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"title": "Casting News, Interviews and Advice - Casting Networks",
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"id": "https://www.castingnetworks.com/?p=320137",
"url": "https://www.castingnetworks.com/news/what-to-know-about-micro-dramas-auditions-actor-advice-interview/",
"title": "What Actors Should Know About Working on Micro-Dramas: From Actor Quincie Mychelle Lewis",
"content_html": "\n
Quincie Mychelle Lewis is a Los Angeles-born actress. She stars as Lulu in the Micro-Drama \u2018Up to Us\u2019, originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art and Global Health Center and the Prison Education Project.
\n\n\n\n
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.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Micro-dramas demand the same level of preparation and professionalism as traditional film and TV, despite their shorter format.
\n\n\n\n
A typical day on set can still mean long hours, full crews, and a highly collaborative environment.
\n\n\n\n
Actors who stay open and adaptable to new formats like micro-dramas position themselves ahead of the industry\u2019s shifting landscape.
Hi Quincie! Can you tell us about your earliest inspiration to become an actor?
\n\n\n\n
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).
\n\n\n\n
My mom couldn\u2019t understand why I was so upset until she realized that I didn\u2019t know what we\u2019d just watched was make-believe. When she explained that those people weren\u2019t really going through those emotions and that they were actors whose job was to \u2018play dress up\u2019 and pretend to be other people; my little six-year-old mind was blown. Cue Aladdin\u2019s \u2018A Whole New World\u2019 It was the first time I realized that storytelling could be a job, and from that moment on, I was completely hooked!
\n\n\n\n
How did your training at The American Academy of Dramatic Arts help to prepare you for working and auditioning?
\n\n\n\n
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.
\n\n\n\n
The depth of my classical training became this internal toolkit I can draw from whenever I\u2019m 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.
\n\n\n\n
You\u2019re originally from LA, but you\u2019ve also worked in New York. What do you find are the major differences between working/auditioning in both cities?
\n\n\n\n
There\u2019s genuinely so many details about being a working actress in both NY and LA. It\u2019s 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\u2019ve always felt personally, the major differences were in the actual work available.
\n\n\n\n
This could totally be a singular reality but for me, I\u2019ve felt that NY is a lot more as I say \u2018busy work\u2019 and LA is more auditioning. Living in NY, I\u2019m maybe auditioning less because I\u2019m busy working on a variety of projects from Black Box Theater, off-Broadway shows, Shorts, Web-Series and Table Reads\u2026there\u2019s so much to do!
\n\n\n\n
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.
\n\n\n\n
You recently starred in the micro-drama \u2018Up to Us\u2019. What can you tell us about this project?
\n\n\n\n
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.
\n\n\n\n
It\u2019s 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.
\n\n\n\n
The goal is to spark honest conversations around sexual health, consent, and relationships. When young people see themselves on screen it\u2019ll normalize talking about these topics in a healthy, empowering way.
\n\n\n\n
How did you first get involved and what was the audition process like?
\n\n\n\n
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.
\n\n\n\n
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!
\n\n\n\n
What can you tell us about the rehearsal and preparation process for \u2018Up to Us\u2019?
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
What can you tell us about where \u2018Up to Us\u2019 was shot and what it was like being on location?
\n\n\n\n
Even though we rehearsed and did our table reads in LA, we actually filmed in Baldwin Park which I\u2019d never been to before. It\u2019s only about 45 minutes outside of LA and funny how the name can be mistaken for the neighborhood in LA that I\u2019m from. I\u2019m originally from Baldwin Hills, a historically Black, culturally rich neighborhood full of heritage and community. And what\u2019s beautiful is that Baldwin Park is that same kind of space for the Latino community, really rooted in Mexican-American culture and tradition.
\n\n\n\n
It was amazing to explore, meet people, and take in that sense of pride and identity. For me, it\u2019s 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\u2019 world. It just added so much authenticity and warmth to the entire experience.
\n\n\n\n
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?
\n\n\n\n
Being on set was such a treat! I had the incredible opportunity to collaborate with some of the most talented creators and artists I\u2019ve 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.
\n\n\n\n
I absolutely loved her point of view. Hair and makeup were handled by the incomparable Leticia Llesmin (@leticiallesmin), another LA native. She\u2019s 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.
\n\n\n\n
We were also truly spoiled by the catering team and food trucks, I\u2019ve 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.
\n\n\n\n
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.
\n\n\n\n
Micro-dramas are also getting increasingly more popular. Why do you think that is?
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
What\u2019s genius about them is the reach. You never really know where that content is going to land or who it\u2019s going to touch.
\n\n\n\n
What would you say is the biggest misconception about working on a micro-drama?
\n\n\n\n
I think one of the biggest misconceptions about working on a micro drama is that, because it\u2019s shorter, it must be easier or that the quality isn\u2019t on the same level as traditional Television or film. But honestly it\u2019s a pretty technical medium that requires more of a product mindset, rather than a purely artistic one.
\n\n\n\n
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.
\n\n\n\n
I also think that people tend to assume that micro\u2011dramas 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\u2019ve seen some pretty horrendous things pop up on my fyp) It\u2019s not the case over here!
\n\n\n\n
What advice can you offer for any actors who want to approach this type of work?
\n\n\n\n
Be open. I say that first because I totally get it, I\u2019m 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\u2019t want to be left behind.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
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\u2019s world, to embody her circumstances and her truth.
\n\n\n\n
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?
\n\n\n\n
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\u2019s coming out, find the ones that move you, and start building your own list of favorites.
\n\n\n\n
The same way people geek out over their favorite HBO shows or follow YouTube creators they love. I\u2019d 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\u2019ll help solidify this new wave of storytelling.
\n\n\n\n
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.
\n\n\n\n\n\n\n\n
To learn more about Quincie Mychelle Lewis, you can follow her on Instagram: @queenqml \u2018Up to Us\u2019 the full series is available to watch now on Instagram and Tik Tok To learn more visit: https://up-to-us.org/watch/
\n\n\n\n
*Biography provided by Quincie Mychelle Lewis. This interview has been edited and condensed.
