We caught up with Quincie from her home in Los Angeles, and discussed her experience filming the project, what a typical day on set was like, and why she thinks micro-dramas are the perfect response to our ever-changing viewing habits: meeting people where they are.

Key Insights

• Micro-dramas demand the same level of preparation and professionalism as traditional film and TV, despite their shorter format.
• A typical day on set can still mean long hours, full crews, and a highly collaborative environment.
• Actors who stay open and adaptable to new formats like micro-dramas position themselves ahead of the industry’s shifting landscape.

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Hi Quincie! Can you tell us about your earliest inspiration to become an actor?

I remember being very young, and my mom would constantly take me to the movies and the theater. One time, after a show, I became completely distraught and asked her in a total panic what the two people in the movie were going to do! (I think the characters had broken up or lost something, but honestly, I have no idea now, I was just hysterical). 

My mom couldn’t understand why I was so upset until she realized that I didn’t know what we’d just watched was make-believe. When she explained that those people weren’t really going through those emotions and that they were actors whose job was to ‘play dress up’ and pretend to be other people; my little six-year-old mind was blown. Cue Aladdin’s ‘A Whole New World’ It was the first time I realized that storytelling could be a job, and from that moment on, I was completely hooked!

How did your training at The American Academy of Dramatic Arts help to prepare you for working and auditioning?

Oh wow, my training prepared me in countless ways! Learning technical skills, theater history, classic texts, and literature, all came together to give me a really strong foundation. Solid enough to build on, but flexible enough to let me fly. That structure and rigor gave me freedom. The Academy taught me how to approach each new role with vulnerability and nuance, to explore with an open heart, while trusting that all the groundwork has been done.

The depth of my classical training became this internal toolkit I can draw from whenever I’m creating or auditioning. We were exposed to so many different techniques and also one of the most meaningful parts were the relationships I formed with my teachers and directors. Hearing their personal stories, their struggles and triumphs, added so much texture to my developing artist heart and mind. Those connections were as valuable as the training itself.

You’re originally from LA, but you’ve also worked in New York. What do you find are the major differences between working/auditioning in both cities?

There’s genuinely so many details about being a working actress in both NY and LA. It’s honestly pretty cool to me because I think there is so much crossover between the two. So many people these days are bi-coastal, working back and forth. However I’ve always felt personally, the major differences were in the actual work available. 

This could totally be a singular reality but for me, I’ve felt that NY is a lot more as I say ‘busy work’ and LA is more auditioning. Living in NY, I’m maybe auditioning less because I’m busy working on a variety of projects from Black Box Theater, off-Broadway shows, Shorts, Web-Series and Table Reads…there’s so much to do! 

However in LA I seem to book less, but have more substantial auditions. Auditions that are more aligned with my personal vision and career goals. While constantly working in NY was awesome, at times after a couple years it felt a little directionless. So I was eager to come home to hone in on that vision and work a little more intentionally. 

You recently starred in the micro-drama ‘Up to Us’. What can you tell us about this project?

Yes! Up to Us is such an incredible and unique project. It was originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art & Global Health Center and the Prison Education Project. The series is made up of three shorts adapted by screenwriter Francisco Aviles (@gotfran) from real stories written by nine system-impacted writing fellows.

It’s a project deeply grounded in truth and rooted in community. After the initial initiative, the team transformed these stories into micro-dramas designed specifically for Instagram and TikTok, which I think is so brilliant. We all live on our phones these days, especially young people, so this approach really meets the audience where they are.

The goal is to spark honest conversations around sexual health, consent, and relationships. When young people see themselves on screen it’ll normalize talking about these topics in a healthy, empowering way.

How did you first get involved and what was the audition process like?

I saw a casting notice on Instagram! Alongside this beautiful deck and shot list stacked with these amazing powerhouses of black actresses on the moodboard. The submission requested an introduction video where I talked about who I am, my experience, plus a bit about my own journey with sexual health and wellness.

After my submission I was called in for an in-person audition. The audition was very chill and I had such a good time actually chatting with the production crew. Shortly after I left I received an email saying I got the role!

What can you tell us about the rehearsal and preparation process for ‘Up to Us’?

Everything about this project was super smooth and really well organized. Once we were cast, we started with a few table reads, and those early sessions were so powerful. The team gave us a little history and background on what the project was about, the purpose behind it, where each of our stories fit in, and why these particular voices were being centered.

From there we all dug into the material and connected these stories to our individual real life experiences. You can really feel that everyone involved cared deeply and that created an environment for full vulnerability and presence. 

What can you tell us about where ‘Up to Us’ was shot and what it was like being on location?

Even though we rehearsed and did our table reads in LA, we actually filmed in Baldwin Park which I’d never been to before. It’s only about 45 minutes outside of LA and funny how the name can be mistaken for the neighborhood in LA that I’m from. I’m originally from Baldwin Hills, a historically Black, culturally rich neighborhood full of heritage and community. And what’s beautiful is that Baldwin Park is that same kind of space for the Latino community, really rooted in Mexican-American culture and tradition. 

It was amazing to explore, meet people, and take in that sense of pride and identity. For me, it’s always the small things that stick like grabbing coffee from a local spot, finding a little neighborhood shop, or chatting with residents between takes. That kind of stuff really grounds me. Baldwin Park reminded me so much of home, which made it the perfect backdrop for our characters’ world. It just added so much authenticity and warmth to the entire experience.

Actors might think that Micro-Drama productions have lower budgets, so there aren’t always things like wardrobe, make-up or even catering. What can you tell us about the reality of being on set?

Being on set was such a treat! I had the incredible opportunity to collaborate with some of the most talented creators and artists I’ve ever met. Wardrobe was led by the amazing Vicky Valenzuela, an LA native with so much character and life. Her style is bold and full of disco flair, sparkle, and flash. She infused each character with such specific and distinct touches.

I absolutely loved her point of view. Hair and makeup were handled by the incomparable Leticia Llesmin (@leticiallesmin), another LA native. She’s an absolute gem! We instantly hit it off, and between the two of us, there was never a dull moment, so much laughter throughout the week. 

We were also truly spoiled by the catering team and food trucks, I’ve literally never been on a set where I wanted to take the food home to-go for later! It was that good! They served delicious Mexican cuisines that kept us fueled and energized between takes.

We had a five day production; day one was about 13 hours and 5 scenes. Day two was another 13 hour day and we got through 7 scenes. Day three was a little lighter, about 8 hours and 3 scenes. Then day four was jam packed; 12 hours and 10 scenes. I actually wrapped a day earlier with Day 4 being my last day with the cast and crew.

