If you’ve been building momentum and you’re thinking, “Okay, it might be time to talk representation,” January is often when that search starts feeling realistic. Representation is a business relationship you enter because it helps both sides. A rep’s job is to market you, pitch you, guide your strategy, and open doors you cannot open alone.

Your job is to be a product they can confidently sell and a collaborator they can trust. So how do you walk into that first conversation with an agent or manager and sound like someone who’s ready?

Key Insights

• Representation conversations are business meetings, not favors, and actors need to understand what they offer before asking for support.

• Agents and managers serve different roles, and choosing the right one depends on your current career stage and momentum.

• Reps look for clarity, professionalism, and consistency just as much as they look for raw acting talent.

Let’s break it down: what reps actually look for in new talent, how to present yourself like a pro, what to say (and not say), and how to know if this rep is the right fit for you.

Agent vs. Manager: Know What You’re Actually Asking For

The roles of “agent” and “manager” are often treated as interchangeable words for “person who helps my career.” They overlap, but they’re not the same job.

Agents primarily procure work. They submit, negotiate and aim to land you auditions and bookings. They usually have larger rosters and more specific lanes (theatrical, commercial, voice-over, etc.). Agents tend to be more selective about clients who are “ready to go” right now.

Managers often focus more on long-term development and career strategy. They might help you choose classes, shape your branding, build materials, and position you for the right casting offices. Managers can submit you, too, but their value often lies in big-picture navigation.

Many actors have both. There’s no one correct order. The proper order is: the one that matches where you are right now.

Why January Can Be a Smart Time to Reach Out

Actors don’t only chase reps during pilot season or showcase season, but January has a few natural advantages:

Industry rhythm returns. People are back at work after holiday breaks. Meetings start happening again.
New-year roster planning. Some reps assess their client lists early in the year, setting goals, shifting focus, and identifying gaps they want to fill.

Actors feel the “start” line. Newer actors often decide to get serious now, which means you’ll see more workshops, submissions and conversations happening. The takeaway is not “January is magic.” It’s “January is momentum-friendly.” If you’ve been preparing, this is a clean moment to step forward.

What Reps Look For in New Talent (Spoiler: It’s Not Just Talent)
Yes, they want acting ability. But in representation conversations, talent is only one piece of the puzzle. Reps are listening for signs that you are bookable, coachable and consistent.

1) Casting Lanes
New actors get nervous about being “boxed in.” Reps aren’t trying to trap you. They’re trying to understand how to sell you. You don’t need a rigid brand statement like, “I am the sardonic barista with a secret heartbreak.” You do need a practical lane, such as:

• grounded teen/young adult drama
• comedic best friend with fast timing
• blue-collar, approachable dad energy
• polished corporate commercial look
• quirky, offbeat character with warmth

If a rep can’t easily picture where you fit, they don’t know what rooms to push you into.

2) Training and Craft
Reps want to know you’re serious. Training signals commitment and stamina. They’ll listen for:

• ongoing class or recent intensives
• a coach you work with for tapes
• specialized skills (voice, improv, movement, dialects)
• measurable progress, not just “I took one class once”

3) Strong Materials

You don’t need to be perfect, but you do need to be presentable. If your headshots and reel look underlit or rushed, reps will worry you’re not ready for professional pitching.

4) Momentum

Momentum does not have to mean a series regular credit. It can mean:

• consistent self-tape auditions through Casting Networks
• callbacks in student/indie projects
• a short film run, festival acceptance, or strong role in a local theater production
• a clean pattern: you submit, you book, you deliver
• Reps love patterns. Patterns are predictable. Predictable is profitable.

5) Professionalism and Emotional Maturity

This is the invisible factor that makes or breaks it. Reps listen for:

• Do you take direction without defensiveness?
• Do you show up on time and prepared?
• Can you communicate like an adult?
• Are you building a career, or chasing validation?

The rep-client relationship can last years. They’re looking for someone they won’t have to “parent.”

Before You Reach Out: Build Your “Rep-Ready” Package

Think of your materials as a storefront window. The rep is walking past quickly. You want them to stop.
Headshots: current, competitive, and truthful. One strong theatrical shot and one commercial-friendly option is a good baseline. They should look like you now, not “you, two faces ago.” Avoid over-retouching. Casting can smell it.

Reel: short, specific, and easy to watch. If you have professional footage, great. If not, you can still build a smart starter reel: 60-90 seconds is fine to start. Put your best moment first. Choose scenes that match your likely casting.

If you’re using self-produced footage, keep it clean: good audio, good lighting, and acting that feels lived-in rather than performed at the camera.

Acting resume: simple, accurate and readable. Lead/supporting credits first. Training clearly listed with studios and teachers. Special skills that are real. (If you list “dialects,” be prepared to do them in real time.)

Online presence: make it boring in the best way. Reps will look you up. Make sure your public-facing stuff matches the actor you’re presenting. Professional actor website or profile links help. Social media doesn’t have to be curated like a museum, but it should not be a chaos scrapbook either.

A short, confident pitch about who you are
Have a 2-3 sentence summary that’s human, not corporate:

“I’m a California-based comedic actor, actively training and booking indie projects. I’m focused on TV and commercial work and looking for representation to help expand my theatrical reach while maintaining a strong commercial momentum.”

How to Start the Conversation: Submissions That Don’t Sound Desperate

Your goal is to make it easy for a rep to say yes to a meeting.
Outreach email template (customize it)
Subject: Seeking representation | [Your Name] | [Type/Lane]
Hi [Name],
I’m [Your Name], a [location]-based actor. My work lives in [your lane: grounded drama/comedic commercial/etc.], and I’m currently training with [studio/teacher] while building credits in [film/theater/VO/commercial].
I’m reaching out because I admire [specific reason: their client roster, their focus, a recent client booking, their agency’s niche]. I’d love to be considered for representation.
Here are my materials:
Headshots: [link]
Reel: [link]
Resume: [link]
Casting Networks profile: [link]

Thank you for your time and consideration,
[Your Name]
[Phone] | [Email] | [Website/Profile link]

Why this works: it’s short, specific, and gives them everything they need without making them dig.

What Not To Do

• Don’t send huge attachments unless requested.
• Don’t write a memoir about your childhood dream.
• Don’t insult your current situation (“No one will give me a chance”).
• Don’t ask them to “take a risk” on you. Show them why it’s not a risk.
• Preparing for the Meeting: What to Bring, What to Say, How to Act Like a Pro

If they agree to meet (Zoom, phone, or in person), congrats. Now the real audition begins.

Your Prep Checklist

• Watch your reel again. Know what they’re about to see.
• Be ready to talk about your recent training and what you’re working on.
• Know your availability and your goals for the next 6-12 months.
• Have a list of questions (more on that below).
• Be prepared to discuss your current submission access on Casting Networks.

What Reps Typically Ask

• “Tell me about yourself.”
  • They’re asking: “Can you communicate clearly and confidently?”
• “What are you going out for?”
  • They’re asking: “Do you understand your casting lane, and can you be marketed?”
• “What are your goals?”
  • They’re asking: “Are you realistic and strategic, or purely vibes?”
• “What are you doing right now to build your career?”
  • They’re asking: “Will you work even when you’re not booking?”
• The vibe you want: confident coworker, not starry-eyed fan

A rep is not a celebrity you’re lucky to meet. They’re a potential teammate. Treat the conversation like you’re exploring a collaboration where both parties benefit.

Questions to Ask a Potential Rep (So You Don’t Choose Blind)

New actors sometimes forget they’re allowed to interview the rep, too. You are. Please do. Choosing a rep is like choosing a gym trainer, a business partner and a therapist who gets paid in commission. Compatibility matters. Here are strong questions that won’t make you sound suspicious:

Fit and Strategy
“Where do you see me fitting best right now?”
“What kinds of roles would you submit me for in the next few months?”
“What’s one thing you’d want me to improve immediately?”