\n",
"content_text": "Quincie Mychelle Lewis is a Los Angeles-born actress. She stars as Lulu in the Micro-Drama \u2018Up to Us\u2019, originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art and Global Health Center and the Prison Education Project.\n\n\n\nWe 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.\n\n\n\nKey Insights\n\n\n\n\nMicro-dramas demand the same level of preparation and professionalism as traditional film and TV, despite their shorter format.\n\n\n\nA typical day on set can still mean long hours, full crews, and a highly collaborative environment.\n\n\n\nActors who stay open and adaptable to new formats like micro-dramas position themselves ahead of the industry\u2019s shifting landscape.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nHi Quincie! Can you tell us about your earliest inspiration to become an actor?\n\n\n\nI 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). \n\n\n\nMy mom couldn\u2019t understand why I was so upset until she realized that I didn\u2019t know what we\u2019d just watched was make-believe. When she explained that those people weren\u2019t really going through those emotions and that they were actors whose job was to \u2018play dress up\u2019 and pretend to be other people; my little six-year-old mind was blown. Cue Aladdin\u2019s \u2018A Whole New World\u2019 It was the first time I realized that storytelling could be a job, and from that moment on, I was completely hooked!\n\n\n\nHow did your training at The American Academy of Dramatic Arts help to prepare you for working and auditioning?\n\n\n\nOh 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. \n\n\n\nThe depth of my classical training became this internal toolkit I can draw from whenever I\u2019m 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.\n\n\n\nYou\u2019re originally from LA, but you\u2019ve also worked in New York. What do you find are the major differences between working/auditioning in both cities?\n\n\n\nThere\u2019s genuinely so many details about being a working actress in both NY and LA. It\u2019s 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\u2019ve always felt personally, the major differences were in the actual work available. \n\n\n\nThis could totally be a singular reality but for me, I\u2019ve felt that NY is a lot more as I say \u2018busy work\u2019 and LA is more auditioning. Living in NY, I\u2019m maybe auditioning less because I\u2019m busy working on a variety of projects from Black Box Theater, off-Broadway shows, Shorts, Web-Series and Table Reads\u2026there\u2019s so much to do! \n\n\n\nHowever 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. \n\n\n\nYou recently starred in the micro-drama \u2018Up to Us\u2019. What can you tell us about this project?\n\n\n\nYes! 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. \n\n\n\nIt\u2019s 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. \n\n\n\nThe goal is to spark honest conversations around sexual health, consent, and relationships. When young people see themselves on screen it\u2019ll normalize talking about these topics in a healthy, empowering way.\n\n\n\nHow did you first get involved and what was the audition process like?\n\n\n\nI 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. \n\n\n\nAfter 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!\n\n\n\nWhat can you tell us about the rehearsal and preparation process for \u2018Up to Us\u2019?\n\n\n\nEverything 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. \n\n\n\nFrom 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. \n\n\n\nWhat can you tell us about where \u2018Up to Us\u2019 was shot and what it was like being on location?\n\n\n\nEven though we rehearsed and did our table reads in LA, we actually filmed in Baldwin Park which I\u2019d never been to before. It\u2019s only about 45 minutes outside of LA and funny how the name can be mistaken for the neighborhood in LA that I\u2019m from. I\u2019m originally from Baldwin Hills, a historically Black, culturally rich neighborhood full of heritage and community. And what\u2019s beautiful is that Baldwin Park is that same kind of space for the Latino community, really rooted in Mexican-American culture and tradition. \n\n\n\nIt was amazing to explore, meet people, and take in that sense of pride and identity. For me, it\u2019s 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\u2019 world. It just added so much authenticity and warmth to the entire experience.\n\n\n\nActors 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?\n\n\n\nBeing on set was such a treat! I had the incredible opportunity to collaborate with some of the most talented creators and artists I\u2019ve 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. \n\n\n\nI absolutely loved her point of view. Hair and makeup were handled by the incomparable Leticia Llesmin (@leticiallesmin), another LA native. She\u2019s 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. \n\n\n\nWe were also truly spoiled by the catering team and food trucks, I\u2019ve 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. \n\n\n\nWe 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.\n\n\n\nMicro-dramas are also getting increasingly more popular. Why do you think that is?\n\n\n\nTo 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. \n\n\n\nWatching 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. \n\n\n\nMicro-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. \n\n\n\nWhat\u2019s genius about them is the reach. You never really know where that content is going to land or who it\u2019s going to touch. \n\n\n\nWhat would you say is the biggest misconception about working on a micro-drama?\n\n\n\nI think one of the biggest misconceptions about working on a micro drama is that, because it\u2019s shorter, it must be easier or that the quality isn\u2019t on the same level as traditional Television or film. But honestly it\u2019s a pretty technical medium that requires more of a product mindset, rather than a purely artistic one. \n\n\n\nNow 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. \n\n\n\nI also think that people tend to assume that micro\u2011dramas 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\u2019ve seen some pretty horrendous things pop up on my fyp) It\u2019s not the case over here!\n\n\n\nWhat advice can you offer for any actors who want to approach this type of work?\n\n\n\nBe open. I say that first because I totally get it, I\u2019m 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\u2019t want to be left behind. \n\n\n\nThis 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.\n\n\n\nWhen 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. \n\n\n\nI 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\u2019s world, to embody her circumstances and her truth.\n\n\n\nFinally, 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?\n\n\n\nSince 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\u2019s coming out, find the ones that move you, and start building your own list of favorites. \n\n\n\nThe same way people geek out over their favorite HBO shows or follow YouTube creators they love. I\u2019d 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\u2019ll help solidify this new wave of storytelling. \n\n\n\nBecause 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. \n\n\n\n\n\n\n\nTo learn more about Quincie Mychelle Lewis, you can follow her on Instagram: @queenqml\u2018Up to Us\u2019 the full series is available to watch now on Instagram and Tik Tok To learn more visit: https://up-to-us.org/watch/\n\n\n\n*Biography provided by Quincie Mychelle Lewis. This interview has been edited and condensed.\nThe post What Actors Should Know About Working on Micro-Dramas: From Actor Quincie Mychelle Lewis appeared first on Casting Networks.",
"date_published": "2026-04-22T09:09:15-07:00",
"date_modified": "2026-05-22T11:36:32-07:00",
"authors": [
{
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
}
],
"author": {
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/Quincie-Mychelle-Lewis-Blog.jpg",
"tags": [
"Vertical Series",
"Acting 101",
"Acting Advice",
"Industry 101"
]
},
{
"id": "https://www.castingnetworks.com/?p=311915",
"url": "https://www.castingnetworks.com/news/how-to-tap-into-torontos-booming-film-tv-scene-before-everyone-else-does/",
"title": "How to Tap Into Toronto\u2019s Booming Film & TV Scene Before Everyone Else Does",
"content_html": "\n
If you haven\u2019t seen Heated Rivalry or haven\u2019t discussed it in some way, you may find yourself in a new and interesting minority. Especially since it\u2019s all anyone is talking about.
\n\n\n\n
Jacob Tierney\u2019s adaptation of Rachel Reid\u2019s 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.
\n\n\n\n
The show\u2019s 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\u2019s also all the filming that\u2019s done there, and the below-the-line talent, production companies and agencies that facilitate it all.
\n\n\n\n
Key Insights
\n\n\n\n
\n
A breakout hit can reshape an entire market.Heated Rivalry didn\u2019t just succeed, it reignited global attention on Toronto as a creative hub and proved Canadian-led projects can dominate cultural conversation.
\n\n\n\n
Local storytelling is finally taking center stage. Canadian creators are increasingly telling distinctly Canadian stories, rather than masking them as \u201canywhere,\u201d signaling a shift toward authentic regional identity.
\n\n\n\n
Infrastructure and talent depth are Toronto\u2019s secret weapons. From agencies to casting directors to production companies, the ecosystem is already robust and quietly powering major international projects.
Is there another show shooting right now that could become the next Heated Rivalry-like sensation? \u201cHonestly, the only thing people care about up here is Heated Rivalry, season 2,\u201d Toronto-based casting director Ilona Smyth says with a laugh. She continues, \u201cIt’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.\u201d
\n\n\n\n
In Smyth\u2019s view, seeing a Canadian success story like this one has a snowball effect. \u201cI 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\u2019sCreek is based?\u201d
\n\n\n\n
So aside from expecting more Canadian fare about Canadians that is actually set in Canada, there\u2019s 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\u2019ll see another Heated Rivalry come across the border any time soon is anyone\u2019s 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.
\n\n\n\n
AGENTS
\n\n\n\n
Toronto has an abundance of good talent agencies, and while here are just a half dozen, as Smyth says, \u201cIf an agent doesn\u2019t try to charge you money, they\u2019re a great agent.\u201d
Position yourself where momentum is building. If you\u2019re in entertainment, Toronto isn\u2019t \u201cemerging\u201d anymore, it\u2019s actively producing opportunity across multiple levels.
\n\n\n\n
Build relationships with the right gatekeepers. Agents, casting directors, and production companies in this market are essential connectors, not optional extras.
\n\n\n\n
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.