Micro-dramas are also getting increasingly more popular. Why do you think that is?

To put it simply, I think micro-dramas are blowing up because of how fast the media landscape moves now. The way we consume content has completely changed. We’ve gone from print to photos, to video, to streaming and now everything lives right at our fingertips.

Watching a feature film used to be an event, an outing. Now we can binge entire shows on our phones while sitting in traffic. The birth of streaming platforms definitely opened the door to this shift, but social media really kicked it into overdrive. 

Micro-dramas are kind of the perfect response to our short attention spans and constant scrolling habits. They fit right into that quick, scrollable space where the random algorithm could be on your side. I think though when done well, they still manage to tell a full, emotional story in just a few minutes.

What’s genius about them is the reach. You never really know where that content is going to land or who it’s going to touch. 

What would you say is the biggest misconception about working on a micro-drama?

I think one of the biggest misconceptions about working on a micro drama is that, because it’s shorter, it must be easier or that the quality isn’t on the same level as traditional Television or film. But honestly it’s a pretty technical medium that requires more of a product mindset, rather than a purely artistic one.

Now when it comes to Up To Us in particular I have to say that I’m not sure how much of that was taken into account. The team was deeply focused on the storytelling and using these pieces as tools to educate, inform, and connect with young people through accessible characters. 

I also think that people tend to assume that micro‑dramas somehow have less emotional depth and are more like modern day soap operas with melodramatic and surface level themes. Now that may be true for some (trust me I’ve seen some pretty horrendous things pop up on my fyp) It’s not the case over here!

What advice can you offer for any actors who want to approach this type of work?

Be open. I say that first because I totally get it, I’m a bit of an old soul myself. I take so much joy in the classics and the original forms of storytelling. I still go to the theater, and I love the whole experience of going to the movies the moment something new comes out and not waiting for it to stream. So I understand how, as artists, it can be tough watching the industry shift and evolve so quickly. But you don’t want to be left behind. 

This is where storytelling is going. My advice would be to lead with an open heart and mind. We might not always love the direction things are headed, but if we want to stay in the game, we have to be malleable. Stay curious, stay teachable, and keep learning.

When you do get the opportunity, immerse yourself fully into the world of the piece. Treat it as you would any other production. I know for me I tend to try my best, to be as present as I can and not fixate on the final product and what will go on in post.

I understand to some degree it could be a really informative and pretty useful tool to know how this media is going to land and how it will be formatted. However with Up to Us I just wanted to live fully in Lulu’s world, to embody her circumstances and her truth.

Finally, the industry seems to be embracing micro-dramas. What do you want people to know as we move forward with this new form of storytelling?

Since the industry is slowly but surely embracing this format, I think it would be dope to see the general public engage with micro-dramas the same way they do traditional Television and film. Pay attention to what’s coming out, find the ones that move you, and start building your own list of favorites.

The same way people geek out over their favorite HBO shows or follow YouTube creators they love. I’d love to see that same kind of excitement and community around micro-dramas. Talk about them with your friends, share them, and start conversations. That kind of word-of-mouth buzz and genuine curiosity is what’ll help solidify this new wave of storytelling.

Because at the end of the day, these stories are real, fresh, and meant to connect and the more people who watch and share them, the stronger this format will be. 

To learn more about Quincie Mychelle Lewis, you can follow her on Instagram: @queenqml
‘Up to Us’ the full series is available to watch now on Instagram and Tik Tok 
To learn more visit: https://up-to-us.org/watch/

*Biography provided by Quincie Mychelle Lewis. This interview has been edited and condensed.

The post What Actors Should Know About Working on Micro-Dramas: From Actor Quincie Mychelle Lewis appeared first on Casting Networks.

Jacob Tierney’s adaptation of Rachel Reid’s book series has become such a sensation, it has made stars of its two leads, Hudson Williams and Connor Storrie, the latter of whom hosted an episode of Saturday Night Live just a couple weeks ago. 

The show’s success has stretched far beyond the series itself. It has also reminded the industry just how important Toronto is. Aside from the huge amount of talent that comes from north of the border, there’s also all the filming that’s done there, and the below-the-line talent, production companies and agencies that facilitate it all. 

Key Insights

• A breakout hit can reshape an entire market. Heated Rivalry didn’t just succeed, it reignited global attention on Toronto as a creative hub and proved Canadian-led projects can dominate cultural conversation.
• Local storytelling is finally taking center stage. Canadian creators are increasingly telling distinctly Canadian stories, rather than masking them as “anywhere,” signaling a shift toward authentic regional identity.
• Infrastructure and talent depth are Toronto’s secret weapons. From agencies to casting directors to production companies, the ecosystem is already robust and quietly powering major international projects.

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Is there another show shooting right now that could become the next Heated Rivalry-like sensation? “Honestly, the only thing people care about up here is Heated Rivalry, season 2,” Toronto-based casting director Ilona Smyth says with a laugh. She continues, “It’s really inspired a lot of Canadian creatives to get on board and realize that [multimedia company and CTV owner] Bell Media supported them and took a big swing.” 

In Smyth’s view, seeing a Canadian success story like this one has a snowball effect. “I think what it’s really done is inspired a lot of Canadian filmmakers to tell Canadian stories and not hold back, trying to place us as somewhere else in the world. I think Britain’s done a really good job doing that. Australia, local networks have done that, whereas, historically, can you tell me where Schitt’s Creek is based?”

So aside from expecting more Canadian fare about Canadians that is actually set in Canada, there’s also plenty of other action happening in the Queen City. Shows like Boston Blue, Ginny & Georgia, Brilliant Minds, Vought Rising and Einstein all shoot there, as did the limited series Vladimir, which just dropped on Netflix.

Whether or not we’ll see another Heated Rivalry come across the border any time soon is anyone’s guess. Probably not, considering how often we get a genuine, bonafide sensation on our TV screens,  but there are plenty of people laboring to try. There are plenty of agents, casting directors and production companies doing excellent work, which should be on your radar.

AGENTS

Toronto has an abundance of good talent agencies, and while here are just a half dozen, as Smyth says, “If an agent doesn’t try to charge you money, they’re a great agent.”