Communication and Process
“How do you prefer to communicate: email, text, calls?”
“How often do you like to check in?”
“Do you give feedback on tapes, or do you prefer clients work with coaches?”

Submission Approach
“How do you decide what to submit clients for?”
“How do you tailor submissions for specific offices?”

Business and Expectations
“What are your commission terms?”
“Do you work with contracts?”
“Do you have any upfront fees?” (More on this in a moment.)

A good rep won’t be offended by thoughtful questions. They’ll be relieved you’re taking this seriously.

Red Flags: When “Opportunity” Smells Like Trouble

Not every person who calls themselves a rep is going to help your career. Some are simply selling access, confidence or confusion.
Watch out for:

Upfront fees as the main event. Legit reps earn when you earn (commission). Paying for photos or classes can be normal if it’s your choice and truly optional. Being required to pay them or their “preferred photographer” as a condition is a caution sign. Vague promises. “I can get you in everything.” Nobody can.

Pressure tactics. “You have to decide today.” You don’t. No interest in your materials or lane. If they’re not asking smart questions, they may not know how to build you. They trash-talk other reps or casting. Professional people don’t need to do that.

Your career will involve enough rejection. You don’t need to pay for it.

Green Flags: Signs You’ve Found a Real Teammate
Look for:
Specificity. They can articulate where you fit and why. A plan. Even a simple one: “Let’s tighten your commercial package, aim for co-stars, and build relationships with these offices.”

Professional boundaries. Clear communication norms, clear expectations. Respect for your growth. They want you training and improving, not just “waiting for them to fix everything.”

They’re honest about timing. If they say, “You’re close, but you need X,” that can be a great sign.

After the Meeting: Follow-Up Without Being a Stage-5 Clinger

Send a thank-you email within 24 hours. Keep it simple:
“Thank you for taking the time to meet with me today. I appreciated your insight about [specific point]. I’m excited about the possibility of working together and would love to stay in touch. Thanks again, [Your Name].”

If they asked for something (updated headshots, a new clip, a resume tweak), send it promptly. Speed is a professional love language. If you don’t hear back, a polite follow-up a week or two later is fine. Then let it breathe.

The Truth New Actors Need to Hear: Representation Doesn’t Replace the Work

A rep is not a magic wand. They’re more like a lever. The stronger your foundation, the more force they can apply. An agent or manager can open doors, but they can’t audition for you. You still need to build your craft, stabilize your confidence, and create the consistency that makes casting offices trust you.

A rep can help you aim, but you still have to fire the arrow. And the more reliable you are, the easier it is for them to pitch you with confidence.

Key Takeaways

• January is a momentum-friendly time to pursue representation if your materials, training, and casting lane are already in place.

• Strong headshots, a focused reel, ongoing training, and small but consistent booking patterns make you easier to pitch.

• The right representative feels like a collaborative teammate who offers specificity, strategy, and honesty rather than pressure or vague promises.

The post Should You Get an Agent or Manager First? How Actors Can Prepare for Representation appeared first on Casting Networks.

What You’ll Find in This Article

• The Snapshot: Hedda in a Nutshell
• Tessa Thompson’s Performance in Hedda
• The Career of Tessa Thompson

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The Snapshot: Hedda in a Nutshell

A reimagining of Henrik Ibsen’s classic 1891 play Hedda Gabler follows the title character as she finds herself torn between the passion of a past love and the quiet suffocation of her present life. Over the course of one intense night, her actions will have long-lasting consequences for everyone involved. 

Hedda has a limited theatrical release on October 22, and streams exclusively on Amazon Prime starting October 29.

Tessa Thompson’s Performance in Hedda

There is something eminently tragic about Henrik Ibsen’s Hedda Gabler, a woman who wants to live a life of luxury, but married an academic with no fortune. She’s bored in her relatively new marriage and decides that she wants to influence a person’s fate, so when she gets the opportunity to do just that, she goes for it, to disastrous results.

Director Nia DaCosta’s adaptation of the play takes some large liberties, turning the play’s dinner party into an enormous bash, with dozens of people and plenty of activity in the mansion where the action is set. There’s also the fact that the character of Eilert in the play, Hedda’s former lover and a rival to her new husband, George, gets a gender switch to Eileen, and is played by German actress Nina Hoss. It adds a level of sexiness the play doesn’t always possess, and when it’s paired with the sensuality that Tessa Thompson brings to the lead role, the movie becomes a refreshing and alluring update to a play that, to some, can come off as a bit stuffy.

There’s nothing stuffy about Thompson, though. She has always brought a certain sex appeal to her work in a way that not all performers can, and this is no different. Hedda is the center of every room she enters and in the middle of every conversation that happens around her. Thompson’s Hedda is a magnet for attention, both good and bad, and as she floats from room to room, all eyes are on her all the time. Even as party guests get together for secret trysts or go skinny dipping in the pond behind the house, people are fascinated by Hedda. 

Ibsen’s work is a classic for a reason, as it introduced one of literature’s first fully developed neurotic female protagonists. Hedda is one of the great theatrical female roles, so it makes sense that Thompson would want to play her. Most actresses worth their salt would, and Thompson takes full advantage of it. She oozes charisma as Hedda, while also trying to hide her desperation. She needs to destroy Eileen so that George will succeed, but has to do it in a way that no one else will suspect. 

The play is over 130 years old, so it’s no spoiler to reveal that Hedda destroys the manuscript that is Eileen’s life’s work, one which will basically destroy George’s career before it can even get off the ground, and in the process, take away any chance Hedda has at the life she feels she deserves.

Hedda is a manipulative woman whose motivation becomes existential, and Thompson’s eyes never stop moving. She’s constantly keeping tabs on everyone and everything around her, but doing so subtly. That’s where so much of her power comes from. Thompson doesn’t overperform, and she tends to bring a stillness to her work, which is in play here even when flaunting her moves on the dance floor or joining her guests for a dip in the pond. Thompson’s Hedda is the same desperate, neurotic mess that Ibsen created, with a raw power that DaCosta’s script instills in her. There’s never a time in the course of the movie’s zippy 105-minute running time when Thompson isn’t in command, even when Hedda isn’t. It’s a powerhouse performance in a classic role that will almost certainly have the actress in the conversation come awards season. She’ll deserve every mention she’ll inevitably get.

The Career of Tessa Thompson

It’s sometimes hard to believe that Tessa Thompson has been on screens for more than two decades. Her first breakthrough was as Jackie Cook in the second season of the cult classic TV series Veronica Mars, back in 2005. What might have happened was that she became an instant star, but instead, she spent most of the next decade in small supporting roles and doing an episode or three of this TV show or that one. It took until 2014 for her to get a second breakthrough, in Justin Semien’s indie hit Dear White People. That same year, she showed up in Selma, and a year later, the first of two really huge breakthroughs happened. She was cast as Michael B. Jordan’s love interest, Bianca, in Creed, and then was cast as Valkyrie in Thor: Ragnarok, stealing every scene in which she appeared in the process. Now, she really was a movie star.

A lead role in Boots Riley’s Sundance hit Sorry to Bother You hit theaters in 2018, as did Alex Garland’s Annihilation, opposite Natalie Portman. More Creed and Marvel movies followed, as did another starring role opposite Thor himself, Chris Hemsworth, in the attempt to reboot another major franchise. Men in Black: International was a box office failure, but Thompson still shone in it, because of course she did. She starred in the made-for-TV movie Sylvie’s Love, earning an Emmy nod in the process, and did 30 episodes of HBO’s seminal Westworld series. She’s also got a fourth Creed movie coming soon, as well as the starring role as an adaptation of Alice Feeney’s novel His & Hers, which will debut on Netflix in 2026. 

