulating what’s needed and wanted from the talent rarely comes easy to the client, whether the client looking to hire you as a talent is a corporate client, in advertising, a writer/producer, or a director.

In fact, as counter-intuitive as it may seem, many directors won’t offer you any direction at all. And the bigger the production, the less you can count on getting any “direction.” The common catchphrase we hear from so many directors is, “I’ll know it when I see it.” Implying they expect you, the talent, to create something they can work with before they’ll offer you any guidance.

That said, casting directors help determine what the director is after prior to the audition for just this reason. However, telling talent precisely how to do their job does not fall under their job description. You’re still expected to bring your creative point-of-view and imagination to the table without much prodding or coaxing. It’s far too time consuming, and a blaring reminder of your inexperience. This doesn’t classify as direction, per se, as so many novice talent might assume.

Suffice it to say, casting agents don’t simply hold auditions; they offer industry insights to both the production as well as the talent side of the equation, especially with regard to performance, skill, and character development.

Casting agents (like some, but not all, talent agents) determine what the work will entail for each role to be cast, what the job is worth from the agency’s experience, and what the clients should expect with regard to the talent once employed. Casting may work with both the producers and the talent agent to determine your rate of pay (especially based on the budget and degree of difficulty), and have a working knowledge of the general work regulation standards that apply to the specific production they are casting.

Some talent agents (but again, not all) may take on many of these responsibilities, which might account for the confusion as to who does what; but generally these duties fall to an experienced casting director. Talent agents who take on these responsibilities often do it to service to you, the actor, as well as to the producers who contact them most with work, but it is well beyond their job description and possibly even their skill set.

Casting directors are hired by the production company, ad agency, corporate client, director, and/or producers. Again, they do not “rep” talent. Talent agents and managers “rep” talent. Talent agents are only paid with the commissions earned after you’ve landed work, which is 10 percent on a union project. And, like most casting directors, talent agents typically specialize in a specific area, such as commercial voiceover, Theatrical (film and television), Industrial (corporate narration), kids, animation, Spanish, or commercial on-camera, for instance. By offering the most-effective talent options, given the specifics (specs) of the project, the casting director concentrates on elevating the overall aesthetic of the project, which, like you as an actor, makes them valuable.

So, clearly casting consists of a lot more than spending days, if not weeks, preparing and organizing the numerous types of skilled talent. It requires determining, sorting and maintaining the specific logistics for each role to be cast; scheduling and manning each actor with the necessary elements required to prepare to deliver their best. It demands securing the appropriate staff and location needed to deliver the auditions all while professionally corralling an army of appropriate actors needed for each given role. Casting, when done well, sets the production in motion and fleshes out the many ways the production can play out based on the sum of the parts.

Additionally, one of the least known responsibilities of casting, again when done professionally and thoroughly, involves background checks. Because, “Oh, sure she’s a wonderful actress, but she’s a kleptomaniac and robbed the set blind last time,” which could have been avoided with proper casting. Or, “He’s got great grit for the role, but legally can’t be left alone with anyone under 17 years old on this commercial. He’s got a court-order against him.” (Doubtful many talent would openly divulge that info.) Nevertheless, casting would serve as the Human Resources (HR) on a production to some extent as well, but then every agency is different.

Probably the most vital component casting brings to the production equation is you, the talent. Frankly, if you don’t look good, neither does the casting director.

What is a Casting Director?

Casting Directors work closely with the Director to find the right talent to realise the artistic vision for a feature. For this reason, Casting Directors are essential to any production. The creative vision of a film, TV show or theatre production could not be realised without them. In this article, we will be talking you through the key elements of the Casting Director’s role, and the skills you will need to become one.

The work of a Casting Director takes place before production. A good Casting Director should possess extensive and up-to-date knowledge of the current talent in the industry, being able to match every role with a suitable actor. However, this task is a lot easier said than done. In reality, a Casting Director may consider hundreds of actors and actresses before even seeing anyone face-t0-face.

Casting Directors conduct interviews and supervise auditions for each part, keeping in mind the candidates’ experience, reputation, box office appeal, and physical characteristics. They also work closely with the Production Accountant, being in charge of negotiating fees for all the actors cast.

While working patiently and relentlessly to fulfill the Director’s and Producer’s requests, Casting Directors need to be extremely knowledgeable about the industry’s current and upcoming talent and trends.

Employment and working hours

As a Casting Director, you will need to be able to work in high-pressure situations. You should also expect that sometimes you will have to work late into the evening, it’s a just a reality of the industry! Casting Directors tend to work on a freelance basis, thus building up a list of industry contacts is essential for steady employment.

Key Skills
The main skill required for this role is an extensive, deep and thorough understanding of the current scene in terms of acting talent. This in itself involves a good eye for recognising talent, knowledge of acting techniques and skills, a good memory and organisational skills.

In order to successfully deal both with a large number of actors and candidates, and with the Director and Producer, communication, negotiation, patience and initiative are also essential. Additionally, on the practical side, basic computer literacy (for research and data-keeping purposes) and knowledge of how to operate a camera are essential to keep track of interviews and auditions.

Award-winning Casting Director Ilene Starger offered some great advice on the skills a Casting Director needs when she visited Met Film School back in 2016. Just a couple of great pieces of advice included the importance of personalising a pitch when trying to recruit established actors and why not to discard actors who are ‘untrained’. You can get your hand on the rest of her top tips here.

How to become a Casting Director

You will usually start as an Assistant in a talent agency, or ideally, as a Casting Assistant with a good Director. This will give you the chance of working with and selecting actors, refining your eye and giving you the necessary experience to progress. As with many of the roles within this industry, it is a highly competitive landscape. So, dedication, enthusiasm will be key to succeeding in this career. In this industry, it truly is a case of who you know, so start building those industry contacts early on!

If you are looking to connect with other Casting Directors you may want to consider joining the Casting Director Guild. The Guild is a professional organisation that brings together Casting Directors across film, television, theatre, and commercials. You can find out more about the Guild here.

There is no formally required qualification for this role, but a degree in Arts, English, Film, Theatre, Communication or Media Studies might be helpful. Alternatively, earning a qualification as an actor can be beneficial to learn the basics of acting and the theoretical knowledge that will help you recognise talent at a glimpse.