The Characters Talent Agency

Hero Artists

Amanda Rosenthal Talent Agency

The Talent House

Noble Caplan Abrams

PLAY Management

CASTING DIRECTORS

Aside from Smyth, of course, there is a plethora of great casting directors. Here are just a few:

Jenny Lewis and Sara Kay

Brian Levy

Jesse Griffiths

Marsha Chesley

Ashley Hallihan and Ian Bender

Larissa Mair

Lisa Parasyn

PRODUCTION COMPANIES

There is no shortage of quality production companies north of the border. Here’s a small selection:

Amaze

Company 3

Frantic Films

Hideaway Pictures

High Park Entertainment

Lacuna Productions

Neshama Entertainment

New Real Films

Scythia Films

Shaftesbury

Take 5

Whizbang Films 

Key Takeaways

• Position yourself where momentum is building. If you’re in entertainment, Toronto isn’t “emerging” anymore, it’s actively producing opportunity across multiple levels.
• Build relationships with the right gatekeepers. Agents, casting directors, and production companies in this market are essential connectors, not optional extras.
• Follow the wave of authenticity. Projects rooted in real cultural identity are gaining traction, so aligning with that shift increases your relevance and booking potential.

The post How to Tap Into Toronto’s Booming Film & TV Scene Before Everyone Else Does appeared first on Casting Networks.

Key Insights

• AI appeared in nearly one quarter of Sunday’s ads, marking its most aggressive mainstream advertising showcase yet.
• Brands used AI for de-aging, digital cloning, synthetic image generation, and even AI-written scripts, blending real performers with machine enhancement.
• While AI amplified spectacle and nostalgia, weaker executions proved that technology still cannot replace sharp creative judgment.

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But artificial intelligence was far more widespread than those specific entities. The technology showed up again and again in those spots and others using actual humans. Both creating fake people and de-aging real ones. It was without question the most artificially enhanced run of ads in history.

Some were entirely AI-generated, like the Svedka commercial with the company’s Fembot mascot, others used AI to change or enhance real actors.

Take Ben Affleck’s Dunkin’ Donuts commercial. The cleverly conceived — but somewhat cringey — piece that reimagines Good Will Hunting as a 90s-era sitcom with Affleck playing Will featured real actors on a real set. Jason Alexander, Matt LeBlanc, Ted Danson, Alfonso Ribeiro, Jaleel White, Jasmine Guy and of course Jennifer Aniston and Tom Brady, were all, shall we say, enhanced by AI to make them look more like their younger selves.

Similarly, Xfinity’s Jurassic Park spot de-aged Jeff Goldblum, Sam Neill and Laura Dern to something approximating their appearances 33 years ago, but did so rather poorly. The result was a distraction from what was meant to be a funny re-imagining of how successful the park would have been with better wifi.

Ramp made dozens of copies of The Office star Brian Baumgartner for its spot celebrating the company’s AI-powered spend management platform. The joke was there were so many versions of him — including one that carried a pot of chili, thus paying tribute to his most infamous moment on the classic sitcom when his character, Kevin, tried to share a batch of his chili with his officemates, only to spill a giant pot all over the carpet — that all the work he had to do was made effortless.

Matthew Broderick’s Genspark commercial about using AI to do work for people to allow them the day off — gave us an unintentionally creepy look at our potential future of being replaced by machines, but with a Ferris Bueller’s Day Off vibe to it, which may have made it even worse. 

The spot used all human actors, and was apparently written by an AI engine. It would be easy to say writers beware, but the spot’s quality shouldn’t raise any alarms. Yet.

One of the best commercials both touted the advances in Amazon’s Alexa and made fun of it, with Chris Hemsworth detailing to his wife — fellow actor Elsa Pataky — the many ways in which Alexa might kill him. They included wrestling a bear, getting bitten by a snake Chris had previously wrangled, and getting blown up, all of which were represented with AI. 

All of these ads were shot conventionally, with real people on real sets, each of them just enhanced somehow. Or, in the case of the Genspark ad, created artificially.

Google’s new image generation technology showcased a mom using the tech to show her young son what their new house could look like, so as to make him feel better about their impending move, and Meta/Oakley teamed up to show digitally enhanced activities as a way to demonstrate their new smart glasses. 

And then there was Microsoft, which featured a football coach using Microsoft Copilot in Excel to find the best linebackers for his program, though this one gets an asterisk because it had already been airing for several weeks.

The designers of artificial intelligence keep telling us that AI is the future, and that may be partially true, but when it comes to creativity, the human factor will always be integral. So take that, Skynet.

Key Takeaways

• AI is no longer experimental in advertising; it is becoming a standard production tool across major campaigns.
• De-aging and digital replication raise new performance, branding, and ethical considerations for actors and studios.
• Despite rapid AI integration, the most effective commercials still relied on strong human-driven concepts and storytelling.

The post How AI Dominated Sunday’s Game Day Commercials and What It Means for Hollywood’s Future appeared first on Casting Networks.

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.

Having offered those caveats, though, I’m ready, willing and able to give it the old college try, so herein is a quick and nasty look at each of the male acting categories, film and TV, rapid-fire style. Tomorrow, we’ll look at the actresses.

Key Insights

• The Globes reward star power and trends more than any other major awards body, creating unpredictable outcomes.
• Across film categories, breakout performances and celebrity momentum are driving frontrunners over traditional prestige picks.
• TV races reveal a wave of repeat winners and new favorites, cementing momentum heading into Emmys and Oscars.

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BEST PERFORMANCE BY A MALE ACTOR: DRAMA

The nominees are Dwayne Johnson, The Smashing Machine, Jeremy Allen White, Springsteen: Deliver Me From Nowhere, Joel Edgerton, Train Dreams, Michael B. Jordan, Sinners, Oscar Isaac, Frankenstein and Wagner Moura, The Secret Agent.

Remember over the summer, when people were talking about Johnson winning an Oscar? Well, that talk has long died down, and the only reason he’s here — great as he is in the movie — is because of the two categories. He’s not getting an Oscar nod, neither is White, and probably not Isaac. Two of the best performances I saw all year were Edgerton and Moura, and if I had to choose, I’d go with the latter, though I think Jordan wins for his dual roles in Ryan Coogler’s excellent period vampire thriller.

WHO SHOULD WIN: Wagner Moura

WHO WILL WIN: Michael B. Jordan

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

The nominees are Ethan Hawke, Blue Moon, George Clooney, Jay Kelly, Jesse Plemons, Bugonia, Lee Byung-hun, No Other Choice, Leonardo DiCaprio, One Battle After Another and Timothée Chalamet, Marty Supreme.

This one is more complicated than I think it should be. Clooney has an outside shot at an Oscar nod for his solid work playing a movie star, but the movie is a trifle that has no real weight to it. The star power, though, is enough to make me think he has a chance here, because the Hollywood Foreign Press Association knows he’d give a killer acceptance speech. DiCaprio has a similar story, though I think he’s pretty much a shoo-in for a nomination. But to me, this is finally Chalamet’s year. And he’ll deserve it. He’s simply spectacular in Marty Supreme.