Whether or not she earns an Oscar nod this year for Hedda, one thing’s for certain: it won’t be the last time people talk about her for one.

Final Takeaways

Tessa Thompson’s portrayal of Hedda Gabler offers a masterclass in commanding presence and nuanced performance, showing how an actor can embody complexity without overplaying it. Her ability to balance charisma with subtle desperation is a reminder that powerful acting often comes from what’s held beneath the surface. For actors looking to make their mark, there are clear takeaways from this standout role.

• Own every scene you’re in, even when you’re not the center of attention; presence is a quiet but constant force.
• Embrace stillness and subtlety. Sometimes less is more when conveying deep emotion or tension.
• Study your character’s motivations thoroughly to ground even the most dramatic choices in believable intent.
• Use your eyes and body language as tools to communicate what words can’t; they can reveal layers of your character’s inner life.
• Don’t shy away from complex, flawed characters. These roles often offer the richest opportunities to showcase range and depth.

You may also like:

• The Cast of Netflix’s ‘House of Guinness’ | Acting Up
• How the Cast of ‘The Promised Land’ Creates a Clever Biblical Mockumentary | Acting Up
• Helen Mirren, Ben Kingsley, Celia Imrie and Pierce Brosnan Have a Ball in ‘The Thursday Murder Club’ | Acting Up

The post Tessa Thompson is Electric in ‘Hedda’ | Acting Up appeared first on Casting Networks.

These are the goals that keep us hustling through the bread-and-butter projects. However, waiting around for those dreams to come true can be disheartening and ultimately unproductive. But how to make your bucket list a reality? Here are some things to keep in mind.

What You’ll Find in This Article

• Don’t Wait for Permission
• Set Your Intentions
• Banish Self-Doubt
• Call on Your Resources
• Get Creative

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of high-quality roles.

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Don’t Wait for Permission

I truly think this is the biggest hurdle. As artists and especially actors, we are used to having to wait to be given roles and opportunities by professionals with more authority. They have the money, the scripts, the venues and the seniority; and while that is an undeniable aspect of the industry structure, it is not the only way you’ll get to play your dream role. You have the power to create your own opportunities. The first step is to decide you’re going to make it happen yourself.

Set Your Intentions

Being clear and specific about your goals will help focus your efforts to achieve them. What bucket list roles or projects are most important to you? Trying to get everything done at once will spread you too thin. Narrow down your list and pour your energy into pursuing those most essential things. I also find that when you have those specific goals clear and present in your mind, you’re more likely to see and take advantage of the right opportunities.

Banish Self-Doubt

This might be the hardest one for me. But that little voice that says you’re not being realistic, you don’t deserve it, other people will never see you in that role? Tell them to pack their bags. That inner critic will stop your dream projects before they start. I always thought it would be fun to write lyrics and a book for a musical, but I hesitated for years because my training and experience were essentially in non-musical theatre and film. But once I ignored that voice in my head, I was able to connect with like-minded people, found a project we were excited about, applied for a grant, and I just produced and directed the first iteration of a children’s musical I wrote with a friend. It never would have seen the light of day if I had listened to early doubts.

Call on Your Resources

Remember that you are not the only one who can make your dreams come true. Keeping your dream role or project secret might feel safer, but the more you talk about it with friends and colleagues, the wider the net of people who can refer you to the right opportunities. No one can help connect you with the right people or venues if no one knows you’re looking. Of course, some discretion is wise–it’s always good to be cautious of who you trust with important information. But finding those people and resources you do trust is a crucial step in the journey to creating your own opportunities.

Get Creative

Often, we get stuck thinking goals can only be accomplished in a certain way, dream roles only “count” if certain people cast you, or if you were paid a certain amount for it, or a million other qualifiers we apply when measuring success. But that mindset can be so limiting. It can close our eyes to opportunities to do the work we really care about. The way stories are told and distributed is ever-evolving. Don’t be afraid to be part of that evolution. Something that helps me sometimes is asking myself questions. Take an honest look at each obstacle that is preventing you from reaching your goal and ask what if. What if you came at it from a different angle, worked with various people, chose a different medium? If you can’t go through a roadblock, make your own path around it.

An acting career is not a test where you have to show your work. No one is going to show up at the end of your acting career and tell you whether or not you did it the “right” way. Find a way to do the work that matters to you.

Final Takeaways

Pursuing your dream roles often feels like waiting for someone else to hand you the key—but the truth is, you hold the power to unlock those doors yourself. Clarity, confidence, connection, and creativity are your greatest tools on this journey. Here are some practical steps to turn your acting bucket list into real projects you can be proud of.

• Don’t wait for permission. Create your own opportunities and take the first step toward your dream role yourself.
• Get specific about your goals; focus on a few key projects to channel your energy effectively.
• Silence your inner critic by challenging self-doubt and giving yourself permission to try new things.
• Share your dreams selectively with trusted peers to expand your network and uncover unexpected chances.
• Think outside the box. Explore alternative paths, mediums or collaborators to bring your vision to life.

• You may also like:
• How to Take Direction in Auditions
• Knock the Rust Off: Tips for Jumping Back in After a Dry Spell
• Strategies for Dealing With a Difficult Scene Partner

The post Don’t Wait for Permission: Making the Bucket List Dreams a Reality appeared first on Casting Networks.

We met 17 years ago, working together on a web series I co-created called Kyle Piccolo: Comic Shop Therapist. He played a villain to perfection, and so I thought, sure, this guy’s a working actor. In actuality, he was a working writer who was soon working on TV shows like Imposters, Godfather of Harlem and Hotel Cocaine.

As it happens, he also did some dabbling in acting, landing the starring role in the 2020 drama Lapsis (it is well worth the $2.99 it will cost you to rent it on Amazon Prime). Imperial had made short films before, but his debut feature, Caper, just premiered at the Look Cinema in New York City, where it played to sold-out shows. It follows a group of friends trying to retrieve a phone after one of them mistakenly sends a sext to the wrong person. It’s a 21st-century After Hours, and will soon be available on VOD.

Insights From Dean Imperial

• Actors should embrace opportunities that come unexpectedly, as Dean Imperial’s acting career began by chance rather than pursuit.
• Rehearse thoroughly before shooting, even on low-budget projects, because preparation saves time and improves performance on set.
• Learn the language of directing and be open to self-directing or collaborating closely with directors to better understand and deliver desired performances.

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of high-quality roles.

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I’ve often wondered … Dean Imperial is such a fantastic name. Is that your real name? 

That’s my real name. When my great-grandfather came from Italy, they took the “e” off at Ellis Island. It was “Imperiale.” I do love my name, but it is ridiculous in some ways.

With a name like Dean Imperial, you really had no choice but to go into show business.

Probably, yeah. (Laughs)

What was it about acting that first spoke to you?

I loved movies. Seeing One Flew Over the Cuckoo’s Nest was the real turning point for me. I came home from Halloween when I was 10 or 11, and it was on Channel 11. My mother said, “You’ll love this movie. This is right up your alley.”

From that moment on, I learned how to act. I was really good at it in school, but I also figured out pretty early that I wanted to be a director. Probably at the same time as I was getting good at acting. I saw the two things as one, and I made a lot of short films in high school that I acted in, and I won some competitions in New Jersey.

I’ve never been fully committed to being an actor, even at Naked Angels, [the theater company where] I started as a writer. The two things feel connected because it’s artistically exercising your taste in some way. I always saw the things as part of the same whole.

But weren’t you making your living as an actor?

No! It’s funny, I have started acting only now. Naked Angels is what happened. I started bringing work in as a writer for a year, and then one day, I was offered a chance to act in one of the readings. Then I acted all the time there, and did readings and stuff like that, but I never made a living as an actor. It’s only in the last five years that I was cast in that movie, Lapsis. 