Become a Casting Director

If you are ready for the next step in your career, why not take a look at the latest Casting Director vacancies on our jobs board? You can view our latest vacancies here.

Join the Community

Sometimes called a casting agent, a casting director is an important member of the entertainment industry. If you become a casting director, you will be in charge of spotting talented actors and placing them in the perfect roles. There are a variety of skills you must possess in order to deal with people such as television and move production teams, the actors and other agents. When you see the finished product, you will be able to take pride in your hard work and the decisions you made.

Casting directors usually find actors who fit the director’s artistic vision through casting agents.

There are few educational requirements to become a casting director. Some studios or theater companies require a high school diploma or bachelor’s degree, but it is rare. That does not mean education cannot be useful, because drama, theater and business courses are all employed daily for this job. Anything that strengthens your ability to understand what makes a good actor and how to run an organized business will be essential to your success.

There are numerous skills needed if you want to become a casting director. The top skill– talent evaluation– is one that can be developed over many years of working with directors, producers and actors. Seeing an actress’ ability to play everything from an anonymous extra to a leading lady is something that comes with experience. Communication also is a key skill you must possess, because it helps you discover what a production team needs in terms of actors and helps you learn to communicate with actors about what you want. Organization is another important skill, because you likely will be handling several projects at once, each with potentially dozens of roles and hundreds of people trying out for parts.

If you become a casting director, your jobs will always revolve around a production. Whether for an off-Broadway theater play or a multi-million dollar blockbuster, you will be on the front line of creating a cast by reading the script and talking with the director and producer for casting insight. Next, you set casting appointments by contacting agents and posting the opportunities. A casting call is like a job interview, during which you ask actors some background information and have them recite lines. Based on the casting call, you then choose actors to fill the available roles and inform the production team.

If you become a casting director, you can be involved in many different aspects of the entertainment industry. A casting agency is a popular workplace and is hired out by studios to handle the casting when they do not want to do it in-house. Broadway casting lets you evaluate actors who would be qualified for stage plays and musicals. Television casting and movie casting usually have a different set of standards for those who will be acting in front of cameras.

Legendary South African casting director and agent Moonyeenn Lee, who is behind many TV stars’ successful careers, passed away last weekend.

One of the finest in film-making in SA at the moment, award-winning creative director of telenovela The River, Zolani Phakade, tells Weekend Breakfast about the role a casting director plays in the whole creative process of film-making.

Casting directors have a huge and very important role because without the casting director you won’t have the best person for the role. The responsibility is quite huge even though sometimes you find that on local dramas the executive producers can choose who they want to be in a role. But in film most of the time you need the casting director to go and approach the people and present them to the director.

Zolani Phakade, Film and television director

Let’s say we’ve got a TV series or a telenovela, the casting director has to go out there and put out a brief to all the casting agencies that are available and they all have to bring in the people to play the roles that are needed. Then she will go through every single human being and create an audition for them and they come and do an audition. He or she will choose a certain group that he or she thinks are good enough and present them to the executive producers if it’s a series. If it is a movie they will be shown to the directors.

Zolani Phakade, Film and television director

You have to have a strong personality because sometimes you have to tell people that have come to the audition that the audition is not really for them. Sometimes you find people who just found about the audition and decide to take a chance for themselves to be cast members. He or she has to say ‘Sorry this is not for you’.

Zolani Phakade, Film and television director

Also, you find a cast member who is not sure about the role, if it’s good enough; if it’s gonna sustain him or her or if it’s gonna keep going for a longer time, so the casting director has to convince them to make sure that the person can come in and do the audition.

Zolani Phakade, Film and television director

It’s a pivotal role because it is about getting the right people that are needed for the show and not bringing in people that are not good for the show.

Zolani Phakade, Film and television director

Moonyeenn Lee will be best remembered by the people that knew she knew exactly who to get. The international community as well is gonna remember her because even though there are other casting directors in the country, she was highly used by the international world because they knew that she will make sure that she gets the right people for the roles

Zolani Phakade, Film and television director

She was good at nurturing young actors and making sure that they are doing the right job and excelling, says Phakade.

Listen below for the full interview .

Good casting is often the make-or-break ingredient between a box-office flop and a ratings hit. To put together that magic blend of actors and actresses, studios rely on the services of a casting director. Though big names like Angelina Jolie and George Clooney rarely have to go through the extensive casting process that unknowns endure, casting directors are responsible for casting every role from the lead to “Girl on Train” or a herd of extras.

Duties

After a film or television show has gotten the green light, the director and producers hire a casting company to find the right talent for the production. A casting director’s first step is to read the script and consult with the director and producers on their creative vision for the principal and supporting cast. The team brainstorms to build a wish list of leading stars, and “types” (comes up with a profile of desired appearance and other criteria) the additional roles. Wooing big stars is usually the task of the film’s director or a studio executive. Occasionally a celebrity’s agent will catch wind of a project and maneuver his client onto the short list.

With the directorial notes in mind, the casting director starts locating the right types for each part. This is a research-heavy task that requires scouring the available talent pool. To pull in the best, casting directors will employ assistants and associate casting directors to search databases for familiar faces and beat the pavement to discover new talent—attending small plays and comedy clubs, watching micro-budget and student films, and never fast-forwarding through the commercials are job requirements. Next the casting director will host a series of first-read auditions and callbacks. For lead and supporting roles, this process can require several sessions. For non-speaking or background roles (extras), a cattle call audition will be held and actors typed out based on how well their look matches the needs of the director. After the casting director has compiled a roster of candidates for each role, the list, accompanied by headshots and résumés or video reel, is discussed with the director. Further auditions and screen tests with the director and producers may be required before the director gives final approval. A casting director will generally stay onboard with a film through the end of shooting in the event that a role must be recast or additional characters are added. In the case of television, a casting director will typically work for the producers for the entire run of a series.