\n",
"content_text": "If you haven\u2019t seen Heated Rivalry or haven\u2019t discussed it in some way, you may find yourself in a new and interesting minority. Especially since it\u2019s all anyone is talking about. \n\n\n\nJacob Tierney\u2019s adaptation of Rachel Reid\u2019s 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. \n\n\n\nThe show\u2019s 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\u2019s also all the filming that\u2019s done there, and the below-the-line talent, production companies and agencies that facilitate it all. \n\n\n\nKey Insights\n\n\n\n\nA breakout hit can reshape an entire market. Heated Rivalry didn\u2019t just succeed, it reignited global attention on Toronto as a creative hub and proved Canadian-led projects can dominate cultural conversation.\n\n\n\nLocal storytelling is finally taking center stage. Canadian creators are increasingly telling distinctly Canadian stories, rather than masking them as \u201canywhere,\u201d signaling a shift toward authentic regional identity.\n\n\n\nInfrastructure and talent depth are Toronto\u2019s secret weapons. From agencies to casting directors to production companies, the ecosystem is already robust and quietly powering major international projects.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\nIs there another show shooting right now that could become the next Heated Rivalry-like sensation? \u201cHonestly, the only thing people care about up here is Heated Rivalry, season 2,\u201d Toronto-based casting director Ilona Smyth says with a laugh. She continues, \u201cIt’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.\u201d \n\n\n\nIn Smyth\u2019s view, seeing a Canadian success story like this one has a snowball effect. \u201cI 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\u2019s Creek is based?\u201d\n\n\n\nSo aside from expecting more Canadian fare about Canadians that is actually set in Canada, there\u2019s 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\u2019ll see another Heated Rivalry come across the border any time soon is anyone\u2019s 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.\n\n\n\nAGENTS\n\n\n\nToronto has an abundance of good talent agencies, and while here are just a half dozen, as Smyth says, \u201cIf an agent doesn\u2019t try to charge you money, they\u2019re a great agent.\u201d\n\n\n\nThe Characters Talent Agency\n\n\n\nHero Artists\n\n\n\nAmanda Rosenthal Talent Agency\n\n\n\nThe Talent House\n\n\n\nNoble Caplan Abrams\n\n\n\nPLAY Management\n\n\n\nCASTING DIRECTORS\n\n\n\nAside from Smyth, of course, there is a plethora of great casting directors. Here are just a few:\n\n\n\nJenny Lewis and Sara Kay\n\n\n\nBrian Levy\n\n\n\nJesse Griffiths\n\n\n\nMarsha Chesley\n\n\n\nAshley Hallihan and Ian Bender\n\n\n\nLarissa Mair\n\n\n\nLisa Parasyn\n\n\n\nPRODUCTION COMPANIES\n\n\n\nThere is no shortage of quality production companies north of the border. Here\u2019s a small selection:\n\n\n\nAmaze\n\n\n\nCompany 3\n\n\n\nFrantic Films\n\n\n\nHideaway Pictures\n\n\n\nHigh Park Entertainment\n\n\n\nLacuna Productions\n\n\n\nNeshama Entertainment\n\n\n\nNew Real Films\n\n\n\nScythia Films\n\n\n\nShaftesbury\n\n\n\nTake 5\n\n\n\nWhizbang Films \n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nPosition yourself where momentum is building. If you\u2019re in entertainment, Toronto isn\u2019t \u201cemerging\u201d anymore, it\u2019s actively producing opportunity across multiple levels.\n\n\n\nBuild relationships with the right gatekeepers. Agents, casting directors, and production companies in this market are essential connectors, not optional extras.\n\n\n\nFollow the wave of authenticity. Projects rooted in real cultural identity are gaining traction, so aligning with that shift increases your relevance and booking potential.\n\nThe post How to Tap Into Toronto\u2019s Booming Film & TV Scene Before Everyone Else Does appeared first on Casting Networks.",
"date_published": "2026-03-24T09:29:13-07:00",
"date_modified": "2026-03-24T09:36:17-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/03/iStock-1184455526.jpg",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://www.castingnetworks.com/?p=299781",
"url": "https://www.castingnetworks.com/news/ai-commercials-game-day-ads-hollywood/",
"title": "How AI Dominated Sunday\u2019s Game Day Commercials and What It Means for Hollywood\u2019s Future",
"content_html": "\n
As usual, Sunday’s big game was as much about the commercials for most people as it was about the football. The most anticipated advertising showcase of the year gave us lots of new spots, some of them great, others not so much, and a sizable percentage of them were for AI companies. Almost one quarter of all the ads were AI-related, a number one would think will only grow with each year.
\n\n\n\n
Key Insights
\n\n\n\n
\n
AI appeared in nearly one quarter of Sunday’s ads, marking its most aggressive mainstream advertising showcase yet.
\n\n\n\n
Brands used AI for de-aging, digital cloning, synthetic image generation, and even AI-written scripts, blending real performers with machine enhancement.
\n\n\n\n
While AI amplified spectacle and nostalgia, weaker executions proved that technology still cannot replace sharp creative judgment.
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.
\n\n\n\n
Some were entirely AI-generated, like the Svedka commercial with the company\u2019s Fembot mascot, others used AI to change or enhance real actors.
\n\n\n\n
Take Ben Affleck\u2019s Dunkin\u2019 Donuts commercial. The cleverly conceived \u2014 but somewhat cringey \u2014 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.
\n\n\n\n
Similarly, Xfinity\u2019s 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.
\n\n\n\n
Ramp made dozens of copies of The Office star Brian Baumgartner for its spot celebrating the company\u2019s AI-powered spend management platform. The joke was there were so many versions of him \u2014 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 \u2014 that all the work he had to do was made effortless.
\n\n\n\n
Matthew Broderick\u2019s Genspark commercial about using AI to do work for people to allow them the day off \u2014 gave us an unintentionally creepy look at our potential future of being replaced by machines, but with a Ferris Bueller\u2019s Day Off vibe to it, which may have made it even worse.
\n\n\n\n
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\u2019s quality shouldn\u2019t raise any alarms. Yet.
\n\n\n\n
One of the best commercials both touted the advances in Amazon\u2019s Alexa and made fun of it, with Chris Hemsworth detailing to his wife \u2014 fellow actor Elsa Pataky \u2014 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.
\n\n\n\n
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.
\n\n\n\n
Google\u2019s 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.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n\n\n\n\n
Key Takeaways
\n\n\n\n
\n
AI is no longer experimental in advertising; it is becoming a standard production tool across major campaigns.
\n\n\n\n
De-aging and digital replication raise new performance, branding, and ethical considerations for actors and studios.
\n\n\n\n
Despite rapid AI integration, the most effective commercials still relied on strong human-driven concepts and storytelling.
\n",
"content_text": "As usual, Sunday’s big game was as much about the commercials for most people as it was about the football. The most anticipated advertising showcase of the year gave us lots of new spots, some of them great, others not so much, and a sizable percentage of them were for AI companies. Almost one quarter of all the ads were AI-related, a number one would think will only grow with each year.\n\n\n\nKey Insights\n\n\n\n\nAI appeared in nearly one quarter of Sunday’s ads, marking its most aggressive mainstream advertising showcase yet.\n\n\n\nBrands used AI for de-aging, digital cloning, synthetic image generation, and even AI-written scripts, blending real performers with machine enhancement.\n\n\n\nWhile AI amplified spectacle and nostalgia, weaker executions proved that technology still cannot replace sharp creative judgment.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nBut 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. \n\n\n\nSome were entirely AI-generated, like the Svedka commercial with the company\u2019s Fembot mascot, others used AI to change or enhance real actors.\n\n\n\nTake Ben Affleck\u2019s Dunkin\u2019 Donuts commercial. The cleverly conceived \u2014 but somewhat cringey \u2014 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.\n\n\n\nSimilarly, Xfinity\u2019s 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.\n\n\n\nRamp made dozens of copies of The Office star Brian Baumgartner for its spot celebrating the company\u2019s AI-powered spend management platform. The joke was there were so many versions of him \u2014 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 \u2014 that all the work he had to do was made effortless.\n\n\n\nMatthew Broderick\u2019s Genspark commercial about using AI to do work for people to allow them the day off \u2014 gave us an unintentionally creepy look at our potential future of being replaced by machines, but with a Ferris Bueller\u2019s Day Off vibe to it, which may have made it even worse. \n\n\n\nThe spot used all human actors, and was apparently written by an AI engine. It would be easy to say writers beware, but the spot\u2019s quality shouldn\u2019t raise any alarms. Yet.\n\n\n\nOne of the best commercials both touted the advances in Amazon\u2019s Alexa and made fun of it, with Chris Hemsworth detailing to his wife \u2014 fellow actor Elsa Pataky \u2014 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. \n\n\n\nAll 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.\n\n\n\nGoogle\u2019s 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. \n\n\n\nAnd 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.\n\n\n\nThe 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.\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nAI is no longer experimental in advertising; it is becoming a standard production tool across major campaigns.\n\n\n\nDe-aging and digital replication raise new performance, branding, and ethical considerations for actors and studios.\n\n\n\nDespite rapid AI integration, the most effective commercials still relied on strong human-driven concepts and storytelling.\n\nThe post How AI Dominated Sunday’s Game Day Commercials and What It Means for Hollywood\u2019s Future appeared first on Casting Networks.",
"date_published": "2026-02-12T09:00:04-08:00",
"date_modified": "2026-05-22T12:30:50-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/02/iStock-502453413.jpg",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://www.castingnetworks.com/?p=296364",
"url": "https://www.castingnetworks.com/news/agent-vs-manager-first-actor-advice/",
"title": "Should You Get an Agent or Manager First? How Actors Can Prepare for Representation",
"content_html": "\n
There’s a lot of energy in the air for actors during January. It’s when the industry, after the holiday slowdown, starts moving again. For newer actors, this is an exciting time because early in the year, many agencies and management offices are back in full gear, planning rosters, reviewing goals, and getting ready for the season ahead.