WHO SHOULD WIN: Timothée Chalamet

WHO WILL WIN: Timothée Chalamet

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

The nominees are Adam Sandler, Jay Kelly, Benicio del Toro and Sean Penn, One Battle After Another, Jacob Elordi, Frankenstein, Paul Mescal, Hamnet and Stellan Skarsgård, Sentimental Value.

I think the only reason Penn is here is the aforementioned star power, whereas I think the other five nominees are going to be the same ones called when Oscar nods are announced on January 22. Each of the five men here has a good argument.

Elordi or Mescal as newly anointed stars, Sandler for the dramatic turn and the great speech he’ll give, and del Toro for his continued excellence and the extra zing he brings to every role. I’d actually be okay with any of them winning this, and with winning the Oscar, but ultimately, I think this goes to Skarsgård, not just for his stellar career, but because this is the finest work he’s done in that stellar career.

WHO SHOULD WIN: Stellan Skarsgård

WHO WILL WIN: Stellan Skarsgård

BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES – DRAMA

The nominees are Adam Scott, Severance, Diego Luna, Andor, Gary Oldman, Slow Horses, Mark Ruffalo, Task, Noah Wyle, The Pitt and Sterling Brown, Paradise.

As I noted when I wrote about the Emmys back in the fall, this category will always be easy for me to declare who should win it. Gary Oldman deserves every award that recognizes greatness in televised drama as long as he’s playing Jackson Lamb on Slow Horses. Unfortunately, since I am not yet King of the World and cannot decree such things, let’s just agree that Noah Wyle will continue his run of winning everything for which he’s nominated, and if you’ve seen The Pitt, it’s honestly hard to argue.

WHO SHOULD WIN: Gary Oldman

WHO WILL WIN: Noah Wyle

BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES –  MUSICAL OR COMEDY

The nominees are Adam Brody, Nobody Wants This, Glen Powell, Chad Powers, Jeremy Allen White, The Bear, Seth Rogen, The Studio, and Martin Short and Steve Martin, Only Murders In The Building.

Jeremy Allen White has won this award three years running. That streak ends this year. The dark horse is Glen Powell — again, star power, this time combined with being newly anointed — and so if there’s an upset, I think it’s him, but I don’t think so, because I think that just like Wyle, Seth Rogen continues his winning streak for everything The Studio-related. Also well deserved.

WHO SHOULD WIN: Seth Rogen

WHO WILL WIN: Seth Rogen

BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION

The nominees are Charlie Hunnam, Monster: The Ed Gein Story, Jacob Elordi, The Narrow Road to The Deep North, Jude Law, Black Rabbit, Matthew Rhys, The Beast in Me, Paul Giamatti, Black Mirror and Stephen Graham, Adolescence.

This one is easy. So is the next one. It’s the year of Adolescence, and there is no way that Stephen Graham isn’t going to win this award. And he should.

WHO SHOULD WIN: Stephen Graham

WHO WILL WIN: Stephen Graham

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION

The nominees are Ashley Walters and Owen Cooper, Adolescence, Billy Crudup, The Morning Show, Jason Isaacs and Walton Goggins, The White Lotus and Tramell Tillman, Severance.

What I wrote above? Change out Graham’s name for Owen Cooper’s, and it’s the same deal. See you tomorrow for all the actresses.

WHO SHOULD WIN: Owen Cooper

WHO WILL WIN: Owen Cooper

Key Takeaways

• Michael B. Jordan and Timothée Chalamet are positioned for major Globe wins thanks to star profiles and standout roles.
• Supporting categories favor industry veterans like Stellan Skarsgård while spotlighting rising talent such as Jacob Elordi and Paul Mescal.
• TV dominance shifts to new streaks—Seth Rogen, Noah Wyle, and the cast of Adolescence—with legacy icons like Gary Oldman still delivering award-worthy work.

The post Golden Globes 2026: Male Actor Predictions appeared first on Casting Networks.

Actors book on headshots and talent. Just like acting classes, there’s no middle ground on headshots. This is a competitive industry, and professional headshots are required for your acting career to flourish.

This is an attempt to convert the neutral and the naysayers and to fill in any remaining gaps in information about the importance of professional headshots.

What You’ll Find in This Article

• Commercial Actors Should Never Have Anything Less Than Brilliant Headshots
• Go With a Top Commercial Headshot Photographer
• Know What Great Commercial Headshots Look Like
• Don’t Get Creative With Your Commercial Headshots
• Watch Commercials, Identify Top Types, and Have a Headshot That Reflects Each One
• Plan, Plan, Plan: Wardrobe, Hair and Makeup
• When Your Agent Says “Get Them,” Get Them—AND Post Them Everywhere

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Commercial Actors Should Never Have Anything Less Than Brilliant Headshots

Brilliant? Do I really mean brilliant? Yes, I do, but what does “brilliant” mean?

You’ve heard the usual criteria that the headshot has to (really) look like you, the eyes need to be alive, the shot should pop, etc. All these are true, but it’s much, much more.

Why isn’t a “good” headshot sufficient for your acting career? Casting directors look at (no exaggeration) thousands of headshots per role. If I’m not taken with your headshot right away, I’ll never get to your resume, training, and skills. You can’t charm me with those because I’ll never see them.

Actor headshots come first, and there are plenty of performers who have fantastic ones. When a casting director doesn’t know you, the headshot, in most circumstances, is your introduction.

Here are a few thoughts on how to achieve brilliant commercial headshots.

Go With a Top Commercial Headshot Photographer

Not all headshot photographers are created equal, and not all specialize in commercial headshots, which differ from theatrical headshots.

When you want brilliant commercial headshots, you’ll want to go with a skilled photographer who specializes in just that. I won’t name my favorite Los Angeles commercial photographers here, but I can say that most are booked several months out.

Talk to your actor friends who are getting commercial auditions. Find out who they shot with. Talk to your agent and get their preferred list. Don’t have your photographer pal take your headshots, and don’t attempt to do DIY headshots (a selfie won’t cut it). Don’t go with a fabulous, skilled photographer known for taking great theatrical shots, either.

Theatrical headshots and commercial shots aren’t the same. Theatre headshots are also different. Like the acting industry, the headshot business is not as simple as it appears. Different genres call for different types of headshots.

Know What Great Commercial Headshots Look Like

How would you ever know what great commercial headshots look like? My favorite trick is to follow the top commercial agencies on any number of media platforms. They’ll often post the headshot of an actor who has recently booked a commercial.