Skills & Education

There are no specific educational requirements to work in this field, but extensive experience in film, television, or theater is necessary. Many casting directors have a background in acting or a technical area of live entertainment production. Classes in acting and directing and workshops given by accomplished casting directors are a good way to learn the trademark skills of this position. A casting director must have a sharp eye for talent, a solid grasp of the business side of the film and television industry, and a constantly updated mental index of the talent pool in their area. Most important is a great ability to listen (so as to interpret a director’s vision) and a great capacity for building relationships with actors, as well as directors and producers.

What to Expect

Be patient and resilient. A casting director’s schedule will fluctuate rapidly; finding work can come in waves, with dry spells between projects. Also expect to spend several years working your way up from the bottom. A lengthy list of credits on successful projects is the best calling card for a casting director. To get there, look for jobs as a production assistant, internships within a casting firm, or opportunities to work as an assistant to an established casting director. Casting work on student films and low-budget independents can help build your skill set and résumé. Look for industry events and film festivals as opportunities to network. The best way to get a gig is to work your contacts and always, always keep your eyes—and your mind—open. Most of all, you must be a self-starter who’s ready to build a career one project at a time.

Responsibilities of a Casting Director

A casting director is a middleman (or more likely a middlewoman) who finds the actors needed to fill roles in movies, TV shows, theatrical productions, commercials or even corporate and music videos.

The studio, producers, director and writers are on one side, and the actors and talent agents on the other — with the casting director in the middle. “Middlewoman” applies because casting directors represent one of the few entertainment occupations that’s dominated by women, not men [source: Chinoy and Jenkins].

A casting director’s responsibilities extend beyond contacting actors or agents and holding auditions. Casting directors assemble casts that may include hundreds of actors, negotiate deals with the actors’ agents and manage the contracts once the actors have signed.

Casting directors become involved in pre-production. The casting director may be employed by the studio, own or work for a casting agency or be a solo operator. The casting director:

• meets with the producers, the director and possibly the writer to understand the project
• meets with the production accountant for information about the casting budget, the money that’ll be used to pay the actors
• reads the script and make notes about all the speaking parts
• creates a list of possible actors, in preferred order, for the most important parts first
• contacts the actors or their agents to determine their availability
• provides the list to the producers and director to make their decision Lead actors may not be asked to audition.
• prepares lists of actors and production schedule for supporting and more minor actors
• makes appointments for auditions or readings with the available actors
• provides information about available parts to talent agencies and lists opportunities with Breakdown Services, a company that maintains a daily list of acting opportunities
• conducts auditions
• makes recommendations, based on auditions, for each speaking part The director and producers make the final selections.
• negotiates contracts with the actors’ agents, keeping an eye on the casting budget
• issues casting calls for minor acting parts and conducts those auditions
• acts as a liaison between the director and the actors, once contracts are signed
• finds replacements, as needed, during production for actors who can’t fulfill their contracts

That may all seem straightforward, but imagine the complications of:

• Holding auditions throughout the United States for three years for a lead actress, as the casting director did for “Gone with the Wind” (1939). The role of Scarlett O’Hara finally went to British actress Vivien Leigh after auditions with American stars Katherine Hepburn, Paulette Goddard, Lana Turner and many others [source: 9 Outrageous Publicity Stunts].
• Trying to find a teen-age girl skilled in both acting and soccer, as was needed for the lead in “Gracie” (2007). The casting director considered thousands of girls, eventually finding actress Carly Schroeder who went through 12 weeks of soccer training to prepare for the part [source: How ‘Gracie’ Works].
• Matching actors by appearance to comic-book characters for “Hellboy” (2004), a live-action film. Writer Mike Mignola and director Guillermo del Toro wanted the actors to bear a close resemblance to their comic-book counterparts [sources: Adapting ‘Hellboy’].
• Filling dozens of guest actor spots for each weekly episode as casting director for a television series like ” House” or “ER” [source: Variety].

It’s all in a day’s work for a casting director. Keep reading to find out how to become one.

Maybe you’ve just gotten home from set or just left a Re-Registration and Updates session when you pick up your phone and see a message from a Central Casting. Learning to text with a Casting Director is a valuable skill to get booked.

There’s a lot to know about texting, from understanding how to reply to what it means to be on first avail. To help guide you through every step of the process, we’re going to discuss some of the most common texts you’re likely to receive. Just remember, our Casting Directors have the ability to send custom messages to Background Actors, so you may receive a variety of messages.

Checking your availability

When booking their shows, Casting Directors may reach out via text message to check your availability for a future work date. One of the most important things to remember about availability texts is that they are not offers or guarantees of work, the Casting Director is simply asking if you are available to work that day. Here’s an example of an availability message:

“Summer from Central Casting asks: Are you available to work on The Rookie, without time restrictions, on Monday (04/08/2019) in Los Angeles? Role: Detective. Please only reply YES or NO ** We are only checking availability **”

Availability texts will include the name of the Casting Director, name of the project, the date, and location. Notice the phrase “without time restrictions?” This means that you are free to work the entire day on that date with no possible conflicts.

Since Casting Directors are only checking your availability with these messages, you can (and should) reply to every availability text you receive. If your availability changes, you can change your response by texting “yes” or “no” to the message thread. Don’t forget, you can only reply to the last text you received. If a Casting Director has sent a follow up message asking if you have the wardrobe required for a role, you can no longer reply to the initial availability question.

First avail

If you confirm your availability, Casting Directors may not be able to book you immediately. Often, it’s because they have sent your photos to production or are waiting on additional requirements. In these cases, you may be put on “first avail” before Casting Directors can officially book you.

If you are put on first avail but are offered a different job for the same day, please call the Casting Director you are on first avail for to let them know you have been offered other work. They may choose to hire you first.

Let’s say you respond yes to a text message, but find out a few hours later you’re no longer available. If you changed your response to “no,” but were put on first avail, you may receive this message:

“Meghan, Summer has you on First Avail on The Rookie for Monday (04/08/2019). Should your availability change, please contact them directly.”

In this case, you would call Summer to let her know your availability has changed. When you’re on first avail, please contact Casting Directors as soon as possible so they have the opportunity to let production know and can find additional people if needed.