\n\n\n\n
If you\u2019ve been building momentum and you\u2019re thinking, \u201cOkay, it might be time to talk representation,\u201d January is often when that search starts feeling realistic. Representation is a business relationship you enter because it helps both sides. A rep\u2019s job is to market you, pitch you, guide your strategy, and open doors you cannot open alone.
\n\n\n\n
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\u2019s ready?
\n\n\n\n
Key Insights
\n\n\n\n
\u2022 Representation conversations are business meetings, not favors, and actors need to understand what they offer before asking for support.
\n\n\n\n
\u2022 Agents and managers serve different roles, and choosing the right one depends on your current career stage and momentum.
\n\n\n\n
\u2022 Reps look for clarity, professionalism, and consistency just as much as they look for raw acting talent.
\n\n\n\n\n\n\n\n
Let\u2019s 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.
\n\n\n\n
Agent vs. Manager: Know What You\u2019re Actually Asking For
\n\n\n\n
The roles of “agent” and “manager” are often treated as interchangeable words for \u201cperson who helps my career.\u201d They overlap, but they\u2019re not the same job.
\n\n\n\n
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 \u201cready to go\u201d right now.
\n\n\n\n
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.
\n\n\n\n
Many actors have both. There\u2019s no one correct order. The proper order is: the one that matches where you are right now.
\n\n\n\n
Why January Can Be a Smart Time to Reach Out
\n\n\n\n
Actors don\u2019t only chase reps during pilot season or showcase season, but January has a few natural advantages:
\n\n\n\n
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.
\n\n\n\n
Actors feel the \u201cstart\u201d line. Newer actors often decide to get serious now, which means you\u2019ll see more workshops, submissions and conversations happening. The takeaway is not \u201cJanuary is magic.\u201d It\u2019s \u201cJanuary is momentum-friendly.\u201d If you\u2019ve been preparing, this is a clean moment to step forward.
\n\n\n\n
What Reps Look For in New Talent (Spoiler: It\u2019s 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.
\n\n\n\n
1) Casting Lanes New actors get nervous about being \u201cboxed in.\u201d Reps aren\u2019t trying to trap you. They\u2019re trying to understand how to sell you. You don\u2019t need a rigid brand statement like, \u201cI am the sardonic barista with a secret heartbreak.\u201d You do need a practical lane, such as:
\n\n\n\n
\n
grounded teen/young adult drama
\n\n\n\n
comedic best friend with fast timing
\n\n\n\n
blue-collar, approachable dad energy
\n\n\n\n
polished corporate commercial look
\n\n\n\n
quirky, offbeat character with warmth
\n
\n\n\n\n
If a rep can\u2019t easily picture where you fit, they don\u2019t know what rooms to push you into.
\n\n\n\n
2) Training and Craft Reps want to know you\u2019re serious. Training signals commitment and stamina. They\u2019ll listen for:
measurable progress, not just \u201cI took one class once\u201d
\n
\n\n\n\n
3) Strong Materials
\n\n\n\n
You don\u2019t need to be perfect, but you do need to be presentable. If your headshots and reel look underlit or rushed, reps will worry you\u2019re not ready for professional pitching.
\n\n\n\n
4) Momentum
\n\n\n\n
Momentum does not have to mean a series regular credit. It can mean:
\n\n\n\n
\n
consistent self-tape auditions through Casting Networks
\n\n\n\n
callbacks in student/indie projects
\n\n\n\n
a short film run, festival acceptance, or strong role in a local theater production
\n\n\n\n
a clean pattern: you submit, you book, you deliver
\n\n\n\n
Reps love patterns. Patterns are predictable. Predictable is profitable.
\n
\n\n\n\n
5) Professionalism and Emotional Maturity
\n\n\n\n
This is the invisible factor that makes or breaks it. Reps listen for:
\n\n\n\n
\n
Do you take direction without defensiveness?
\n\n\n\n
Do you show up on time and prepared?
\n\n\n\n
Can you communicate like an adult?
\n\n\n\n
Are you building a career, or chasing validation?
\n
\n\n\n\n
The rep-client relationship can last years. They\u2019re looking for someone they won\u2019t have to \u201cparent.\u201d
\n\n\n\n
Before You Reach Out: Build Your \u201cRep-Ready\u201d Package
\n\n\n\n
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 \u201cyou, two faces ago.\u201d Avoid over-retouching. Casting can smell it.
\n\n\n\n
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.
\n\n\n\n
If you\u2019re using self-produced footage, keep it clean: good audio, good lighting, and acting that feels lived-in rather than performed at the camera.
\n\n\n\n
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 \u201cdialects,\u201d be prepared to do them in real time.)
\n\n\n\n
Online presence: make it boring in the best way. Reps will look you up. Make sure your public-facing stuff matches the actor you\u2019re presenting. Professional actor website or profile links help. Social media doesn\u2019t have to be curated like a museum, but it should not be a chaos scrapbook either.
\n\n\n\n
A short, confident pitch about who you are Have a 2-3 sentence summary that\u2019s human, not corporate:
\n\n\n\n
\u201cI\u2019m a California-based comedic actor, actively training and booking indie projects. I\u2019m focused on TV and commercial work and looking for representation to help expand my theatrical reach while maintaining a strong commercial momentum.\u201d
\n\n\n\n
How to Start the Conversation: Submissions That Don\u2019t Sound Desperate
\n\n\n\n
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\u2019m [Your Name], a [location]-based actor. My work lives in [your lane: grounded drama/comedic commercial/etc.], and I\u2019m currently training with [studio/teacher] while building credits in [film/theater/VO/commercial]. I\u2019m reaching out because I admire [specific reason: their client roster, their focus, a recent client booking, their agency\u2019s niche]. I\u2019d love to be considered for representation. Here are my materials: Headshots: [link] Reel: [link] Resume: [link] Casting Networks profile: [link]
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Thank you for your time and consideration, [Your Name] [Phone] | [Email] | [Website/Profile link]
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Why this works: it\u2019s short, specific, and gives them everything they need without making them dig.
Don\u2019t write a memoir about your childhood dream.
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Don\u2019t insult your current situation (\u201cNo one will give me a chance\u201d).
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Don\u2019t ask them to \u201ctake a risk\u201d on you. Show them why it\u2019s not a risk.
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Preparing for the Meeting: What to Bring, What to Say, How to Act Like a Pro
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If they agree to meet (Zoom, phone, or in person), congrats. Now the real audition begins.
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Your Prep Checklist
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Watch your reel again. Know what they\u2019re about to see.
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Be ready to talk about your recent training and what you\u2019re working on.
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Know your availability and your goals for the next 6-12 months.
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Have a list of questions (more on that below).
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Be prepared to discuss your current submission access on Casting Networks.