While it’s not a 100% guarantee, most actors who book commercials have great commercial headshots. Take note of the aesthetics of these shots, and pretty soon you’ll have a solid idea of what to aspire to.

Don’t Get Creative With Your Commercial Headshots

Just because it seems like everyone has a commercial headshot in a blue polo, it doesn’t mean you should avoid it. If you’re a helpful Best Buy or Honda type, you’d better have a headshot with you in a polo, or you’re going to be missing opportunities.

Don’t strive to have unique or interesting commercial headshots for the sake of having something different. The unique shots may come in handy for modeling or as a gift to your significant other, but they’re not ideal for commercial headshots.

Commercials deal in types. Your commercial headshots will have a similar look and feel to other headshots, and that’s OK because YOU make them different. You and all the other actors with brilliant—though similar-looking headshots—will get the audition, meaning you’ll have to duke it out on the merits of talent from there.

Watch Commercials, Identify Top Types and Have a Headshot That Reflects Each One

Your headshot should tell the casting director how to cast you, specifically. What successfully conveys the types you can play depends on your hair, makeup, and wardrobe.

For example, if you’re looking to get the perfect Midwest mom commercial headshot, watch commercials with Midwest moms and wear exactly what they’re wearing, fix your hair the same way, and wear the same amount of makeup.

TLDR: The advertising industry will dictate what the current trends are. Copy what you see on commercials today in your commercial headshots and remember: Don’t get creative.

Plan, Plan, Plan: Wardrobe, Hair and Makeup

Brilliant headshots don’t happen by chance; they come from thinking them through and planning ahead of time. Don’t wing your headshot session.

By the time of your shoot, you should have watched a range of commercials, picked your types, purchased your wardrobe, planned your hair options, gotten your makeup/hair person, and had plenty of sleep leading up to your shoot date. These are too important to shrug your shoulders and hope for the best. Plan it out.

When Your Agent Says “Get Them,” Get Them—AND Post Them Everywhere

I have to say, I’m surprised this is a thing, but apparently it is. If your agent wants new headshots, you should get them. If you don’t trust their discretion, then that’s another (bigger) problem.

Assuming you intend to take their suggestion, don’t be afraid to get their opinion on the specific types you may be missing or need to improve on in your portfolio. They should be in on that conversation! Your headshots are also part of your social media marketing and branding. When you finally get your fantastic headshots, they won’t do you a single bit of good until you post them online. So get it done.

The longer you wait to take or post your photos, the more opportunities you’re missing.

Acting, like all creative industries, is competitive. Brilliant headshots are essential. Here’s a quick recap of what you need to do to get the best commercial headshots possible:

• Get your headshots from a top commercial headshot photographer.
• Follow the best commercial agencies.
• Research great commercial Headshots so you can distinguish between brilliant headshots and bad commercial headshots.
• Avoid getting too creative with your Commercial Headshots; stick to the trends and be unique in the audition room.
• Watch commercials to understand trends and identify the top types. Get a headshot that reflects each type.
• Plan out your wardrobe, hair, and makeup for your headshot session.
• Listen to your agent. When they recommend headshot updates, get them.
• Post your headshots to social and your acting profiles when you receive them.

Now that you understand the importance of getting your commercial headshots and the best practices for getting them, follow these guidelines when it’s time to update your shots, and you’ll be in great shape for your next commercial shoot. Happy booking!

Final Takeaways

If you’re new to commercial acting, don’t underestimate the power of a brilliant headshot. It’s your first impression and often the only chance to get seen by casting directors. Follow these simple, actionable steps to make sure your headshots work as hard as you do.

• Hire a photographer who specializes in commercial headshots, not theatrical or DIY shots.
• Study current commercials and mimic the styles, wardrobe and looks you see for the types you want to play.
• Plan your shoot carefully. Wardrobe, hair, and makeup should all align with the commercial roles you’re targeting.
• Listen to your agent’s advice on updating your headshots and keep your portfolio fresh.
• Post your new headshots everywhere to maximize exposure.

You may also like:

• Chris Skotchdopole and Larry Fessenden Discuss the Casting Process of ‘Crumb Catcher’
• ‘Fly Me to the Moon’ Star Stephanie Kurtzuba on How the “One-Two Punch” of ‘Annie’ and ‘Wolf of Wall Street’ Pushed Her Career to New Heights
• Chantal Nchako Reveals What Eddie Murphy Taught Her on the Set of ‘Beverly Hills Cop: Axel F’

The post Essential Tips for Getting Brilliant Commercial Headshots appeared first on Casting Networks.

What You’ll Find in This Article

• What is a Note?
• Keep an Open Mind
• Listen and Assess
• Don’t Waste Time Explaining or Debating
• Translate
• Try it Out
• Advocate
• Clarify
• Choose Your Battles

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What is a Note?

A note is feedback or instruction, usually from your director (or instructor or coach), meant to guide you in adjusting your performance.

Not all directors are created equal. Some will be able to communicate more effectively than others. You won’t always agree with a note or know what to do with it right away. However, for the most part, you’ve entered into a contract that obligates you to take direction from the director, which means that you’ll have to find a way to take notes of all sorts. 

Keep an Open Mind

Remember that filmmaking and theater are collaborative efforts. Entering any notes session defensively is a recipe for disaster. Notes are not an attack on your skill as an actor, and shouldn’t be received as criticism, so much as guidance. Clinging to your opinions at the expense of hearing a director out is inefficient and short-sighted. Remember how your performance feels from the inside might not be how it reads to an outside eye. While you’re in charge of inhabiting your character, the director is in charge of telling the greater story. Approaching notes with a spirit of curiosity and flexibility will not only preserve working relationships but will also support your growth as an actor. 

Listen and Assess

It’s shocking how many times actors need this reminder. If you’re approaching notes with defensiveness, you may have already decided what you think the director is going to say or how they’re going to say it.

Take a breath and really try to listen — not only to the note itself, but the spirit behind it. If you can mentally place why the note was given, you’ll be able to implement it more quickly and fully. For example, does a note about your character’s response to their father in one scene affect your character’s arc later on? Is this one note trying to get at the heart of your character’s motivation? Extrapolating from a single note might help you problem-solve on your own throughout the process. 

Don’t Waste Time Explaining or Debating

We’ve all gotten a note that prickles our pride. You know the director missed something, or didn’t see what you were going for, or any one of a million things that might spur you to say “Actually…” Ninety percent of the time, it’s not worth it. If you understand what the director is going for and can adjust on your own, it’s not worth nitpicking over details. Save your push back for battles that are worth it. Keep it moving.