Yeah, I loved that film. A little hidden gem of an indie.

Thanks! But virtually no acting before that. Noah Hutton is a close friend of mine, and he wrote and directed it. We made a short film together, The Woman From 43. He shot and edited the short. Then I made Hammerhead, which was a spec pilot. You have a very specific role in the making of it, actually.

What? I do?

Yeah, we bumped into each other at this indie concert in, like, 2014. I told you about this idea I had for a show. It’s about a guy who’s got a deformed head, but he decides to just go out into the world and live his life. You did that thing you do where you just said, “I like that. That’s good. Go write it.”

You said it with such conviction, it always rang in my head, because I always respected your opinion so much. That’s one of those qualifiers that helps you make a decision when it arises. 

Wow. I had no idea. Glad I could help!

Yeah! (Laughs) So the planets aligned. I said, “Okay, I have this person who could finance it. This person wants to be in it,” and that was the key to me starting my career. That and an evening of one-act plays I wrote that played for a month at The Barrow Group got me my agents. It was seen by influential filmmakers who don’t make your career, but it gets you in the mix. That led to my first TV job. 

Noah worked with me on it, and then in about 2017 said, “I want to make a movie. I’m writing a role for you.” All of a sudden, I go from not acting in anything professionally or ever getting paid to act outside of a workshop where you get paid 200 bucks or so, to being number one on the call sheet, and I’m in every scene except one.

It wasn’t like I was aspiring to be an actor, but I did it, and that led to another good friend of mine, Zach LeBeau, who said, “I have a role I’m writing for you.” I didn’t pursue any of these. 

That leads me in a different direction. I had thought of you first as an actor, because that’s how I met you, and then seeing you in Lapsis. But you really just kind of fell into acting.

That’s exactly what it is. Writing has always been the number-one thing.

Let’s talk about the movie. It’s based on real events, so how did the story end up with you?

The stories came from two of the actors, Christopher Tamantana and Richard Cooper, who financed and produced Hammerhead. I started working in TV, and there’d be these big gaps, and we talked about doing something fast and dirty that’s a little cheaper than Hammerhead, which was expensive, relatively speaking.

Chris and I went to Fordham together, back in the 20th century. We reconnected during COVID, and it was like not even a second had passed. He said he wanted to make a short film, but I convinced him to do an 80-minute feature instead. We were just talking, and he mentioned something about this scenario with a cell phone. 

I went to tell the idea to Rich, who said, “Oh my God, that happened to a guy I know.” We worked on it together to get the story right, and then I went to work for Godfather of Harlem as a writer. We worked on the script sporadically over two years, and by September of 2023, we landed the financing to be able to start the film officially. We were shooting in December, and we rehearsed that entire time with the actors. 

Wait, you rehearsed for two months? That’s insane.

We did this in 15 days, so I knew everybody had to know their lines, and I had to know every single place I wanted to put the camera. The fact that it works on any level, because it started as such a trifle, is amazing. It started with the seed of a short film, and thinking, “Do we shoot this with iPhones?” But it got bigger and bigger, and I started to wonder if the story could hold an hour and a half. Is this too light for my first film?

I knew that if I could pull it off in any way, I’d have done something extreme, because it was extremely difficult to make it work. To the actors’ credit, everybody was all hands on deck. We rehearsed and rehearsed and rehearsed, and then when I was rehearsing with other people, we would send people to help actors drill their lines. I knew lines couldn’t be an issue because we didn’t have the time.

That luxury of time is not something any movie, big or small, seems to have.

No, that’s 100 percent true, but I do know [from] Sidney Lumet and Martin Scorsese and Bob Fosse, all those guys, that rehearsal is part of it. We just shot this other film, another extremely low-budget film with a cast of 15, and I said from the beginning, we must have at least three days of rehearsal.

Even if it’s paid, it will make up the time in the budget, and it was the best thing we could have done. Everyone got to bond before we shot. So yes, it’s a luxury, but I think that if I make another film, I’m going to still insist that we put it in the budget, that we must rehearse.

What I’m also curious about is, while you don’t think of yourself as an actor, you have experience in it, so how does that affect your directing?

I know the language. I know how to say what I want. I want to get to the point. We all direct ourselves and our own performances to some extent, so, yes, that helped tremendously.

With this group, we’re all very close, so I’d say I can give you the line reading if you want it. There was a lot of that, where I would demonstrate what I wanted, and everybody was cool with it. I had read that Cassavetes did that, so I thought, if he could do it, that gave us permission. (Laughs)

I can see Cassavetes’ influence on this. So will you emulate him and keep making small, personal films? Or, do you want to go bigger and make studio fare?

I’m going to cheat and say that it’s both, because the fact is, if you’re in New York City and you’ve got a circuit of friends, you can create something. It’s really about: What can I accomplish? Where can I get the money from? What can the budget handle? What actors do I have, you know? So I’ll keep working small, but I would love to work bigger.

It sounds to me like your own philosophy also doubles as advice to other young filmmakers.

Absolutely. Write to scale. If your assets are that you have great actors, or you have talented people or great personalities, and they’re willing, lean toward that asset. You have to learn how to write for what your opportunities might be.

In most cases, you can tell by a person’s intelligence if they’re able to figure it out. You have to use this fusion of being practical and being facile creatively. That’s my main advice to filmmakers. Be practical, and be facile.

Final Takeaways

Dean Imperial’s path shows that acting doesn’t always come from a lifelong plan. It can emerge naturally from other creative pursuits. His story reminds new actors that flexibility, preparation and collaboration open unexpected doors. Here are a few takeaways for anyone starting out in acting today:

• Stay open to acting opportunities even if it’s not your main focus; sometimes roles find you.
• Prioritize rehearsal time to really know your lines and build chemistry with your castmates.
• Learn some directing language to better understand what directors want and communicate clearly.
• Collaborate closely with your creative team and don’t be afraid to take direction or try different approaches.
• Use your unique background and connections to create your own chances rather than waiting for them.

You may also like:

• Priya-Rose Brookwell on ‘Grow,’ Working with Golda Rosheuvel
• The Cast of Netflix’s ‘House of Guinness’ | Acting Up
• Kahleen Crawford Reveals the Casting Insights Behind ‘House of Guinness’

The post Dean Imperial’s Unlikely Acting and Filmmaking Journey appeared first on Casting Networks.

The movie is about Charlie, a young girl searching for her mother who ends up living with her farmer aunt. She might just be a savant at growing pumpkins, and the film is funny, charming and endlessly entertaining, with Brookwell shining. She clearly has a bright future ahead of her.

Insights From Priya-Rose Brookwell

• Actors should build strong relationships with their cast and crew to create a supportive environment that enhances performance and enjoyment on set.
• Trust your instincts during auditions and scenes, and don’t be afraid to improvise to make your performance stand out.
• Embrace every role as a learning opportunity, no matter the size, to continually improve and prepare for a long-term acting career.

Get access to thousands
of high-quality roles.

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What was it about acting that first interested you?

Well, my mum was a big movie person, so I think that’s what got me into loving movies. I watched a lot when I was younger, and because I’m very curious, sometimes I wanted to know how they were made, so I started watching a lot of behind-the-scenes. Then I asked my mum if I could start acting. She said yes, but she thought it was just a phase. But I kept asking, and when I was maybe five, she started letting me do it. 

Wait, you were five? When did you start asking? 

When I was three, I think. 

Three! What movies were you watching at three that got you interested?

I loved Disney princesses and musicals.

Okay, that tracks. So you were five, and still asking your mom. What happened then?

She found me some stuff to do to see if I liked it, because, of course, it’s very different and crazy, and I absolutely loved it. I loved being on a film set from the very beginning.