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What Reps Typically Ask
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\u201cTell me about yourself.\u201d\n
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They\u2019re asking: \u201cCan you communicate clearly and confidently?\u201d
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\u201cWhat are you going out for?\u201d\n
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They\u2019re asking: \u201cDo you understand your casting lane, and can you be marketed?\u201d
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\u201cWhat are your goals?\u201d\n
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They\u2019re asking: \u201cAre you realistic and strategic, or purely vibes?”
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\u201cWhat are you doing right now to build your career?\u201d\n
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They\u2019re asking: \u201cWill you work even when you\u2019re not booking?\u201d
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The vibe you want: confident coworker, not starry-eyed fan
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A rep is not a celebrity you\u2019re lucky to meet. They\u2019re a potential teammate. Treat the conversation like you\u2019re exploring a collaboration where both parties benefit.
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Questions to Ask a Potential Rep (So You Don\u2019t Choose Blind)
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New actors sometimes forget they\u2019re 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\u2019t make you sound suspicious:
\n\n\n\n
Fit and Strategy \u201cWhere do you see me fitting best right now?\u201d \u201cWhat kinds of roles would you submit me for in the next few months?\u201d \u201cWhat\u2019s one thing you\u2019d want me to improve immediately?\u201d
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Communication and Process \u201cHow do you prefer to communicate: email, text, calls?\u201d \u201cHow often do you like to check in?\u201d \u201cDo you give feedback on tapes, or do you prefer clients work with coaches?\u201d
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Submission Approach \u201cHow do you decide what to submit clients for?\u201d \u201cHow do you tailor submissions for specific offices?\u201d
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Business and Expectations \u201cWhat are your commission terms?\u201d \u201cDo you work with contracts?\u201d \u201cDo you have any upfront fees?\u201d (More on this in a moment.)
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A good rep won\u2019t be offended by thoughtful questions. They\u2019ll be relieved you\u2019re taking this seriously.
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Red Flags: When \u201cOpportunity\u201d Smells Like Trouble
\n\n\n\n
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:
\n\n\n\n
Upfront fees as the main event. Legit reps earn when you earn (commission). Paying for photos or classes can be normal if it\u2019s your choice and truly optional. Being required to pay them or their \u201cpreferred photographer\u201d as a condition is a caution sign. Vague promises. \u201cI can get you in everything.\u201d Nobody can.
\n\n\n\n
Pressure tactics. \u201cYou have to decide today.\u201d You don\u2019t. No interest in your materials or lane. If they\u2019re not asking smart questions, they may not know how to build you. They trash-talk other reps or casting. Professional people don\u2019t need to do that.
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Your career will involve enough rejection. You don\u2019t need to pay for it.
\n\n\n\n
Green Flags: Signs You\u2019ve Found a Real Teammate Look for: Specificity. They can articulate where you fit and why. A plan. Even a simple one: \u201cLet\u2019s tighten your commercial package, aim for co-stars, and build relationships with these offices.\u201d
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Professional boundaries. Clear communication norms, clear expectations. Respect for your growth. They want you training and improving, not just \u201cwaiting for them to fix everything.\u201d
\n\n\n\n
They\u2019re honest about timing. If they say, \u201cYou\u2019re close, but you need X,\u201d that can be a great sign.
\n\n\n\n
After the Meeting: Follow-Up Without Being a Stage-5 Clinger
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Send a thank-you email within 24 hours. Keep it simple: \u201cThank you for taking the time to meet with me today. I appreciated your insight about [specific point]. I\u2019m excited about the possibility of working together and would love to stay in touch. Thanks again, [Your Name].\u201d
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\u2019t hear back, a polite follow-up a week or two later is fine. Then let it breathe.
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The Truth New Actors Need to Hear: Representation Doesn\u2019t Replace the Work
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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\u2019t audition for you. You still need to build your craft, stabilize your confidence, and create the consistency that makes casting offices trust you.
\n\n\n\n
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.
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Key Takeaways
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\u2022 January is a momentum-friendly time to pursue representation if your materials, training, and casting lane are already in place.
\n\n\n\n
\u2022 Strong headshots, a focused reel, ongoing training, and small but consistent booking patterns make you easier to pitch.
\n\n\n\n
\u2022 The right representative feels like a collaborative teammate who offers specificity, strategy, and honesty rather than pressure or vague promises.
\n",
"content_text": "There’s a lot of energy in the air for actors during January. It’s when the industry, after the holiday slowdown, starts moving again. For newer actors, this is an exciting time because early in the year, many agencies and management offices are back in full gear, planning rosters, reviewing goals, and getting ready for the season ahead. \n\n\n\nIf you\u2019ve been building momentum and you\u2019re thinking, \u201cOkay, it might be time to talk representation,\u201d January is often when that search starts feeling realistic. Representation is a business relationship you enter because it helps both sides. A rep\u2019s job is to market you, pitch you, guide your strategy, and open doors you cannot open alone. \n\n\n\nYour 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\u2019s ready?\n\n\n\nKey Insights\n\n\n\n\u2022 Representation conversations are business meetings, not favors, and actors need to understand what they offer before asking for support.\n\n\n\n\u2022 Agents and managers serve different roles, and choosing the right one depends on your current career stage and momentum.\n\n\n\n\u2022 Reps look for clarity, professionalism, and consistency just as much as they look for raw acting talent.\n\n\n\n\n\n\n\nLet\u2019s 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.\n\n\n\nAgent vs. Manager: Know What You\u2019re Actually Asking For\n\n\n\nThe roles of “agent” and “manager” are often treated as interchangeable words for \u201cperson who helps my career.\u201d They overlap, but they\u2019re not the same job.\n\n\n\nAgents 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 \u201cready to go\u201d right now.\n\n\n\nManagers 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.\n\n\n\nMany actors have both. There\u2019s no one correct order. The proper order is: the one that matches where you are right now.\n\n\n\nWhy January Can Be a Smart Time to Reach Out\n\n\n\nActors don\u2019t only chase reps during pilot season or showcase season, but January has a few natural advantages:\n\n\n\nIndustry 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.\n\n\n\nActors feel the \u201cstart\u201d line. Newer actors often decide to get serious now, which means you\u2019ll see more workshops, submissions and conversations happening. The takeaway is not \u201cJanuary is magic.\u201d It\u2019s \u201cJanuary is momentum-friendly.\u201d If you\u2019ve been preparing, this is a clean moment to step forward.\n\n\n\nWhat Reps Look For in New Talent (Spoiler: It\u2019s 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.\n\n\n\n1) Casting LanesNew actors get nervous about being \u201cboxed in.\u201d Reps aren\u2019t trying to trap you. They\u2019re trying to understand how to sell you. You don\u2019t need a rigid brand statement like, \u201cI am the sardonic barista with a secret heartbreak.\u201d You do need a practical lane, such as:\n\n\n\n\ngrounded teen/young adult drama\n\n\n\ncomedic best friend with fast timing\n\n\n\nblue-collar, approachable dad energy\n\n\n\npolished corporate commercial look\n\n\n\nquirky, offbeat character with warmth\n\n\n\n\nIf a rep can\u2019t easily picture where you fit, they don\u2019t know what rooms to push you into.\n\n\n\n2) Training and CraftReps want to know you\u2019re serious. Training signals commitment and stamina. They\u2019ll listen for:\n\n\n\n\nongoing class or recent intensives\n\n\n\na coach you work with for tapes\n\n\n\nspecialized skills (voice, improv, movement, dialects)\n\n\n\nmeasurable progress, not just \u201cI took one class once\u201d\n\n\n\n\n3) Strong Materials\n\n\n\nYou don\u2019t need to be perfect, but you do need to be presentable. If your headshots and reel look underlit or rushed, reps will worry you\u2019re not ready for professional pitching.\n\n\n\n4) Momentum\n\n\n\nMomentum does not have to mean a series regular credit. It can mean:\n\n\n\n\nconsistent self-tape auditions through Casting Networks\n\n\n\ncallbacks in student/indie projects\n\n\n\na short film run, festival acceptance, or strong role in a local theater production\n\n\n\na clean pattern: you submit, you book, you deliver\n\n\n\nReps love patterns. Patterns are predictable. Predictable is profitable.