Translate

Different directors have different communication styles. The quicker you can identify different styles and implement them on the fly, the better. Notice how they’re giving notes to other actors as well. Do they favor visually driven language? Comparisons, “as ifs” and references? Are they more physically based? Being able to translate someone else’s note-giving style into something usable for yourself is a massively valuable skill. 

Try it Out

Even if you disagree with a note or think it won’t work, try it once. There’s a chance you’re wrong, and you’ll end up liking where it takes you. Even if it fails miserably, giving it a good-faith try will build trust with your director and cultivate a good working relationship. Furthermore, sometimes a note that doesn’t click for you when you’re discussing it will make more sense once you put it on its feet. In most cases, it’s worth the effort to give it a shot.

Don’t Argue. Instead:

Advocate

If taking a note is going to put you, the actor, at risk of actual harm or violates your contract, that is absolutely grounds for pushback and further discussion.

Clarify

If you don’t fully understand the note, respectfully asking for clarification is perfectly professional. 

Choose Your Battles

Some artistic hills are worth dying on. Taking a note gracefully doesn’t mean being a doormat or that your input doesn’t matter.

There will be times when you’ll need to push back, and finding ways to professionally communicate your disagreement is crucial. Try to remove accusatory or emotionally charged language and shift the dialogue toward working together to find common ground. A good director will listen to input, particularly if an actor has a history of taking most notes quickly and well. 

Final Takeaways

Taking notes well is a crucial skill that will help you grow as an actor and build strong working relationships. It’s not always easy, especially when the feedback feels challenging or unclear. However, approaching notes with openness and professionalism will set you apart and support your journey.

• Listen fully and stay open to the director’s intention behind the note.
• Try out every note, even if it feels uncomfortable or unfamiliar at first.
• Avoid arguing or explaining too much; save your energy for important issues.
• Learn to translate different directors’ styles into something that works for you.
• Speak up respectfully if a note causes harm or you need clarification.

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• Horror 101: Where Do You Fit in the Halloween Genre?
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• How to Take Direction in Auditions

The post How to Take a Note from Your Director Quickly and Well appeared first on Casting Networks.

Key Insights:

• Scammers are impersonating top Hollywood casting directors on social media to trick actors into paying for fake auditions, travel, or visa costs.
• The scams have become increasingly sophisticated, using real projects and names to appear legitimate, making awareness and verification essential.
• The Casting Society (CSA) urges actors to verify contacts, move conversations off DMs, and report suspicious messages—especially if money is requested.

People like Ellen Lewis, Vicky Thomas, Jeanne McCarthy, Douglas Aibel, Francine Maisler, Sarah Finn and Margery Simkin, each of them among the most successful and well-known people in the casting industry, have all been impersonated by scammers, and that’s just a partial listing. There are many more, and the number of scam attempts has only increased since the first of the year.

“Basically, there have been people making accounts on social media, often Instagram, but other platforms as well, pretending to be well-known casting directors, and then reaching out to actors, saying things kind of like, ‘Oh, I have this opportunity for you, you should audition for this big-name director,’” explains Destiny Lilly, the president of Casting Society (CSA). “And at some point, usually in that conversation back and forth, they would ask for money. ‘Oh, I need this amount of money to get your travel to LA for your screen test,’ or, ‘We need this to process a visa for you to work abroad,’ or something like that.”

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What’s dangerous about these scams is their sophistication. There’s enough to what is being pitched that an actor might think that this was a legitimate proposition. The scammers will quote projects that the casting director is actually working on. Often, the casting directors themselves aren’t even aware it’s happening until after someone has been scammed and reached out to them through other channels to alert them that they are being impersonated.

“The thing that’s really difficult,” Lilly says, “is that there’s not a lot that we can actually do about it, because we don’t know who’s behind it. When someone asks for money like that, that becomes fraud. So it becomes a legal issue.” 

The process is akin to whack-a-mole, wherein whenever one scammer is discovered and foiled, another immediately pops up to take their place. One social media account is closed, another is opened. Thus, while both the CSA and individual actors and casting directors have been in contact with the proper authorities, the organization’s focus has been on education and awareness, aiming to inform people about the scammers out there and how both actors and casting directors can protect themselves online. 

For one thing, the CSA has started encouraging casting directors to open social media accounts and to point out that these are their only official accounts. Even those who have no interest in putting themselves out there have been following this advice. Lewis, for one, established an Instagram account for that very purpose and makes it clear on her page that it is the only account she has. The reasoning behind this is twofold: it not only establishes official accounts for the casting directors in question but also makes it easier to flag fake accounts. If there is no existing account, then there is technically nothing to impersonate, making it more difficult for the platforms to take those pages down.

What should an actor do if they’re contacted by someone claiming to be a casting director? First, look into the accounts themselves. Do they seem legit? What kind of content is there? Who follows the account, and what other accounts does it follow?

Additionally, if a real casting director contacts an actor without representation, all further communication will go through the casting director’s office after the initial contact. So if an actor is contacted, insist on moving the conversation from DM to phone calls and emails. Any reluctance on the “casting director’s” part is a major red flag.

If there is any doubt, contact the CSA via email at info@castingsociety.com, an address that is regularly monitored and that responds reasonably quickly to queries. The organization is eager to help and will verify if the person is who they claim to be. Even if the casting director is not a CSA member, as Lilly says, “We have ways of contacting them.”

There is also the CSA’s page dedicated to Online Safety and Scams, a fairly comprehensive guide to the issue and how to avoid being victimized. 

Ultimately, there is one very easy rule for an actor to follow when receiving an unsolicited contact from someone claiming to be a casting director. If that person is looking for money in return for an opportunity to audition or be cast in a film or TV production, chances are it’s not real.

“I would suggest that actors be wary of any casting director asking for money in exchange for an acting opportunity,” Lilly says. “If it seems to be pay-for-play, then the answer is ‘no.’”

Final Takeaways

The entertainment industry has always attracted scammers looking to exploit hopeful actors. With scammers now impersonating top casting directors on social media, new actors need to be extra cautious. Here are some simple steps to protect yourself from these ongoing scams.

• Check if the casting director’s social media accounts look official and have consistent content.
• Move conversations from direct messages to phone calls or verified emails whenever possible.
• Never pay money for auditions, travel, or visa processing requests.
• If unsure, contact the Casting Society to verify any suspicious offers.
• Trust your instincts—if something feels off or too good to be true, it probably is.

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• Kahleen Crawford Reveals the Casting Insights Behind ‘House of Guinness’
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• How to Spot Paid Audition Casting Scams

The post CSA President Destiny Lilly Talks Protecting Yourself from the Fake Casting Director Scam appeared first on Casting Networks.