We know it can be confusing what dates you’ve confirmed availability for and what roles you’re marked first avail. That’s why Casting Directors recommend keeping track of all the text messages you’ve responded to in a personal calendar or notebook so you don’t get double booked.

Details message

Once you’re booked, you may receive your details as a details text message. This message will include important information like your Call Time Change Box number and the show name and 4-digit passcode you will use to access your Details Blog. Here’s an example of a details text you may receive:

“You are booked by Summer to work Monday, 04/08/2019 on The Rookie. Here are your details: Category: Detective Call Time: 11:00 am C/T Change Box #: 888-888-8888 Details Blog: Showname: rookie Passcode: #### Please reply YES to confirm you received these details.”

Once you get your details text, please reply “yes” so the Casting Director knows you’ve seen it. It’s important to note that you can’t cancel via text message. If you must cancel, you will need to call your Central Casting office.

Whether you call or text with a Casting Director, communication is key! Keeping Casting Directors updated about your availability, especially if you’re on first avail, will help them book their shows and get you on set.

Want to know more ways you can get booked? Here are three things to know about getting cast and a helpful guide on how to read a Central Casting job post.

Join the Community

Working to become a casting assistant is a somewhat murky process, requiring skill and determination as well as a little luck. While there is no set path to become a casting assistant, there are several steps an aspiring film or theater professional can take to help find work in this nebulous industry. To help smooth the way to become a casting assistant, consider moving to a region where film, television, and theater are major industries, look for internships or entry-level jobs in production or casting, and try to make as many professional contacts as possible.

Befriending actors may help an aspiring casting assistant create a personal file of professionals to suggest for roles when the opportunity arises.

While there may be some casting opportunities in other areas, relocating to a major film or theater town can increase job availability, as well as opportunities for advancement. For those who wish to get involved casting for theatrical productions, consider moving to London or New York. Those interested in film and television casting may find the most opportunities in Los Angeles. Relocation can be a major personal step, but is often the first big move needed to become a casting assistant.

Many casting agents or directors get their start at the bottom of the production totem poll. Consider looking for jobs as a production assistant on films, or as an intern at a talent agency. Production jobs are usually short-term opportunities that may or may not be paid positions, but offer a chance to make professional contacts and learn more about how films are made. Internships are generally semester-long positions available to film and theater students, and may offer a small stipend rather than a full salary. Entry-level jobs at production companies or talent agencies usually offer a steady paycheck, but may be difficult to get without prior experience.

When choosing entry level jobs, it is important to be cautious about which opportunities to accept. While some beginning jobs can lead to the opportunity to become a casting assistant, others may not offer any real chance of advancement in the industry. During the interview, be certain to question the interviewer about the opportunities for advancement and a hypothetical timeline to become a casting assistant. A good employer will want to teach a new worker the ropes so that he or she can excel in the profession; be wary of any prospective employer who refuses to talk about advancement potential.

While working in the industry, be sure to take advantage of networking opportunities. Becoming friends with other film, theater, or television professionals can lead to future projects and early notification about upcoming job opportunities. To gain professional experience, offer to work as a casting director for free on friends’ films and plays. Befriending actors can help a future casting assistant create a personal file of talented professionals to suggest for roles if the opportunity presents itself. While it can be difficult in a competitive profession, try to avoid making any enemies within the industry, and focus on crafting a strong personal and professional reputation.

After spending some time working in the industry, you can start applying for jobs as a casting assistant. If a good relationship has formed with any prior employers, be certain to contact them about potential job openings at their companies. Craft a strong resume that highlights training, education, and at least one reputable reference within the industry. While it may take a lot of trial and error to become a casting assistant, strong determination added to sufficient experience may be the best way to get a foot in the door.

Whether you are newly registered or have been working as a Background Actor for years, you’re likely looking for ways to stand out to Casting Directors. Here are some tips for what you can do to show Casting Directors you’re prepared, professional, and ready to get to set.

Read the entire post or text

A large part of being a successful Background Actor is following directions. Sounds doable, right? Just don’t forget that following directions is as important off set as it is on. When Casting Directors post a job or send you a text, they will add specific information on what they’re looking for. Be sure to read the entire post or text to make sure you can portray that role before submitting.

“Please be sure to read the whole text because we put very specific instructions in it,” said Casting Director Guy Y. “If we put multiple dates in, we need you to be available for all of those dates. If you submit when you’re only available for one, that doesn’t help either of us.”

Ready to submit? Check out the job posts section of the Talent page for all the latest jobs posted by Casting Directors.

Show up on time

It is imperative that you show up to set on time, which means checked in and ready for work. We know traffic, subway delays, and other complications can arise on your way to set, but it’s still your responsibility to show up on time. Plan ahead and give yourself enough time to find parking and get checked in. Check for call time changes before you go to bed and when you wake up in the morning.

“Show up on time, wear the right clothes, and do a good job on set,” said Casting Director Mindy R. “That’s so huge. Those things stand out to Casting Directors and will help you go far.”

Be prepared

Make sure you write down or read through the details given by the Casting Director who booked you. You will often be expected to bring your own wardrobe and do your own hair and make-up before you arrive to set. Showing up with the right wardrobe shows Casting Directors you are paying attention to details and lets them know they can trust you to arrive as expected.

Pay attention on set

During filming, Background Actors are usually directed by Assistant Directors. Follow the instructions given and remember your movements so you can replicate them for multiple takes. Being alert not only helps you stand out to Casting Directors, but lets Assistant Directors know you’re serious about your work.

“Be available on set,” said Casting Director Summer W. “If they need to pull someone to be a Stand-In, be the first one to offer. Be very engaged on set. I think that goes a long way.”

Beyond following the AD’s direction and doing your job as a Background Actor, being on set is one of the best ways to learn about the entertainment industry. Use the time when you’re not working to watch how the production operates and talk to your fellow Background Actors in Holding about their experiences on set.

Show you’re invested

Want to know the difference between a Background Actor and a Professional Background Actor? You can take our Central Casting University course to find out. University classes are a great way to learn more about the business and what’s expected of you on set.

Visiting sessions are another great way to stand out to Casting Directors. During Visiting you have the opportunity to ask questions to and learn from a rotating panel of Casting Directors. Check your location’s calendar for upcoming University classes and Visiting sessions.