\n\n\n\n\n5) Professionalism and Emotional Maturity\n\n\n\nThis is the invisible factor that makes or breaks it. Reps listen for:\n\n\n\n\nDo you take direction without defensiveness?\n\n\n\nDo you show up on time and prepared?\n\n\n\nCan you communicate like an adult?\n\n\n\nAre you building a career, or chasing validation?\n\n\n\n\nThe rep-client relationship can last years. They\u2019re looking for someone they won\u2019t have to \u201cparent.\u201d\n\n\n\nBefore You Reach Out: Build Your \u201cRep-Ready\u201d Package\n\n\n\nThink 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 \u201cyou, two faces ago.\u201d Avoid over-retouching. Casting can smell it.\n\n\n\nReel: 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.\n\n\n\nIf you\u2019re using self-produced footage, keep it clean: good audio, good lighting, and acting that feels lived-in rather than performed at the camera.\n\n\n\nActing resume: simple, accurate and readable. Lead/supporting credits first. Training clearly listed with studios and teachers. Special skills that are real. (If you list \u201cdialects,\u201d be prepared to do them in real time.)\n\n\n\nOnline presence: make it boring in the best way. Reps will look you up. Make sure your public-facing stuff matches the actor you\u2019re presenting. Professional actor website or profile links help. Social media doesn\u2019t have to be curated like a museum, but it should not be a chaos scrapbook either.\n\n\n\nA short, confident pitch about who you areHave a 2-3 sentence summary that\u2019s human, not corporate:\n\n\n\n\u201cI\u2019m a California-based comedic actor, actively training and booking indie projects. I\u2019m focused on TV and commercial work and looking for representation to help expand my theatrical reach while maintaining a strong commercial momentum.\u201d\n\n\n\nHow to Start the Conversation: Submissions That Don\u2019t Sound Desperate\n\n\n\nYour 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\u2019m [Your Name], a [location]-based actor. My work lives in [your lane: grounded drama/comedic commercial/etc.], and I\u2019m currently training with [studio/teacher] while building credits in [film/theater/VO/commercial].I\u2019m reaching out because I admire [specific reason: their client roster, their focus, a recent client booking, their agency\u2019s niche]. I\u2019d love to be considered for representation.Here are my materials:Headshots: [link]Reel: [link]Resume: [link]Casting Networks profile: [link]\n\n\n\nThank you for your time and consideration,[Your Name][Phone] | [Email] | [Website/Profile link]\n\n\n\nWhy this works: it\u2019s short, specific, and gives them everything they need without making them dig.\n\n\n\nWhat Not To Do\n\n\n\n\nDon\u2019t send huge attachments unless requested.\n\n\n\nDon\u2019t write a memoir about your childhood dream.\n\n\n\nDon\u2019t insult your current situation (\u201cNo one will give me a chance\u201d).\n\n\n\nDon\u2019t ask them to \u201ctake a risk\u201d on you. Show them why it\u2019s not a risk.\n\n\n\nPreparing for the Meeting: What to Bring, What to Say, How to Act Like a Pro\n\n\n\n\nIf they agree to meet (Zoom, phone, or in person), congrats. Now the real audition begins.\n\n\n\nYour Prep Checklist\n\n\n\n\nWatch your reel again. Know what they\u2019re about to see.\n\n\n\nBe ready to talk about your recent training and what you\u2019re working on.\n\n\n\nKnow your availability and your goals for the next 6-12 months.\n\n\n\nHave a list of questions (more on that below).\n\n\n\nBe prepared to discuss your current submission access on Casting Networks.\n\n\n\n\nWhat Reps Typically Ask\n\n\n\n\n\u201cTell me about yourself.\u201d\n\nThey\u2019re asking: \u201cCan you communicate clearly and confidently?\u201d\n\n\n\n\n\n\u201cWhat are you going out for?\u201d\n\nThey\u2019re asking: \u201cDo you understand your casting lane, and can you be marketed?\u201d\n\n\n\n\n\n\u201cWhat are your goals?\u201d\n\nThey\u2019re asking: \u201cAre you realistic and strategic, or purely vibes?”\n\n\n\n\n\n\u201cWhat are you doing right now to build your career?\u201d\n\nThey\u2019re asking: \u201cWill you work even when you\u2019re not booking?\u201d\n\n\n\n\n\nThe vibe you want: confident coworker, not starry-eyed fan\n\n\n\n\nA rep is not a celebrity you\u2019re lucky to meet. They\u2019re a potential teammate. Treat the conversation like you\u2019re exploring a collaboration where both parties benefit.\n\n\n\nQuestions to Ask a Potential Rep (So You Don\u2019t Choose Blind)\n\n\n\nNew actors sometimes forget they\u2019re 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\u2019t make you sound suspicious:\n\n\n\nFit and Strategy\u201cWhere do you see me fitting best right now?\u201d\u201cWhat kinds of roles would you submit me for in the next few months?\u201d\u201cWhat\u2019s one thing you\u2019d want me to improve immediately?\u201d\n\n\n\nCommunication and Process\u201cHow do you prefer to communicate: email, text, calls?\u201d\u201cHow often do you like to check in?\u201d\u201cDo you give feedback on tapes, or do you prefer clients work with coaches?\u201d\n\n\n\nSubmission Approach\u201cHow do you decide what to submit clients for?\u201d\u201cHow do you tailor submissions for specific offices?\u201d\n\n\n\nBusiness and Expectations\u201cWhat are your commission terms?\u201d\u201cDo you work with contracts?\u201d\u201cDo you have any upfront fees?\u201d (More on this in a moment.)\n\n\n\nA good rep won\u2019t be offended by thoughtful questions. They\u2019ll be relieved you\u2019re taking this seriously.\n\n\n\nRed Flags: When \u201cOpportunity\u201d Smells Like Trouble\n\n\n\nNot every person who calls themselves a rep is going to help your career. Some are simply selling access, confidence or confusion.Watch out for:\n\n\n\nUpfront fees as the main event. Legit reps earn when you earn (commission). Paying for photos or classes can be normal if it\u2019s your choice and truly optional. Being required to pay them or their \u201cpreferred photographer\u201d as a condition is a caution sign. Vague promises. \u201cI can get you in everything.\u201d Nobody can.\n\n\n\nPressure tactics. \u201cYou have to decide today.\u201d You don\u2019t. No interest in your materials or lane. If they\u2019re not asking smart questions, they may not know how to build you. They trash-talk other reps or casting. Professional people don\u2019t need to do that.\n\n\n\nYour career will involve enough rejection. You don\u2019t need to pay for it.\n\n\n\nGreen Flags: Signs You\u2019ve Found a Real TeammateLook for:Specificity. They can articulate where you fit and why. A plan. Even a simple one: \u201cLet\u2019s tighten your commercial package, aim for co-stars, and build relationships with these offices.\u201d\n\n\n\nProfessional boundaries. Clear communication norms, clear expectations. Respect for your growth. They want you training and improving, not just \u201cwaiting for them to fix everything.\u201d\n\n\n\nThey\u2019re honest about timing. If they say, \u201cYou\u2019re close, but you need X,\u201d that can be a great sign.\n\n\n\nAfter the Meeting: Follow-Up Without Being a Stage-5 Clinger\n\n\n\nSend a thank-you email within 24 hours. Keep it simple:\u201cThank you for taking the time to meet with me today. I appreciated your insight about [specific point]. I\u2019m excited about the possibility of working together and would love to stay in touch. Thanks again, [Your Name].\u201dIf they asked for something (updated headshots, a new clip, a resume tweak), send it promptly. Speed is a professional love language. If you don\u2019t hear back, a polite follow-up a week or two later is fine. Then let it breathe.\n\n\n\nThe Truth New Actors Need to Hear: Representation Doesn\u2019t Replace the Work\n\n\n\nA 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\u2019t audition for you. You still need to build your craft, stabilize your confidence, and create the consistency that makes casting offices trust you. \n\n\n\nA 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.\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\u2022 January is a momentum-friendly time to pursue representation if your materials, training, and casting lane are already in place.\n\n\n\n\u2022 Strong headshots, a focused reel, ongoing training, and small but consistent booking patterns make you easier to pitch.\n\n\n\n\u2022 The right representative feels like a collaborative teammate who offers specificity, strategy, and honesty rather than pressure or vague promises.\nThe post Should You Get an Agent or Manager First? How Actors Can Prepare for Representation appeared first on Casting Networks.",
"date_published": "2026-02-03T09:42:23-08:00",
"date_modified": "2026-02-03T09:42:23-08:00",
"authors": [
{
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
}
],
"author": {
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/02/iStock-1315709930-scaled.jpg",
"tags": [
"Acting Journeys",
"Business of Acting",
"Industry 101",
"Your Career"
]
},
{
"id": "https://www.castingnetworks.com/?p=279533",
"url": "https://www.castingnetworks.com/news/golden-globes-predictions-2026-actor-nominees/",
"title": "Golden Globes 2026: Male Actor Predictions",
"content_html": "\n
Well, I\u2019m back. There\u2019s a big awards show this weekend, and with that comes some prognostication. The tricky thing is that the awards show in question is the Golden Globes, which is the most ridiculous and unpredictable of the whole bunch, so this whole thing is admittedly more of a crap shoot than normal. I do think they tend to reward celebrity more than other award shows, and they also like to follow trends, as you\u2019ll see in a few of my choices over the next two days.