One hopes it will, as the future of television could very well lie in independent productions like these, and the more they succeed, the better it will be for other creators looking to follow in the show’s footsteps. The Promised Land premieres October 1 on YouTube, with a new episode dropping every week until the first season finale on November 14. Hudson chatted with us from Atlanta.

Key Insights

• Mitch Hudson, former assistant director on The Chosen, created The Promised Land as a biblical comedy inspired by The Office.
• The show was independently financed and produced under Hudson’s company Milk and Honey, giving him full creative control.
• Casting focused on Middle Eastern actors to bring authenticity and realism to the portrayal of Moses, Aaron, Miriam, and their community.

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Where’d the show come from? I know The Chosen is definitely not a comedy. 

No, it is certainly not a comedy (laughs). It’s definitely a very different show tonally, but a similar show in terms of the fact that we were trying to portray Scripture in a way that is accurate to what’s on the page, but also relatable to a modern-day audience. Of course, our difference is that our comedy dial is turned up quite a bit by comparison. 

The idea came from one of our producers who brought it to me and said, “Hey, I would love it if you could try to make The Office, but [about] Moses. What do you think? Can you write a pilot, see if we can do something with it?” So I jumped into Scripture. I was rereading Exodus, trying to figure out what would be a starting place, and when I reread the story of Jethro, it all clicked for me.

How so?

I realized we have this story where Moses’ father-in-law, who he loves, comes to town and basically tells him, “Hey, the way that you’ve been leading is not right. You have to use other people to help you lead this nation that does not want to be led.” For me, that was it. It’s a show about leadership, about being the lower-level managers of this massive enterprise, which is the nation of Israel, which is on their journey to the Promised Land. That’s where it all clicked for me. 

Did you guys do this independently? 

The six episodes we did, we have no studio attachment other than our company, Milk and Honey. We do not have a major Hollywood network or studio funding us. It was all independently financed, which is great, because it meant that we could just make the show that we wanted to make, which is awesome. 

Let’s talk about the cast. There are a bunch of people here who first showed up in The Chosen.

Yes, but that wasn’t the case when we made the pilot. I made the pilot in the fall of 2022, after season 3 of The Chosen. By that point, Wasim No’mani, who plays Moses in our show, had been on The Chosen as a character named Yanni, so I knew him, and that was really exciting, because I didn’t know he was going to audition. 

The rest of the actors actually started on our pilot, and then when I was showing it to Dallas Jenkins, the creator of The Chosen, just to get his feedback, he said, “Hey, your cast is awesome. I want you to cast some of these guys [from] The Chosen.” So yeah, first it was just Wasim, and then more and more crossover started to happen. 

Like Wasim, the cast is all made up of people of color. Was this a conscious decision? Or did it just work out that way? 

I really wanted to distance our show from a lot of other portrayals of Moses, especially Charlton Heston, who is, of course, grand and awesome. But he also, to me, is a white guy from America, so I wanted to cast Middle Eastern actors to portray this story. Because again, with this being a documentary-style show, it’s really all about feeling real, like we just landed in the situation, as opposed to it being a Hollywood production. That meant I had to get actors who look like they are from this region of the world, and that was a big part of the process. We were exclusively only casting actors with Middle Eastern heritage, so that it felt like a consistent and believable portrayal of these characters. 

What was it about Wasim that made him Moses to you?

What’s so great about him is that he’s funny, but only accidentally. I knew that Moses would set the tone, while also not being the funniest character. Most of our side characters are the funny ones, especially Majed Sayess as Aaron. Wasim has such a leadership quality to him, a charisma that comes through, but also is not someone that you immediately would think that’s a leader. He needed Aaron. He didn’t believe in himself. That, to me, just came so through with Wasim’s portrayal of a guy who is trying his best, is maybe not naturally equipped for this, but wants to do a good job. I don’t think anyone captured that truth the way that Waseem did.

Since you mentioned Majed, let’s talk about him and Shereen Khan, as Moses’ brother Aaron and sister Miriam, who are both hilarious. Both of them were very natural, being funny without trying to sell it.

That’s the thing about casting for this show — it needed actors who understood that you don’t have to try to be funny to be funny. You actually need to try not to be funny. You have to try to be real. Shereen  totally understood the assignment, and Majed is just so naturally funny and charismatic, you can understand why a Moses portrayed by Wasim would want Majed’s Aaron be the face of things, because he’s got a lot more chutzpah. All we know from Scripture is that Miriam was a strong woman who spoke up when she could, and actually, in Numbers, ends up eventually standing up to Moses, which we’ll get to eventually in the show. I love Shereen. She makes it look easy.

When I saw Tucker Smallwood, I said, “Wait a minute, is that the guy from Seinfeld playing Jethro, Moses’ father-in-law?” 

(Laughs) It’s true! I knew I wanted to find someone who had more experience than most of our cast to ground this show. We were reaching out to some great actors who had been in various sitcoms over the years, and when I saw Tucker in an episode of My Name Is Earl playing a policeman, that sold it for me. I was watching the scenes with him, and I said, “That’s it. That’s a guy that Moses would look up to, but also be a little bit intimidated by.” 

Since you mentioned the book of Numbers, what’s the plan moving forward?

It all depends on how it goes with season 1, but I have a plan for for 40 episodes. Forty is this recurring number for Moses and Israelites. Forty years, 40 days and nights on the mountain. I want to make 40 episodes and a movie, and I have plans for all of it, and I’ve already written season 2. If enough people watch season 1, then I think we’ll get a chance to make more.

What will be the deciding factor? Is there a number of viewers in mind?

I think if we can prove that there’s an audience who really wants to see this show, and see more of it, we can go to private investors and offer them more. It’s not so much a benchmark as it is about engagement. If people really engage with it, like they have already with the pilot, I think that would secure us what we need. 

I would love to see churches, synagogues, people spreading it around, because we are such a grassroots show, and word of mouth will really help. I was actually talking to another Jewish fan of the show who said it was shown to him by someone else, and that they were about to show it to a lot more people and tell everyone about it, which I thought was the most flattering compliment I could receive.

Key Takeaways

• The Promised Land blends biblical storytelling with modern mockumentary humor to make ancient stories relatable.
• Independent productions like this showcase the potential for creators outside of Hollywood’s studio system.
• Audience engagement and grassroots word-of-mouth will determine whether the show continues beyond its first six-episode season.

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The post Mitch Hudson Brings Biblical Comedy to Life with ‘The Promised Land’ appeared first on Casting Networks.