Our articles are a valuable tool to find out about the industry and stay up to date with what’s happening at Central Casting. We provide valuable information on our texting feature, what projects are coming up, how to book a job, and many other resources for how to be a successful Background Actor.

This Casting Director job description template is optimized for posting on online job boards or careers pages and easy to customize for your company. Post now on job boards.

Available in

Casting Director responsibilities include:

• Studying script to understand all speaking roles
• Collaborating with directors and producers to determine a role’s requirements
• Preparing casting budget with the help of accountants

Job brief

We are looking for a Casting Director to organize castings and select actors for film or stage. Your job will determine the final success of the production as the right person should be in the right role.

We expect candidates to be very knowledgeable of acting principles and the unique requirements of film and theater. An instinct to discern talent and determine the best fit for each role, no matter how small, is the most important success factor in this job.

The goal is to ensure productions will have the most appropriate team of actors for every role.

Responsibilities

• Study script to understand all speaking roles
• Collaborate with directors and producers to determine a role’s requirements (physical characteristics, experience etc.)
• Prepare casting budget with the help of accountants
• Contact agents directly to source ideal actors
• Review resumes and call suitable actors
• Organize auditions and readings
• Interview actors and determine their suitability for the part
• Determine actor’s fees
• Negotiate contracts to achieve mutual satisfaction
• Supervise other staff (e.g. casting assistants)

Requirements

• Proven experience as casting director
• Current knowledge of available acting talent
• Ability to maintain knowledge of industry trends
• Instinct to recognize talent
• Excellent organizational and leadership skills
• Outstanding communication and interpersonal ability
• Great negotiation skills
• A team player
• High school diploma; further education in film, arts or relevant field is a plus

Hiring Casting Director

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If you’re a conscientious casting director that wants to be gracious to actors, and wants to give back to the community, here are some tips on how to be a good casting director:

1. Post Your Sides

Before holding auditions in a casting room, be sure to always post your sides when writing up your breakdowns on casting websites. Sides give actors a good idea of the quality and style of the writing for your project, and it truly helps actors decide whether they should confirm your audition and show up to the casting facility. Posting sides can help you and the actor save time.

2. Avoid No-Shows- Don’t Leave Early

Sometimes, less considerate casting directors will arrange a casting session from 10am-6pm, but then leave at 5:30pm. An actor will then show up at 5:40pm, and their entire day will be ruined. Having a casting director skip out early on you feels like being stood up on a date- it’s not fun for anyone.

3. Write Descriptive Breakdowns

It can be confusing to read a breakdown for a casting session where the character description says simply “Principal Role,” or “Featured.” Reading the type of role that you’re offering doesn’t really help the actor determine the nature of the character, and therefore prevents the actor from coming prepared to the audition, and in some cases, may make it hard to properly interpret the sides. Writing a breakdown like “a quirky, paranoid man with OCD” is a much more helpful description.

4. Offer immediate feedback in the casting room:

If an actor delivers some lines, and you can tell that they are hungering for immediate feedback, give it to them. You never know what kind of performances you can elicit or inspire in the casting room.

These are just a few tips on how to be the most considerate CD you can be.

Highlights from Q&A session with casting director Emma Stafford

By Christina Care

At our recent Open House Liverpool, casting director Emma Stafford on was on hand to answer your questions! Here are some of the highlights.

How do you find and ultimately choose performers you want to cast?

A lot of this process is about instinct – looking for something that pulls you towards a person. “They could look nothing like the brief,” she says. “It could just be that I like their CV, shows they’ve been in, directors they’ve worked with. I don’t have a list, it could be anyone from anywhere. We’re out looking all the time.” Her process, she says, includes a first look through very quickly, before a second look more thoroughly.

What’s your view on self-taping? Is this good for the casting process? What do you like to see?

Emma says self-taping is a good trend, as it allows her to see more people perform when she is casting. She recommends having a nice clean background, and avoiding having too many distracting background objects – “No kitchen objects! A white clean background in a loose mid-shot is best.” Avoid including shots of yourself in profile/front on; just do the performance instead, as these are not required. She also recommends keeping anyone who might be reading lines with you to a sensible volume and tone so they are not distracting from your performance, and in particular, does not want to see a music overlay for the first 30 seconds of your tape. Her decisions are often based on the first 10 seconds of the video, so don’t lose any precious time on fancy extras.

What do you like to see in a showreel?

Emma advises keeping a showreel to a few scenes of your best work – whatever shows you and your personality in the best light. If you’re having a showreel professionally created, follow their advice. Again, Emma strongly advises against a musical introduction or overlay. Have different clips for different sorts of parts, so you can point them out as appropriate. “Whatever you’re proudest of, use footage of that.” Other practical points from Emma are that it isn’t too important if you have titles on your showreel, and she really doesn’t want to see any montages. She advises that it is preferred to see something in the genre she’s casting for, if you have it, but if not, don’t worry – even a single clip of something to look at is better than none. “If the casting director likes you, they like you,” she says.

Is it okay for me to reach out to you without an agent? How can I stand out from the crowd when I email you?

Emma says it is always preferable to have an agent, as those relationships are already established. Unless you know a casting director already, the advice and introduction via an agent is preferred. However, she advises that if you do wish to reach out via email, you certainly can but it is far more dependent on timing and luck. She believes that the role, “goes where it is meant to go,” so you might time things right, but you also might not.

If you do email directly, she says it is important to include quality headshots (either black and white or colour is fine), but don’t include any with costumes or an abundance of very similar poses. Have a link to your up to date Spotlight profile and ensure all the relevant information is in one place.

Do you have any advice for standing out on screen?

Emma says that stillness is the best quality you can have for a good screen performance. Being still and emotionally engaged is powerful, and compelling.

Should I use my own accent then go into a character, or should I arrive to an audition already in character?

Emma says it is nice to get a sense of the personality of the individual, however she understands that many performers prefer to come in character, and talk more freely once the audition is finished. She says either is fine, as long as you perform well, but encourages performers not to suppress their personality too much.

What are the Dos and Don’ts of auditioning?