\n\n\n\n
Having offered those caveats, though, I\u2019m 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\u2019ll look at the actresses.
\n\n\n\n
Key Insights
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\n
The Globes reward star power and trends more than any other major awards body, creating unpredictable outcomes.
\n\n\n\n
Across film categories, breakout performances and celebrity momentum are driving frontrunners over traditional prestige picks.
\n\n\n\n
TV races reveal a wave of repeat winners and new favorites, cementing momentum heading into Emmys and Oscars.
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.
\n\n\n\n
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\u2019s here \u2014 great as he is in the movie \u2014 is because of the two categories. He\u2019s 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\u2019d go with the latter, though I think Jordan wins for his dual roles in Ryan Coogler\u2019s excellent period vampire thriller.
\n\n\n\n
WHO SHOULD WIN: Wagner Moura
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WHO WILL WIN: Michael B. Jordan
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BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE \u2013 MUSICAL OR COMEDY
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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 Timoth\u00e9e Chalamet, Marty Supreme.
\n\n\n\n
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\u2019d give a killer acceptance speech. DiCaprio has a similar story, though I think he\u2019s pretty much a shoo-in for a nomination. But to me, this is finally Chalamet\u2019s year. And he\u2019ll deserve it. He\u2019s simply spectacular in Marty Supreme.
\n\n\n\n
WHO SHOULD WIN: Timoth\u00e9e Chalamet
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WHO WILL WIN: Timoth\u00e9e Chalamet
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BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
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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 Skarsg\u00e5rd, Sentimental Value.
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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.
\n\n\n\n
Elordi or Mescal as newly anointed stars, Sandler for the dramatic turn and the great speech he\u2019ll give, and del Toro for his continued excellence and the extra zing he brings to every role. I\u2019d actually be okay with any of them winning this, and with winning the Oscar, but ultimately, I think this goes to Skarsg\u00e5rd, not just for his stellar career, but because this is the finest work he\u2019s done in that stellar career.
\n\n\n\n
WHO SHOULD WIN: Stellan Skarsg\u00e5rd
\n\n\n\n
WHO WILL WIN: Stellan Skarsg\u00e5rd
\n\n\n\n
BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES \u2013 DRAMA
\n\n\n\n
The nominees are Adam Scott, Severance, Diego Luna, Andor, Gary Oldman, Slow Horses, Mark Ruffalo, Task, Noah Wyle, The Pitt and Sterling Brown, Paradise.
\n\n\n\n
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\u2019s playing Jackson Lamb on Slow Horses. Unfortunately, since I am not yet King of the World and cannot decree such things, let\u2019s just agree that Noah Wyle will continue his run of winning everything for which he\u2019s nominated, and if you\u2019ve seen The Pitt, it\u2019s honestly hard to argue.
\n\n\n\n
WHO SHOULD WIN: Gary Oldman
\n\n\n\n
WHO WILL WIN: Noah Wyle
\n\n\n\n
BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES \u2013 MUSICAL OR COMEDY
\n\n\n\n
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.
\n\n\n\n
Jeremy Allen White has won this award three years running. That streak ends this year. The dark horse is Glen Powell \u2014 again, star power, this time combined with being newly anointed \u2014 and so if there\u2019s an upset, I think it\u2019s him, but I don\u2019t think so, because I think that just like Wyle, Seth Rogen continues his winning streak for everything The Studio-related. Also well deserved.
\n\n\n\n
WHO SHOULD WIN: Seth Rogen
\n\n\n\n
WHO WILL WIN: Seth Rogen
\n\n\n\n
BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION
\n\n\n\n
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.
\n\n\n\n
This one is easy. So is the next one. It\u2019s the year of Adolescence, and there is no way that Stephen Graham isn\u2019t going to win this award. And he should.
\n\n\n\n
WHO SHOULD WIN: Stephen Graham
\n\n\n\n
WHO WILL WIN: Stephen Graham
\n\n\n\n
BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION
\n\n\n\n
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.
\n\n\n\n
What I wrote above? Change out Graham\u2019s name for Owen Cooper\u2019s, and it\u2019s the same deal. See you tomorrow for all the actresses.
\n\n\n\n
WHO SHOULD WIN: Owen Cooper
\n\n\n\n
WHO WILL WIN: Owen Cooper
\n\n\n\n\n\n\n\n
Key Takeaways
\n\n\n\n
\n
Michael B. Jordan and Timoth\u00e9e Chalamet are positioned for major Globe wins thanks to star profiles and standout roles.
\n\n\n\n
Supporting categories favor industry veterans like Stellan Skarsg\u00e5rd while spotlighting rising talent such as Jacob Elordi and Paul Mescal.
\n\n\n\n
TV dominance shifts to new streaks\u2014Seth Rogen, Noah Wyle, and the cast of Adolescence\u2014with legacy icons like Gary Oldman still delivering award-worthy work.