I saw that you’ve done a bunch of shorts, and now this is your second feature. You said you loved being on a film set. Do you notice the differences between big and small productions?

I think it’s the connections with the cast. I can connect with people quite quickly on short films, so that’s good, but I was in Scotland for seven weeks on this movie, doing it almost every day with just weekends off. I still went out sometimes with Golda, so I think it’s the connection with the cast and crew. I knew everyone so much because I was there almost every day. That’s quite a big difference.

Sure, a short film, you’re only there for a couple of days, and this is a much longer commitment. I do want to ask about your connection with the cast, but first, let’s talk about how you got the movie.

I actually auditioned for a different role, and then I went for Charlie after because they asked me to. So I did, and then I got to do chemistry reads with Golda, and they asked me to do both roles, the one that I’d auditioned for, and Charlie. Getting any of them would have been incredible, but I ended up with Charlie.

What was it about Charlie that so spoke to you and was so appealing?

Her relationships with everyone. Peter, of course, the pumpkin. And then there’s Golda, and how she connects with Arlo, who’s Nick Frost. It’s just the way she has different bonds with different people, because at the beginning, she doesn’t want to be with anyone. She wants to be alone all the time, and then by the end, she’s with a community of people who love her.

Did you have any experience working on a farm or being around them before the movie? Or did you have to do some research?

I grew up in North Wales, where I’m surrounded by a bunch of farms and fields and a lot of sheep. A lot of nature. A lot of mountains as well.

You mentioned working with Golda Rosheuvel. You spent so much time with her. What was your relationship with her like? And what did you learn from her?

She’s just incredible. All of them are. I learned so much from their acting and our relationship. We even went out when we were not on set. We went to the illusion museum, and we went out for ice cream. She even brought an ice cream truck to the set one day. I think it was the last day.

She’s like a second mum to me, and we still keep in touch. I saw her not long ago at the Edinburgh Film Festival, and I ran straight up to her and hugged her because I hadn’t seen her in ages.

Do you think that you can take things from this experience and use them moving forward? You said your acting improved so much. Can you explain how?

I definitely want to keep improving, because I want this to be a lifelong job. I want to be as good as some of those incredible actors, the really famous people.

John [McPhail], the director, always said it’s about going with your gut, and I think when I do auditions now, I never properly go off the script, but if I feel like there needs to be a bit of improvising there, I will do it because you stand out if it’s different [from] all the others. I think that’s what I learned most from it, to go with your gut and do what you think the scene would be.

Was there a lot of pressure, considering that you were suddenly the star of this movie, and it was only your second time being in a feature?

No, no, definitely not. I never felt like I was doing it alone, because I had an incredible cast. When you watch the movie in the end credits, every name that you see has definitely put 100% into the movie, and that’s why it’s so good. I feel like I really got taken care of. Everyone was always by my side, and I was never alone.

You said that you want to make a career out of this, so it’s not just a phase? Has your mom relaxed a bit?

Yes, definitely. (Laughs) Like 100%.

What do you want to do next? 

Oh, a horror movie. I’ve always wanted to do a horror movie. I’ve done a few auditions for them, but I really want to be in one. I’m too young to watch them right now, but I’m really excited for when I’m old enough.

Do you want to be a villain or a victim?

A villain! (Laughs) Villains are so much cooler.

Final Takeaways

Breaking into acting can feel overwhelming, especially for new performers finding their footing. But as young actress Priya-Rose Brookwell’s journey shows, curiosity, connection, and confidence go a long way. Here are a few practical tips inspired by her experience that can help new actors navigate their own path.

• Watch movies and behind-the-scenes footage to understand how films are made and spark your interest.
• Build genuine relationships with your cast and crew to create a supportive atmosphere on set.
• Be open to trying different roles and auditions, even if it means stepping out of your comfort zone.
• Trust your gut during auditions and performances, and don’t be afraid to add a personal touch through improvisation.
• Treat every project as a chance to learn and grow, no matter how big or small the role.

You may also like:

• The Cast of Netflix’s ‘House of Guinness’ | Acting Up
• Kahleen Crawford Reveals the Casting Insights Behind ‘House of Guinness’
• Mitch Hudson Brings Biblical Comedy to Life with ‘The Promised Land’

The post Priya-Rose Brookwell on ‘Grow,’ Working with Golda Rosheuvel appeared first on Casting Networks.

The Costa Rican actor’s story offers an insightful look into the realities of building a career in entertainment, and the role Casting Networks plays in that process.

Insights From Kerin Castillo

• Consistently update your Casting Networks profile with their best photos and videos to increase audition opportunities.
• Embrace authenticity and let your true personality shine during auditions, as casting directors want to see the real person behind the performance.
• Persistence is crucial; stay loyal to your dreams and keep working hard despite setbacks.

Get access to thousands
of high-quality roles.

JOIN FREE TODAY

How did you decide to become an actor?

All my life, I wanted to be an actor. When I saw movies, I was like, “I want to be the next, I want to be that person, I want to be there.” That’s my dream. 

I’ve been modeling and acting, and taking acting and runway classes to achieve that goal. It’s my passion. I feel very grateful for the opportunity. I’ve met amazing people in my experiences as an actor.

I became an actor in a national competition, and that opportunity opened so many windows and doors. One of them was to be in a commercial, then I was in a music video, and then I had the opportunity to work in an independent film.

I said, “Really? You want me to be there?” They said, “Yes. I like your attitude, I like your profile, I like your energy.” I was able to create a lot of things and live amazing moments with that production.

How did you first discover Casting Networks?

When I had the opportunity to travel to the U.S. for work, I was living in New York with friends. 

They kept telling me, “New York offers huge opportunities for everyone. You have to take risks, take the chance, and truly apply yourself.” I started searching online for casting platforms, and that’s how I discovered Casting Networks.

You booked roles in a Netflix series and commercials through Casting Networks. Tell me a little bit about those. 

My first booking through Casting Networks was a commercial for Seagram’s, the alcoholic beverage brand. Then, I had the incredible opportunity to work with Netflix on the production of Zero Day, alongside the legendary Robert De Niro. 

What was the audition for that like?

I submitted photos and videos, and they sent me the script for the series. I had two auditions for that booking.

What happened when you got to the set?

I had to call my mom because she was in Costa Rica. We couldn’t take videos or photos on this set. They gave us [covers] for cell phones and other accessories to maintain privacy until the show was released on Netflix.

I remember the fitting day was with this huge crew with a lot of clothes. They asked us to bring some options, but ultimately, they gave us all the clothes for the filming.

They took measurements and [we] also tried on different kinds of clothes. That was super amazing. I lived that in my dreams, and then to be there living [my dream] in my real skin. That was unbelievable.

I remember thinking, “My God, I’m actually going to be working with [Robert De Niro], standing right next to him!” I’ve seen so many of his films, and I truly felt blessed by that opportunity. The entire production was amazing — the people, the atmosphere, everything. 

I spent a week working on set, with long hours and many takes, but it was an indescribable experience. I highly recommend Casting Networks to everyone; it’s a platform where you can truly grow, achieve your goals and make your dreams come true.

What was the Seagram’s production like? What were you doing there?

For the Seagram’s commercial, we filmed in a limo and at a party. We shot videos and photos of us getting in and out of the limo, and walking through the streets to a bar after the party. 

It was super cool because I’d always seen productions filming on the streets when I was out walking or going to work. In the city, it feels like there’s a production on every corner, and you often see notices about filming in the area. Suddenly, I was part of it! I was one of those people they were filming. 

I met a lot of people, and made two new friends from that commercial. The experience was amazing. It was super quick. We spent about 18 hours on that production. We had to film on the subway, in the market and the limo. It was amazing. 

What would you say helps somebody succeed on Casting Networks?