Emma encourages you to be able to go off-book. She also encourages performers to record themselves and watch it back before coming to an audition, particularly for screen roles. No swearing, and no flirting! Arrive as fresh as you can, with good personal hygiene. Don’t get dressed in the audition room, arrive prepared to go. If you have dyslexia, accessibility requirements or another need, Emma encourages you to make it known so it can be accommodated.

Thanks again to Emma for giving her time to answer our questions! Look out for more opportunities to ask questions of casting directors in the near future.

What do Casting Director Assistants do?

Good casting is crucial to making characters credible on screen, and is fundamentally important to a film’s success. Casting Assistants perform general running duties around the casting office, and assist with specific casting related jobs. They are employed as freelancers on a film by film basis by casting directors.

Casting agencies vary in size but are usually quite small, comprising of the casting director and casting associate. As work on casting a film usually lasts no longer than ten weeks, Casting Assistants must be continuously on the lookout for their next job, and should be prepared to work hard in this role for many years before they are offered the opportunity to become casting associates.

What is the job?
The duties of Casting Assistants vary according to the scale and budget of each film, and also according to the willingness of the casting director to delegate responsibility. Casting Assistants are usually hired during development casting; their first responsibility is to read the script and to help the casting associate and casting director to draw up lists of possible actors for the main roles. Casting Assistants subsequently call the actors’ agents to check availability, and relay this information to the casting director so that the lists are kept up to date with all relevant information.

Casting Assistants provide general running duties in the office, including answering phones, sending faxes and emails, liaising with couriers, making teas and coffees, etc., as well as assisting during casting sessions when actors perform screen tests on camera. Casting associates usually operate the camera during these tests, and Casting Assistants ensure that the sessions run smoothly, by making tea and coffee for the actors and providing general support. After each casting session, casting associates make selections, and edit together the best takes. These must be labelled correctly and sent to the director, producer and/or financiers by the Casting Assistant. Casting Assistants finish work on a film when most of the cast have been contracted.

Typical career routes:
Although there is no typical career route for this role, most Casting Assistants are graduates with an interest in acting and casting, who have managed to enter the film industry at junior levels as assistants in talent agencies, thereby gaining experience of selecting and working with actors, or as runners for production companies and/or on feature films. Those involved in casting should constantly keep up to date with new and interesting actors, and must develop the confidence and taste which are vital for any casting director.

Acquiring casting credits on feature films is important for casting directors’ career progression, but as Casting Assistants are not usually credited it is difficult to develop a good reputation. Many talented, hard working Casting Assistants work for many years for the same casting director, before they are offered more responsibility, e.g., running a casting session on a modestly budgeted film, and before they are promoted to casting associates.

Essential knowledge and skills:
Casting Assistants must have a wide knowledge of cinema and actors. An interest in the theater and stage actors is also a prerequisite. A basic understanding of how to operate a video camera (framing, focus, etc.) is also an advantage. Casting Assistants must be computer literate.

Key Skills include:
excellent communication skills
ability to recognize talent
a good memory
excellent organizational skills
precise attention to detail
ability to take direction
knowledge of the requirements of the relevant health and safety legislation and procedures

Casting Director Assistant jobs which have appeared on the Media Match jobs board:

The hardest but most important part on your way to becoming a casting director is getting that first job as an assistant or an intern. This puts your foot in the door and allows for promotions. Because this career is not taught at universities, an internship is the ONLY way to learn the rules of the road and the importance of your future job. Some important skills you will need for this initial internship is a willingness to work long hours, a passion for characters and actors, and you must be willing to meet and get to know many, many people. This ranges from actors who are auditioning, the movie production team, the directors, etc.

Good people skills will take you very far in this career path. It is also a great idea to take a few acting classes because the more you understand what kind of work goes into acting and the different types of acting (method acting and the like) the better casting director you will become. If you do get this prized internship, be prepared for work that seemingly has little to no association with becoming a casting director at all. You could be sorting mail, retrieving coffee, being a personal assistant, etc. But this is teaching you how to network and be comfortable in a production environment.

The most IMPORTANT part of this internship is the learning process. Therefore, you must be open to everything. Ask questions of everyone you meet. This could be actors, other casting directors, directors, production teams, lighting crews, etc. Everyone you meet will have some kind of valuable information that you can take in and learn from. The more you learn, the better you will do and the faster you will advance.

The next step after your internship is becoming an associate casting director. This means you will work on your own small projects and have much, much more independence and many more responsibilities than you did as an intern. Since you now have a much more active role in the actual casting process, you will learn even more quickly. You will begin to learn the importance of meshing business goals with creative goals and how to achieve the perfect balance between the two. Too much on the business end and the film/tv show/play you are casting for will fall flat or be mind-numbingly boring. However, too creative and you lose a huge audience because most demographics are not into bizarrely creative works.

Taking on this career path is a huge decision, but if you are sure you can handle the long hours as well as the long ladder you must climb in order to become a casting director, then the payoff will ultimately be more than worth it.

“It would be great to have a whole cast of fan favorites, but it doesn’t always work out that way.”

A Kenyan safari guide. A Hollywood costume designer. A world-traveling sommelier. In this series, we learn about the journeys people take to land the ultimate Dream Jobs.

Summer 2020 officially marks 20 years of CBS’s Big Brother, one of the longest running reality TV shows on television. And with the series readying to kick-off it’s incredibly anticipated 22nd season, there’s literally no other program like it. It airs three nights a week—including one live show—and comes along with 24/7 live feeds that monitor a house filled with an incredibly dramatic cast of strangers from around the country. And we can’t forget the ever-fashionable Julie Chen.

But one integral member of the Big Brother team who most viewers may not know—but who super fans definitely do—is the show’s casting director Robyn Kass, also known as @Kassting on Twitter. (Her bio reads: “Lover of all things Vegas, Lakers and MMA!”) Though BB stands out for its cutthroat strategic game play, crazy twists, and an over-the-top set that doubles as an extremely plush house, the show would be nothing without the houseguests that are at the root of all the chaos, and Kass has been responsible for finding every single one of them since season 2 in 2001—effectively ensuring that the millions of viewers always come back for more every summer.