As an actor, it’s important to understand how this process can help you. Playing a character who differs from you can be challenging, but by building an internal sense of self, you can unlock your character’s emotional state. However, it’s important to be safe and use the process as a tool, trying not to indulge in negative emotions.

Acting is about telling the truth under imaginary circumstances. So, for an actor looking to play a role where their character has lived through the unimaginable, has experienced inconceivable trauma, or even great joy, emotional preparation is the best place to start.

What You’ll Find in This Article

• Finding your Character
• Following the Journey
• Research and Exploration
• Five Minutes Before and After
• Tips, Techniques and Exercises

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Finding Your Character

Building the internal world of your character starts with thinking about who they are, using the information available to you in the script. Go through the script to find answers about who your character is. What do other people think about your character, and what kind of choices do they make?

Use this information without judgment — it’s not about whether your character is a “good” or “bad” person. It’s about what motivates them, who they care about, and how you can relate to who they are. Typical personal traits are easier to incorporate by using exercises.

Try to do everyday tasks the way your character would, including something as simple as a walk, to something a bit more complicated, like ordering a coffee. There’s no need to go full Method, but by engaging in simple errands, you can use adjectives from the script to inform your character’s internal world.

Emotional preparation is about what is underneath and outside the scope of the script. You can give your performance depth and nuance by preparing this way. Knowing your character inside out by fleshing out minute details such as why they behave the way they do to how they would fold the laundry is how you can elevate your character research.

Following the Journey

Once you have identified who your character is, embodied their physical state, and looked at what is going on for them emotionally, look at their whole journey. Even if they appear in only one scene, there is still an emotional arc that you have to map out. As people, we might respond to events that happen in our lives based on our core identities.

Use a notepad to draw a line down the middle of the page. At each end of the line, write “beginning” and “end.” Draw a line to mark the middle, and then start drawing smaller lines along it, marking key moments. You should have a timeline that specifies key events in the script.

Using this timeline, try to identify patterns that correlate between your character’s behavior and the events that occur in the story. Your character’s emotional arc is how you can find out where to start, and what you need to prepare to end up in the emotional state they are in by the end.

You can also add to your timeline using your memories. Write some keywords next to the events on the timeline that might remind you of a similar time in your life. By combining your memories with imagination, you can tap into a new understanding of acting. Creating emotional anchors is about allowing the emotional state of your character to hit you, but in a way that grounds you safely.

Research and Exploration

In most cases, research is imperative to understanding your character and the production you are working on. However, with emotional preparation, it’s important to set boundaries and identify what is essential and what is not.

Historical context, language, and accuracy are all great reasons to do research, but concerning things like trauma and anxiety, there is a fine line to toe.

In 2021, I played the lead role in David Harrower’s Blackbird. The story follows Una, a young woman who tracks down her childhood abuser and confronts him. As with any role, I did my due diligence and looked into the effects that abuse can have on children as they become adults. I watched documentaries, read books and even considered visiting a known offender in a UK prison.

While my intentions were good, and my performance was successful in production, my mental health post-show was severely affected. I had unintentionally picked up the weight of my character’s trauma by trying to get as close as possible to her lived experience. What I was doing wasn’t sustainable, and it was dangerous.

Sometimes, too much knowledge in complex subjects can affect our ability to play and explore the inner world of the character.

Five Minutes Before and After

Emotional preparation can be used practically in the time you have before a scene begins. Take five or ten minutes before you enter a scene. Focus on breathing, how you feel as the character, and where you are right before the scene begins.

You can carry these five minutes into the scene without trying to engineer the emotion. As the scene plays out, everything should start to unfold. It’s essential to bring in what your character is feeling by taking the time to be present and embody the person you are playing.

This time is for you. You could listen to a song as an emotional cue, or you could do pushups to boost your physical alertness and energy. Choose an exercise to do during this time that will serve the scene and allow you to truly focus.

The time after a scene is just as important. Allow yourself to shake off the emotions of the scene. Think about what you’re carrying around with you as residue. Do you need it for the next scene, or is it better to reset?

What your character could have been doing right before a scene is also essential to consider. It’s not necessarily something that we as the audience see or need to know about. Still, it allows for you as the actor to think of your character as having a fully dimensional life outside of the confines of the script.

Tips, Techniques and Exercises

For a practical guide to emotional preparation, and how to unlock the internal world of your character, here are a few tips, techniques, and exercises to try:

• Journaling: Write as your character. Starting with one page, cover the entire journey of the script, and use it to refer to throughout production.
• Music: Create a playlist using songs that inspire your character’s emotional journey.
• Run Errands: Take a walk, or make a cup of coffee as your character. Think about how your character would run errands.
• Find a Muse: Use another person or performance to inspire you. Think of your favorite actor or go watch a play for inspiration.
• Guided Meditation: Use meditation to help clear your mind and any noise that isn’t helpful for your character.
• Timeline Mapping: Create a physical timeline, mapping out your character’s emotional arc with key events.
• Ask Questions: Ask questions about your character and find the answers using only the script. What do they say about themselves? What do other characters say about them? What do the stage directions say about them?
• Drama Therapy: Invest in well-being and drama therapy for artists to help you de-role after playing an emotionally taxing part.
• Using Memory and Imagination: Create anchors using memories from your own life. You can use pictures, songs, or even scents to connect to the emotions your character experiences.
• Rest and Recover: Find time away from work to get back to yourself. Get enough sleep and take the time to socialize. Heavy emotional labor needs a lot of time to recover from. Look after yourself!

Final Takeaways

Diving into a character’s internal world is where your performance comes alive. Emotional preparation isn’t just about feeling—it’s about understanding your character’s past, motivations, and journey while keeping your own mental health intact. Here are some practical steps to help you build a truthful and safe connection with your role.

• Map Your Character’s Emotional Journey: Create a timeline of key events and emotions in the script to understand how your character evolves from beginning to end.
• Live Like Your Character: Incorporate simple everyday actions like walking or ordering coffee as your character to build authentic habits and mannerisms.
• Use Emotional Anchors Safely: Combine your memories with imagination to connect emotionally, but set boundaries to avoid getting overwhelmed by your character’s trauma.
• Take Five Minutes Before and After Scenes: Use this time to ground yourself—try breathing exercises, listen to a playlist that inspires your character, or do something physical to focus and then reset after the scene.
• Journaling and Asking Questions: Write as your character and dig into the script for clues about their motivations and relationships to deepen your understanding.

By approaching your character with curiosity and care, you’ll find a truthful emotional core without losing yourself in the process. Emotional preparation is your tool, so use it wisely to unlock a performance that’s both honest and sustainable.

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The post The Importance of Emotional Preparation appeared first on Casting Networks.