First of all, you have to submit your information, your best photos, your best videos, and if you have [videos of] some of your major auditions, you can upload them, too. At first, I was a little bit scared of doing that, but then the opportunities started to appear on my profile that day. Daily, I have between three and five options for auditions that fit my profile.

I want to be there. I want to do modeling. I want to be in commercials. I want to be in music videos. I want to be acting. I have a lot of opportunities to be in each one. 

You have to be yourself. You have to believe in yourself, and you have to achieve your goals until the end. No matter how many doors or windows they can close in front of your face, you can stay loyal to your dreams, and you have to work every day to make them come true. 

You just have to be yourself. That’s my best advice for every person.

What’s some audition advice that you have for your peers?

Feel free to be dumb or silly in your auditions. You don’t have to be so serious. People want to know the real you. 

The directors are the people who will say, “I want to know you better. I want to know who I’m getting. I want to know who this person is, not just in front of the camera.” 

You can put your effort and your soul into every audition, and that’s going to be the key to your success.

Final Takeaways

Beginning your acting career can feel overwhelming, but Kerin Castillo’s journey shows that with passion and persistence, doors will open. From entering competitions to using casting platforms, every step counts. Here are some simple tips to help new actors get started and keep moving forward.

• Enter competitions and take every opportunity that comes your way to gain experience and exposure.
• Use casting platforms like Casting Networks and keep your profile updated with your best photos and videos.
• Be yourself in auditions. Don’t be afraid to show your personality, even if it means being silly or vulnerable.
• Stay patient and keep working hard, even when you face rejection or closed doors.
• Take classes and keep improving your craft while building connections in the industry.

You may also like:

• How Aconda Williams Booked a Foot Locker Commercial and Got Her SAG Card | Success Story
• Mike Knox Talks Impersonating Elvis on ‘Good Mythical Morning,’ Improvising With Kylie Jenner | Success Story
• Celine Milien on Booking Hand Modeling and Lottery Commercials | Success Story

The post Kerin Castillo Talks Netflix’s ‘Zero Day,’ Booking a Seagram’s Commercial | Success Story appeared first on Casting Networks.

With a cast full of fresh faces and a tone reminiscent of Steven Knight’s Peaky Blinders, the series balances soapy intrigue and emotional depth without giving away its many twists. As the Guinness children grapple with legacy and desire, the show quietly sets the stage for something compelling and unexpected.

What You’ll Find in This Article

• The Snapshot: House of Guinness in a Nutshell
• The Performances of the House of Guinness Cast
• The Careers of the House of Guinness Cast

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of high-quality roles.

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The Snapshot: House of Guinness in a Nutshell

Inspired by actual events, this historical drama follows the four children of brewing legend Sir Benjamin Guinness, who must deal with the impact of his last will and testament in late 1860s Dublin.

(All episodes of House of Guinness are now streaming on Netflix.)

The Performances of the House of Guinness Cast

Let’s get this out of the way up front: if you’re a fan of Peaky Blinders, you’re going to love this. Created and written by Steven Knight, who also wrote every episode of that show, House of Guinness maintains the same tone and feel, employing the same soapy tropes to mostly great effect.

The reason why we’re talking about it is that, like the earlier show, this too features a mostly untested and unknown cast. James Norton is the biggest name here (and more about him directly), and Anthony Boyle, who plays the oldest son, Arthur Guinness, had a major role in the Apple TV+ limited series Masters of the Air. Otherwise, most of the faces will be new to American audiences. Well, except for Jack Gleeson, who shows up here as the Guinness kids’ illegitimate cousin, Byron Hedges, and who most people will know as Joffrey Baratheon in a little show called Game of Thrones. More about him directly, too.

First, there are the other three Guinness children, Arthur’s younger siblings. Louis Partridge is the second son of Edwin, who takes over the brewery and spearheads its entry to America; Fionn O’Shea is the youngest son of Benjamin, and Emily Fairn is the sole daughter of Anne. O’Shea’s role is limited, and when he does show up, Benjamin tends to be in some form of inebriation.

The other three are stalwarts of the first season, alongside Norton, seasoned veteran Michael McElhatton as trusted butler John Potter, Danielle Galligan as Arthur’s wife Olivia, and Niamh McCormack as Ellen Cochrane, a Dublin commoner and revolutionary who falls in love with Edwin.

The Guinness kids first. Partridge is essentially the star of the series, as Edwin takes over the brewery after his father’s death and his older brother focuses on his political career. Partridge is tall and handsome, looking very comfortable as the action revolves around him. Edwin is something of a cold fish whose primary arc in the first season, aside from continuing to build his late father’s empire, is to come to life a bit.

Helping him do that is McCormack’s Ellen. McCormack is a revelation here, almost the very definition of your fresh-faced Irish lass. But aside from the obvious, that she’s young and gorgeous, she makes you believe that a stick-in-the-mud like Edwin could fall for her. 

Her father dismisses Anne Fairn but soon grows into a force to be reckoned with as she pushes Edwin to expand the company’s reach into Dublin itself, building the city to help its residents. Her work turning Anne from a wallflower into a formidable woman is impressive, especially since Anne tends to be underwritten throughout the first season’s eight episodes.

Likewise, McElhatton mostly comments on the often depraved behavior of the Guinness clan. Still, much of his acting comes from his reactions, providing an endless source of welcome comedy that helps keep things moving.

Boyle’s Arthur is a not-so-closeted gay man in a time when that wasn’t the kind of thing one advertised. He mostly leaves the business of the brewery to Edwin and spends his time debauching when he’s not running for Parliament. Boyle marries Galligan’s Olivia, though the marriage is purely for show, and Boyle plays well the combination of shame and passion that this kind of life inspired. 

And then there’s Gleeson, who established a gift for onscreen malevolence as the evil Joffrey. Gleeson took a break from film and TV acting after Joffrey was killed off, but you wouldn’t know it from his work here. The malevolence Gleeson displays in Guinness is less about evil and more about avariciousness and the desire to make a heck of a lot of money. Gleeson plays every scene with a wry smile, looking like he’s having more fun than anyone else, which translates to the viewer.

The most interesting performer here, though, is Norton, who is primarily known for playing stuffy buttoned-down Brits. Intellectual sorts who usually wouldn’t be caught dead in a fight. Here, he plays Guinness foreman and fixer Sean Rafferty. As Rafferty, Norton embraces his inner thug and portrays a toughness that audiences have never seen from him before. It’s initially startling, but Norton is such a strong actor that you quickly forget that he’s ever been anything but a rough bastard. 

That said, it does help that Rafferty soon starts sleeping with Olivia, and their love story (the other major subplot of the first season) is the sexiest of the bunch.

Norton is a natural leading man, and his chemistry with Galligan is as strong as Partridge’s with McCormack, making that part of it an easy sell. Especially after Norton spends several episodes getting us used to him being a tough guy, it becomes clear that he is not truly a tough guy. He wears that part well, and it might just be the first in what could be many similar roles that would only make him a bigger star. To be fair, the same could be said of just about everyone here.

The Careers of the House of Guinness Cast

McElhatton is obviously the most experienced player in the cast, with an onscreen career going back to 1990. Over the years, he has performed many small parts in movies and TV shows, along with several larger roles in British TV.

Norton is not quite a star, but he’s the biggest one here, without question. He has worked steadily for years, often as number one on the call sheet in both movies and TV. There has been plenty of British melodrama on the résumé, including a production of Lady Chatterley’s Lover, in which he played the cuckolded husband. Lately, he’s been getting more starring roles in interesting fare like the World War II drama Mr. Jones, the modern spy thriller Rogue Agent and the Netflix historical drama Joy. Showing this side of him will almost certainly lead to a wider array of roles in his future.