We have Kass to thank for legendary names like Dan Gheesling, Dr. Will, Danielle Reyes, Janelle Pierzina, Keesha Smith, and even Ika Wong from Canada’s iteration of the show. All fan favorites, and all considered untouchable in the BB fandom . (And we’ll see some of them for All Stars 2 ). But in the same breath, there’s the infamously not-as-well received Aaryn Gries, Jackson Michie, and Jack Matthews—also cast under the watch of Kass.

It’s the latter that sparks extremely vocal and passionate BB super fans to take to social media and critique away, resulting in GoFundMe pages to support players they feel have been wronged, and petitions to get maligned cast members kicked off the show.

But it’s all part of a beloved job for Kass, who since the mid-90s, has interviewed thousands of people for over 40 shows (she actively casts for CBS’s Love Island, too) to find the special somebodies that become reality TV stars. She started her own company, Kassting, Inc., in 2005.

What does a friendly and optimistic talking frog sound like? How about a troublesome yellow 10-year-old? Just about anyone aware of pop culture could give you their best Kermit the Frog or Bart Simpson impression or perhaps enact Yoda having a conversation with Bugs Bunny. What these memorable characters all have in common is a distinctive voice that is inextricably linked to the image audiences carry in their minds. So, how does one go about achieving such a perfect pairing of personality and voice?

Duties

A voice-casting director is a specialist within the league of casting directors working in the entertainment industry. His or her key function is to audition voice-over actors to portray characters for animated films and televisions shows, video games, radio commercials, or any production that requires off-camera dialogue. After narrowing down the field of potential actors, the voice-casting director makes recommendations to the director for final approval.

The voice-casting director’s process begins when he or she is hired by the producer, usually early in the production. This person will meet with the producer, director, and other senior creative team to review the script and discuss the vision of the project. The voice-casting director is particularly interested in learning how the director imagines each character’s personality based on the background information found in the script. In some cases, the voice-casting director may be required to perform research to further understand the characters, investigating specific accents or seeking out reference material to illustrate certain voice types.

After having fleshed out the characters with the director, the voice-casting director then starts to scout for talent to invite for auditions. There are a number of resources available for seeking talent, such as contacting talent agencies, searching through online voice actor databases, and just pounding the pavement at local theaters and comedy clubs. Casting offices also maintain an extensive database of actors that have auditioned in the past. Usually, the director and voice-casting director will have at least a few performers in mind, based on their prior working relationship.

Before holding in-person auditions, the voice-casting director and staff will review solicited demo reels. Voice-over actors prepare audio recordings of past work and original material to serve as a representation of the performer’s range and talent. After narrowing the field to a select number of candidates, the voice-casting director will lead live auditions. At these in-person sessions, actors are asked to deliver a prepared monologue or read from the script in the character. The voice-casting director will usually ask the actor to read several times, giving notes to help the performer hone in on the particular type of voice the character needs. He or she coaches the actor by giving direction as to the emotion and personality of the character in the scene. If necessary, actors that make it on the short list are invited to callback auditions to perform for the director before a final casting decision is made. It is the casting-director’s responsibility to narrow down the field of candidates and offer a list of actors for each role to the director.

Skills & Education

A talent for listening is a voice-casting director’s most valuable commodity. He or she must carefully listen to the director’s ideas about a character, hear the characters coming to life in the script, and then find that particular voice in an actor’s audition. Imagination, creativity, and the ability to interpret abstract concepts are the marks of a great voice-casting director. Beyond that, this career demands an individual with considerable experience in the entertainment industry, with strong connections with producers, directors, and talent agents. To develop those contacts requires several years working in television, film, or radio.

A specific college degree is not required, though many voice-casting directors hold at least a bachelor’s degree, with an education in film and television production, broadcasting, entertainment business, or other media field. Knowledge of audio post-production process and sound engineering is also highly beneficial. It is very helpful to study performance, characterization, literature, and directing. Learning to dissect dialogue and descriptive language to identify the psychology of a character is an important component to casting.

What to Expect

The process of voice casting is highly instinctive, and as such, it is not a career that all will succeed in. Over time, voice-casting directors develop a certain knack for appropriately matching voices to characters based on a wide range of experience in the industry. Those that wish to pursue such a career can seek out entry-level career opportunities within casting agencies under the mentorship of a veteran professional. There are certain tricks to the trade that can only be learned through hands-on experience. Studying voice-over material like cartoons and video games can serve to enrich your knowledge base in preparation for a career in voice casting. On the job, you should anticipate a fast paced environment that is highly deadline oriented. In entertainment production, time is money. Voice casting is a creative process but one that must be carried out efficiently to keep the rest of the project on schedule. In this highly competitive field, an individual may take several years to reach a senior-level position.

If you want to become a casting assistant, you should be a graduate of any relevant course/degree and you should have interest in acting or casting.

There are skills that you need to posses and if you find employment opportunities, you have to check the qualifications. If you’re qualified, go ahead and submit your resume.

Become a Casting Assistant

If you love watching TV shows and movies, you might be interested in becoming a casting assistant. All you have to do is find a casting office in your area and apply for the job. This profession involves performing duties in the office and assisting with related tasks. In most cases, employment is a on a project basis. For instance, you can become a casting assistant for a certain film but after the project, the contract also ends. In short, you’re a freelancer.

Casting agencies can be big or small. You will often work with casting associates and a director. A project can last for around ten weeks, and while you’re on the job, you shouldn’t stop in looking for other employment opportunities. You should be familiar with the job and the duties are usually dependent on the film’s budget. Your primary responsibility is to read the script and help your superiors to choose the right actors that fit the roles. If you become a casting assistant, you will also be in charge in contacting the agents of the actors to determine their availability. Up to date information should be provided to the director and this is also your task.

Duties and Skills Required

You will also need to perform typical office duties like answering emails, phones, faxes, making coffee or tea, liaising with certain couriers, and assist during casting sessions. During tests, you can be asked to operate the camera. When all the casts of the film have been contracted, your work is done. To become a casting assistant, you need to be a college graduate; with knowledge and passion for casting or acting. You can start gaining experience by working with talent agencies. You also need to be aware of the latest news on popular actors and possess confidence to work with ease with casting directors.