Boyle has that massive role in Masters of the Air to his credit, as well as a good-sized supporting turn in the limited series Say Nothing, but it’s Partridge who is probably the most experienced of the rest of the cast. He’s shown up in both Enola Holmes movies, played Sid Vicious in Pistol, a limited series about the Sex Pistols, played Peter Pan in the 2022 film The Lost Girls and shows up in Noah Baumbach’s upcoming drama Jay Kelly, starring George Clooney.

Gleeson is an experienced theater actor, but of course, he’s most known for his role as Joffrey in Game of Thrones. At the same time, Fairn has only appeared in a handful of projects — one of them, interestingly, being Joy, opposite Norton — though she was Laraine Newman in Jason Reitman’s 2024 film Saturday Night, about the first episode of Saturday Night Live.

The biggest role in Galligan’s résumé is a run in the Netflix fantasy series Shadow and Bone. However, she also appeared as a main cast member in two other Irish shows, Obituary and The Walsh Sisters and McCormack’s role in this show is by far the largest of her career. Like with everyone else, that won’t be true for much longer. 

Final Takeaways

For new actors stepping into the world of historical drama, House of Guinness offers valuable lessons in balancing complex characters with period authenticity. The show proves that fresh faces can hold their own alongside seasoned performers by embracing nuance and emotional depth. Here are a few actionable tips to help emerging talent make a strong impression on screen:

• Dive deep into your character’s backstory to bring authenticity beyond the script.
• Embrace subtlety. Small reactions often carry more weight than grand gestures.
• Build chemistry with your co-stars to create believable and compelling relationships.
• Don’t shy away from exploring your character’s flaws; complexity drives engagement.
• Stay adaptable and open to direction, especially when working within a period piece’s unique demands.

You may also like:

• Kahleen Crawford Reveals the Casting Insights Behind ‘House of Guinness’
• Mitch Hudson Brings Biblical Comedy to Life with ‘The Promised Land’
• How the Cast of ‘The Promised Land’ Creates a Clever Biblical Mockumentary | Acting Up

The post The Cast of Netflix’s ‘House of Guinness’ | Acting Up appeared first on Casting Networks.

What You’ll Find in This Article

• The Snapshot: The Promised Land in a Nutshell
• The Performances of The Cast of The Promised Land
• The Careers of Wasim No’mani, Majed Sayess and Shereen Khan

Get access to thousands
of high-quality roles.

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The Snapshot: The Promised Land in a Nutshell

A mockumentary in the style of The Office follows Moses and the Hebrewites as they wander through the desert after their exodus from Egypt.

(The Promised Land premieres on YouTube October 3, with episodes dropping weekly).

The Performances of The Cast of The Promised Land

There’s something that has become cliched about the mockumentary, primarily because it is so often done ham handedly. It all started with Albert Brooks and Real Life in 1979, followed by the pinnacle of the genre, This is Spinal Tap, in 1984.

Over the years, there have been too many other examples to count, most of them forgettable. But now and again, a truly great version appears, as with both the English and American versions of The Office. 

To compare the new indie TV sitcom The Promised Land with either of those shows is a disservice to The Promised Land, but it’s worth mentioning solely because the new series, the brainchild of Mitch Hudson, is one of the better recent examples of the genre.

Hudson has been the first assistant director on the Amazon series The Chosen for the entirety of its five year run. That series, about the life of Jesus Christ, is taken as much from scripture and actual history as possible, and is a conventional historical drama. But when the show’s producers approached Hudson about possibly tackling the life of Moses, with the same historical and scriptural parameters, but doing so comedically and as a mockumentary, Hudson jumped at the chance.

The entire six episode first season, which will air for free on YouTube, was produced independently, and if enough people watch it, there will be a second season and maybe more. Hudson has a plan for a total of 40 episodes and a movie, seeing as how the number 40 (40 days and nights, 40 years in the desert) are so prevalent in Moses’ story.

But while Hudson is a talented filmmaker, and the novelty of the show itself will get plenty of viewers to tune in, the reason they’ll stay is because of the characters themselves, primarily Moses and his siblings, Aaron and Miriam, played respectively by Wasim No’mani, Majed Sayess, and Shereen Khan.

No’Mani’s Moses is not terribly funny, but then, he doesn’t need to be. When he is, it’s almost by accident, which is by design. When we think of Moses, we think of Charlton Heston, this majestic white man who controls the situation and is a great leader to his people.

But the Torah’s version of Moses is very different, and No’mani plays him accordingly. His Moses is insecure and a bit jealous of his more charismatic younger brother, while also coming into his own as a leader by learning to delegate and accept his own limitations. 

The legendary TV director James Burrows has talked about how every good show needs a strong “center,” a character around whom all the craziness can rotate, like Cheers and Sam Malone, or The Big Bang Theory and Sheldon Cooper. No’Mani’s Moses is not quite in that category, but with his natural charm and gravitas, he provides a formidable star for his co-stars to orbit. When he does stumble into his comedic bits, they feel earned.

Sayess’s Aaron and Khan’s Miriam are much looser and more freewheeling, and their comedy comes from an easier place. They’re set up for laughs, and both actors make their payoffs seem effortless.

When watching comedy, there are times when it seems like the actors are really working for the laugh, and that tends to take away from the punchline. Those times feel labored and forced. Majed and Khan never have those moments. Both are skilled comedic performers who know where the laugh is and let the scene take its course naturally, and the result is consistently excellent and often laugh out loud hilarious. 

There is a real future for Indie TV, as the streamers continue to watch how they spend their money and creators take matters into their own hands. The way to foster that future is to support indie shows where you can find them. It helps that this one is actually pretty good, and the talent involved is great. In other words, there is no spoonful of sugar needed to take this medicine. It goes down easy.

The Careers of Wasim No’mani, Majed Sayess and Shereen Khan

All three performers have appeared on The Chosen, though only No’mani did so before Hudson filmed the pilot for The Promised Land. Chosen creator Dallas Jenkins watched it and decided to cast Majed, Khan, and several others on his flagship series.

Hudson made the decision early that he wanted to cast actors of middle eastern descent in all the roles, and No’mani was the first one on board. His casting in the role of Yanni, whom he has played for 14 episodes so far, was the biggest role of his career before landing Moses. No’Mani spent a decade working in shorts and getting small TV roles before he landed Yanni, and that led indirectly to his casting here.

Sayess has had a similar path, showing up in numerous movies and TV shows over the first decade and a half of his career, almost always as some kind of middle eastern cliche. An Afghan translator in a couple episodes of Barry, a random Saudi in an episode of CSI: Cyber, and so on. Aaron is his largest role by far, but judging by how he’s acquitted himself in it, that won’t be true for long.

Khan’s career has been very different from her two co-stars, in that she has been a professional for the longest — she appeared in a single episode of the short-lived sitcom version of Clueless in 1997 — while also having worked for the shortest amount of time.

After that debut, she next showed up in the 2010-11 Pakistan-Urdu language drama serial Chemistry, in which she appeared in all 72 episodes. More recently, she showed up in an episode of S.W.A.T., and this year did an episode of the Emmy-winning The Studio. Just as with her co-stars, it’s only a matter of time before she gets more substantial roles that last longer than an episode or two. 

Final Takeaways

Navigating the industry can feel like wandering a desert without a map. The journeys of Wasim No’mani, Majed Sayess and Shereen Khan show that persistence, versatility, and authentic casting choices can open unexpected doors. Here are a few takeaways from their paths that new actors can put into practice right now:

• Be patient and persistent. Many roles come after years of smaller parts and steady work.
• Embrace typecasting early, but don’t let it define you. 
• Seek projects that value authentic representation.
• Let your natural instincts guide your performance.
• Build relationships with creators and peers.

You may also like:

• Mitch Hudson Brings Biblical Comedy to Life with ‘The Promised Land’
• Horror 101: Where Do You Fit in the Halloween Genre?
• Casting the Fear: Rose Wicksteed & Sophie Kingston-Smith on The Conjuring: Last Rites

The post How the Cast of ‘The Promised Land’ Creates a Clever Biblical Mockumentary | Acting Up appeared first on Casting Networks.

Children are brutal…ly honest. If you’ve ever been tempted to blame a reticent audience for their lack of response, be prepared to be humbled by the ruthless critics that are children. Kids can sense a faker a mile away and are unforgiving of anyone phoning in a performance. For any hope of keeping their attention, you have to have twice the energy they have and commit one hundred percent. Kids will respond to honesty, and they will let you know when you don’t measure up. This can be a wonderful gift. With the right mindset, testing your work on children can be an incredible barometer for highlighting things to work on.

Say goodbye to the fourth wall. While it’s not a hard and fast rule by any means, interaction with the audience is hugely prevalent in children’s theatre. Whether it’s call and response, direct address, or a post-show discussion, chances are you’re going to be staring directly into the eyeballs of a tiny human at some point. Getting comfortable with crowd work and direct address will be hugely helpful. Mindset is crucial. If you’re trying to sell to them, or teach them or push them into responding it will fall flat. You have to find a way to connect with them as people.

Technique and style. While there isn’t necessarily one set technique for performing for young audiences, there are certainly common themes. Emotions and expressions tend to be bigger, more energetic, to a point that would seem overdone in an evening performance. The trick is you still have to commit honestly. Just like with anything else, you must honor the tone of the script. And if the tone is ridiculous, you have to find a way to inhabit that genuinely. Often in children’s shows there is a little more room to put your own spin on things. Don’t be shy. Physical comedy will be your best friend if you make TYA a habit.

Stamina stamina stamina. This is going to be your most valuable skill. Touring shows might be short, but they often book multiple performances back to back. The mornings are early, the days are long, and the energy has to be there every single time. Hydrate, take care of yourself, and build your endurance.

Don’t lose sight of the point. While it can be exhausting work, bringing the arts to young kids can be incredibly rewarding. Often you’ll be performing for kids who may never have engaged with live performance before. That kind of introduction to the arts can be incredibly powerful. If you start to feel burnt out and bitter, try reconnecting with the kids. This is the kind of work you have to love. Love of the work alone can’t make TYA shows worth it, but it will certainly make it more fulfilling, and make you a better performer.

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The post The Ins and Outs of Performing for Children appeared first on Casting Networks.

(The Conjuring: Last Rites is now showing in theaters)

The Performance: After more than a decade on the big screen, audiences finally meet Ed and Lorraine Warren’s adult daughter early in The Conjuring: Last Rites, and she arrives in the form of English actress Mia Tomlinson. Doe-eyed and fresh faced, Tomlinson’s Judy Warren brings a new facet to a series that has started to feel stale a dozen years in. After all, Ed (Patrick Wilson) and Lorraine (Vera Farmiga) have faced down a lot of demons, some of them scarier than others.

Like that creepy Annabelle doll. Yikes.

Key Insights:

• Mia Tomlinson plays the adult Judy Warren, the daughter of Ed and Lorraine Warren, in the fourth and supposedly final entry of the Conjuring horror franchise, The Conjuring: Last Rites.
• The article credits Tomlinson, a 30-year-old actress playing a 21-year-old character, with being the “beating heart” and keeping the film engaging with her unique combination of innocence and world-weariness.
• Casting directors Rose Wicksteed and Sophie Kingston-Smith noted that Tomlinson’s deep preparation, including listening to a horror movie soundtrack during a callback, demonstrated the commitment that secured her the role after a lengthy search.

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In this fourth installment, which mostly takes place in 1986, Ed and Lorraine are basically retired when their now 21-year-old daughter Judy brings home her relatively new boyfriend Tony (Ben Hardy), with whom she has rather quickly gotten quite serious.

As they settle into easier lives in Connecticut and Judy and Tony get engaged, a family in Western Pennsylvania stumbles across a cursed artifact that Ed and Lorraine came across when she was pregnant with Judy. As the family’s lives spiral out of control, Ed and Lorraine resist the call to help them — Ed’s health is failing and they’re both worn out from a lifetime of battling evil — but eventually Judy gets involved and that brings the whole family into it.

For fans of the series, it’s probably a solid capper to what has been an undeniably successful run, though as a standalone film, it tends to take far too long to get going before the inevitably supernatural battle in the film’s final act.

What keeps it going, really, is Tomlinson, a 30-year-old actress who plays much younger, and whose winsomeness is a welcome change. Tomlinson doesn’t have a ton of on-screen experience, and we’ll talk about all of it below, but that’s not at all clear by her work in this film. Judy is the movie’s beating heart, and Tomlinson brings a unique combination of innocence and world weariness that ties it all together.

Judy has her mother’s gift/curse of being able to see horrible things, a skill her mother has spent years teaching her to stifle, but in the lead up to this particular story, it’s clearly been getting worse. A lot of actors would make a cliché out of those scenes where Judy is struggling with what she’s seeing, and the evil with which she is coming face to face.

Not Tomlinson, who seems to revert to childhood every time this happens, reminding us that the character was a little girl when the ability manifested. In a sense, Judy has never grown up, and this battle she wages alongside her parents against the demons who almost killed her as she was being born is a coming of age story. The actress really sells this, and does so in a way that feels natural, rather than forced. 

The thing is, though, as natural a performer as Tomlinson might be, this kind of performance still comes from an enormous amount of preparation. Casting director Rose Wicksteed, who cast the movie alongside Sophie Kingston-Smith, said of Tomlinson, “Judy has to go on such a journey, with such an emotional range that has to be found, and we went on a very lengthy, in-depth casting process [for] that role. Mia obviously had done a few things before, but nothing this size, and when we auditioned her in the room, she blew us away. There’s only a few auditions [where] you’re really like, ‘Oh, something’s happening here.’” 

Kingston-Smith added, “She really earned it. She fought for it, she prepared. She was just passionate about it, to the point where, in her call back with [director] Michael [Chaves], we were all looking at each other because there was this really eerie sound in the casting room, and I think we were looking at each other, wondering if everyone else could hear it, or if it was on our heads.

We were doing really intense scenes that involved a lot of emotion and then a lot of stillness. Then I looked at Mia, and I said, ‘Mia, is that noise coming from your headphones?’ And we realized that in order to get into the zone, she had been listening to a horror movie soundtrack to get herself in the right state of mind. I think that just speaks to the type of commitment that she had, as well as being so right for it.”

It doesn’t take much for the audience to agree.

The Career: Like a lot of horror movie ingenues, Mia Tomlinson’s résumé before this breakthrough role is fairly thin. She has only been on screen for the last four years, starting with her role as Anne Bonny on the 2021 six-episode docudrama The Lost Pirate Kingdom. She followed that up with a run on the BritBox five-episode limited series The Beast Must Die, opposite Jared Harris, Cush Jumbo and Billy Howie. 

Setting aside a couple of short films, her only other major casting was in the 2023-24 Doctor Who podcast series, The Eleventh Doctor Chronicles, before she was cast as Judy Warren. As noted, Judy is the movie’s heart, and the skill with which Tomlinson acquitted herself means that there will be a lot more major roles coming her way before too long. 

Key Takeaways:

• Tomlinson’s performance is praised for bringing a new and welcome facet to the long-running series, making the character’s struggle with her supernatural abilities a natural-feeling coming-of-age story.
• Prior to her breakthrough as Judy Warren, Tomlinson’s career had primarily consisted of roles in the docudrama The Lost Pirate Kingdom, the limited series The Beast Must Die, and a Doctor Who podcast series.
• Industry professionals predict that due to the skill she demonstrated in this major role, Tomlinson is likely to receive a significant increase in major roles in the near future.

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