Make sure that you establish a goo reputation. If you’re hard working, you can easily get hired from one film to another. You should have exceptional communication skills, good memory, take direction, recognizes talent, possess organization skills, familiar with the health/safety legislation, and gives attention to details. If you have these skills, you can become an effective casting assistant. The qualifications may vary among casting offices but if you’ve taken up short courses and trainings, you can be at an advantage. Develop the skills mentioned above and when you’re ready, you can now look for employment opportunities. With the passion and drive, soon you can become a casting director.

by Joshua Siegel

An inside look at the casting side of the film business.

Actor and author Joshua Siegel interviews acclaimed casting director Judy Belshe.

Joshua Siegel
How did you get started as a casting director?

Judy Belshe
It was a process. I was living in Orange County at the time with my 4 kiddos. We’d done a little extra work (making me an expert!) and there were some folks that wanted me to represent them. why I don’t know. So I tried being a talent manager. And as any good manager tries to do, they look for an agent for their talent. I went back and forth to Hollywood to find representation for my clients. You see in those days in Orange County an AGENT was someone that sold you a house!

Well, I had a hard crew to draw to. I represented an out of work Mouseketteer, A lady auctioneer and a cruise director that never docked! The agent that I was hounding said to me, “I don’t want to represent your people, but you’ve got guts! Why don’t you come to work for me?” That was my beginning.

Did it take long to establish yourself?
I bumped around town for a while learning the ropes. At that time the famous restaurant Schwabs was still around and Chuck Mitchell, “Porky” from the movie was showing me the ropes. it was all so Hollywood and to top it all, SAG was on strike! So I learned when there was nothing to really manage. I made a lot of friends. Most I have still today. That was my beginnings as an agent.

But as many of you know this can be a bootstrap business. So when I couldn’t find the folks I needed to help me with my talent, I decided to become who I was looking for! I determined that I would become a Casting Director. You see there is no real mystery about this business. If you want to be in the business find out what part of the business is willing to pay you to do so. Casting worked for me. It allowed me to be with my children. As an agent I talked to some of the Directors that were hiring my talent and asked if I could trying casting for them. That was the beginning.

Was there any one thing that drew you to the business?
What drew me to the business? I love talented people. I love to watch talented people. I like helping people get to their goals. But in reality it hooked me. I don’t know why I didn’t quit when I was making $30 a year! Or in the following year where I was earned the whopping sum of around $1500. I just stayed in there. I quit every week. but I never stopped.

Persistence is definitely a key to success in this business, not only for actors. In your own words, what are the qualities of a good casting director?
To me a good casting director is someone that sees as many people as possible for every job. And also remembers as many people as possible from the former jobs. So that for as much as time will allow, a lot of talent gets a chance to be seen. There is a satisfaction to the talent, if they just get up to bat for something. That is the talent side.

I also have to think about the producers need. They don’t want to see the same people over and over again. They will move on to other CD’s if I can’t bring them fresh faces. And even though the producer knows a lot of folks, and has hired a lot of folks, they usually want to see more. So there is a balance that is needed to help all concerned on every project.

Let’s talk about the audition process. When you audition actors, what are some of the qualities you look for?
Someone who has done their homework, studied if they had the sides. Someone who pays attention. You’d be surprised how so folks appear to have been shot from a cannon to the audition. They have no idea what there are there for. There is just so much that goes into looking and being professional. The interview, the clothing, the proper training, the tools and skills. So much to create that professional person.

How about things that you don’t want to see?
I don’t want to see people with perfume or after shave. Sorry folks it makes me deathly ill. I don’t want a loud mouth in the outer office. I don’t want to see a ton of kids from one family when I only called for one. I don’t want to see the entire family tree sitting in the outer office! One parent One Child! This is there time..not a family reunion.

It makes it hard for the other actors to study. Sometimes I hear voices thru the walls, (unlike the ones in my head) It’s really hard to tape a scene when that is going on. I don’t want to see food in the office. You can check in any office for dead bodies and you will find that no one has died from starvation on an audition.

What are some of the common misconceptions you think actors have about casting directors or auditions in general?
The big one is they think we can just hire them! I get it all the time on the Internet. “Hi, I want to be a star how about you just give me a little job to get me on my way.” I try and try to explain that it doesn’t work that way. I explain about classes and training, pictures. then I get the “Rip-off” dialogue from them. So, try as I might I just can’t reinvent the audition/training wheel for them.

This is a business like any other business. People spend a lot of money on training to become doctors, lawyer, accountants, etc. Why do they think a Zillion dollar film will hire them with no experience.

There are times an actor gets lucky and gets a part before there is even a head shot. But I’ve seen those actors take the money and turn it into a career by training. You see, the first time is luck. It can happen again, but you have to make it happen.

Let’s talk about some of the things you do to help new actors. I understand you’ve written a few books.
Helping actors is the main reason I wrote my book, “The Long Shmooze: Everything The Gate Keepers To Hollywood Don’t Have Time To Tell You . Again!”

I discovered no matter how many times I helped someone. they didn’t write it down and I ended up repeating myself. So, I wrote it down for them! And for the parents I wrote: It’s a Freeway Out There! The Parent’s Guide To The Film and Commercial Industry.

My books have been very helpful to those starting out and afraid to ask questions. It covers a ton of questions and answers for talent. I questioned Casting Director, Agent, Managers, Talent, Prod, Dir, to get as well rounded of answers as possible for the talent. The books are on sale from my website, at Amazon.com or at Larry Edmonds in Hollywood. And on request by my name at any book store.

Any parting words of wisdom to aspiring actors out there?
You see this business comes packaged like a mystery. Everyone’s road to discovery is different. We have celebs that are there because they are good actors. We have celebs that are there because they slept with the Prez (wouldn’t want to be in that class!) We have celebs that are in this business because they are just RICH! And we have the working class that are in millions of commercials, co-star and character actors and we still don’t know their name. There are so many ways to be in this crazy BIZ! It’s like being on an octopus ..no matter what sucker you are stuck to. you are still in the biz!