\n",
"content_text": "Well, I\u2019m back. There\u2019s a big awards show this weekend, and with that comes some prognostication. The tricky thing is that the awards show in question is the Golden Globes, which is the most ridiculous and unpredictable of the whole bunch, so this whole thing is admittedly more of a crap shoot than normal. I do think they tend to reward celebrity more than other award shows, and they also like to follow trends, as you\u2019ll see in a few of my choices over the next two days.\n\n\n\nHaving offered those caveats, though, I\u2019m 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\u2019ll look at the actresses.\n\n\n\nKey Insights\n\n\n\n\nThe Globes reward star power and trends more than any other major awards body, creating unpredictable outcomes.\n\n\n\nAcross film categories, breakout performances and celebrity momentum are driving frontrunners over traditional prestige picks.\n\n\n\nTV races reveal a wave of repeat winners and new favorites, cementing momentum heading into Emmys and Oscars.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR: DRAMA\n\n\n\nThe 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.\n\n\n\nRemember over the summer, when people were talking about Johnson winning an Oscar? Well, that talk has long died down, and the only reason he\u2019s here \u2014 great as he is in the movie \u2014 is because of the two categories. He\u2019s 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\u2019d go with the latter, though I think Jordan wins for his dual roles in Ryan Coogler\u2019s excellent period vampire thriller.\n\n\n\nWHO SHOULD WIN: Wagner Moura\n\n\n\nWHO WILL WIN: Michael B. Jordan\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE \u2013 MUSICAL OR COMEDY\n\n\n\nThe 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 Timoth\u00e9e Chalamet, Marty Supreme.\n\n\n\nThis 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\u2019d give a killer acceptance speech. DiCaprio has a similar story, though I think he\u2019s pretty much a shoo-in for a nomination. But to me, this is finally Chalamet\u2019s year. And he\u2019ll deserve it. He\u2019s simply spectacular in Marty Supreme.\n\n\n\nWHO SHOULD WIN: Timoth\u00e9e Chalamet\n\n\n\nWHO WILL WIN: Timoth\u00e9e Chalamet\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE\n\n\n\nThe nominees are Adam Sandler, Jay Kelly, Benicio del Toro and Sean Penn, One Battle After Another, Jacob Elordi, Frankenstein, Paul Mescal, Hamnet and Stellan Skarsg\u00e5rd, Sentimental Value.\n\n\n\nI 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. \n\n\n\nElordi or Mescal as newly anointed stars, Sandler for the dramatic turn and the great speech he\u2019ll give, and del Toro for his continued excellence and the extra zing he brings to every role. I\u2019d actually be okay with any of them winning this, and with winning the Oscar, but ultimately, I think this goes to Skarsg\u00e5rd, not just for his stellar career, but because this is the finest work he\u2019s done in that stellar career.\n\n\n\nWHO SHOULD WIN: Stellan Skarsg\u00e5rd\n\n\n\nWHO WILL WIN: Stellan Skarsg\u00e5rd\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES \u2013 DRAMA\n\n\n\nThe nominees are Adam Scott, Severance, Diego Luna, Andor, Gary Oldman, Slow Horses, Mark Ruffalo, Task, Noah Wyle, The Pitt and Sterling Brown, Paradise.\n\n\n\nAs 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\u2019s playing Jackson Lamb on Slow Horses. Unfortunately, since I am not yet King of the World and cannot decree such things, let\u2019s just agree that Noah Wyle will continue his run of winning everything for which he\u2019s nominated, and if you\u2019ve seen The Pitt, it\u2019s honestly hard to argue.\n\n\n\nWHO SHOULD WIN: Gary Oldman\n\n\n\nWHO WILL WIN: Noah Wyle\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES \u2013 MUSICAL OR COMEDY\n\n\n\nThe 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.\n\n\n\nJeremy Allen White has won this award three years running. That streak ends this year. The dark horse is Glen Powell \u2014 again, star power, this time combined with being newly anointed \u2014 and so if there\u2019s an upset, I think it\u2019s him, but I don\u2019t think so, because I think that just like Wyle, Seth Rogen continues his winning streak for everything The Studio-related. Also well deserved.\n\n\n\nWHO SHOULD WIN: Seth Rogen\n\n\n\nWHO WILL WIN: Seth Rogen\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES, ANTHOLOGY SERIES, OR A MOTION PICTURE MADE FOR TELEVISION\n\n\n\nThe 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.\n\n\n\nThis one is easy. So is the next one. It\u2019s the year of Adolescence, and there is no way that Stephen Graham isn\u2019t going to win this award. And he should.\n\n\n\nWHO SHOULD WIN: Stephen Graham\n\n\n\nWHO WILL WIN: Stephen Graham\n\n\n\nBEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION\n\n\n\nThe 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.\n\n\n\nWhat I wrote above? Change out Graham\u2019s name for Owen Cooper\u2019s, and it\u2019s the same deal. See you tomorrow for all the actresses.\n\n\n\nWHO SHOULD WIN: Owen Cooper\n\n\n\nWHO WILL WIN: Owen Cooper\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nMichael B. Jordan and Timoth\u00e9e Chalamet are positioned for major Globe wins thanks to star profiles and standout roles.\n\n\n\nSupporting categories favor industry veterans like Stellan Skarsg\u00e5rd while spotlighting rising talent such as Jacob Elordi and Paul Mescal.\n\n\n\nTV dominance shifts to new streaks\u2014Seth Rogen, Noah Wyle, and the cast of Adolescence\u2014with legacy icons like Gary Oldman still delivering award-worthy work.\n\nThe post Golden Globes 2026: Male Actor Predictions appeared first on Casting Networks.",
"date_published": "2026-01-08T09:46:50-08:00",
"date_modified": "2026-05-22T12:58:04-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/01/7269a6ec-e3f0-4427-bf0b-b0d946f9eb67-GettyImages84185179.webp",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://news.castingnetworks.com/?p=4507",
"url": "https://www.castingnetworks.com/news/essential-tips-for-getting-brilliant-commercial-headshots/",
"title": "Essential Tips for Getting Brilliant Commercial Headshots",
"content_html": "\n
Commercial headshots are a well-covered area. After looking at a slew of headshots and talking with and listening to countless commercial actors, there seem to be two camps on the topic: the believers in the power of the headshot and the non-believers. OK, there may be a third camp of actors who didn\u2019t get the memo at all.
\n\n\n\n
Actors book on headshots and talent. Just like acting classes, there\u2019s no middle ground on headshots. This is a competitive industry, and professional headshots are required for your acting career to flourish.
\n\n\n\n
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.
Brilliant? Do I really mean brilliant? Yes, I do, but what does \u201cbrilliant\u201d mean?
\n\n\n\n
You\u2019ve 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\u2019s much, much more.
\n\n\n\n
Why isn\u2019t a \u201cgood\u201d headshot sufficient for your acting career? Casting directors look at (no exaggeration) thousands of headshots per role. If I\u2019m not taken with your headshot right away, I\u2019ll never get to your resume, training, and skills. You can\u2019t charm me with those because I\u2019ll never see them.
\n\n\n\n
Actor headshots come first, and there are plenty of performers who have fantastic ones. When a casting director doesn\u2019t know you, the headshot, in most circumstances, is your introduction.
\n\n\n\n
Here are a few thoughts on how to achieve brilliant commercial headshots.
Not all headshot photographers are created equal, and not all specialize in commercial headshots, which differ from theatrical headshots.
\n\n\n\n
When you want brilliant commercial headshots, you\u2019ll want to go with a skilled photographer who specializes in just that. I won\u2019t name my favorite Los Angeles commercial photographers here, but I can say that most are booked several months out.
\n\n\n\n
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\u2019t have your photographer pal take your headshots, and don\u2019t attempt to do DIY headshots (a selfie won\u2019t cut it). Don\u2019t go with a fabulous, skilled photographer known for taking great theatrical shots, either.
\n\n\n\n
Theatrical headshots and commercial shots aren\u2019t 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.
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\u2019ll often post the headshot of an actor who has recently booked a commercial.
\n\n\n\n
While it\u2019s 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\u2019ll have a solid idea of what to aspire to.
Just because it seems like everyone has a commercial headshot in a blue polo, it doesn\u2019t mean you should avoid it. If you\u2019re a helpful Best Buy or Honda type, you\u2019d better have a headshot with you in a polo, or you\u2019re going to be missing opportunities.
\n\n\n\n
Don\u2019t 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\u2019re not ideal for commercial headshots.
\n\n\n\n
Commercials deal in types. Your commercial headshots will have a similar look and feel to other headshots, and that\u2019s OK because YOU make them different. You and all the other actors with brilliant\u2014though similar-looking headshots\u2014will get the audition, meaning you\u2019ll have to duke it out on the merits of talent from there.
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.
\n\n\n\n
For example, if you\u2019re looking to get the perfect Midwest mom commercial headshot, watch commercials with Midwest moms and wear exactly what they\u2019re wearing, fix your hair the same way, and wear the same amount of makeup.
\n\n\n\n
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\u2019t get creative.
Brilliant headshots don\u2019t happen by chance; they come from thinking them through and planning ahead of time. Don\u2019t wing your headshot session.
\n\n\n\n
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.
I have to say, I\u2019m surprised this is a thing, but apparently it is. If your agent wants new headshots, you should get them. If you don\u2019t trust their discretion, then that\u2019s another (bigger) problem.
\n\n\n\n
Assuming you intend to take their suggestion, don\u2019t 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.
\n\n\n\n
The longer you wait to take or post your photos, the more opportunities you\u2019re missing.
\n\n\n\n
Acting, like all creative industries, is competitive. Brilliant headshots are essential. Here\u2019s a quick recap of what you need to do to get the best commercial headshots possible:
\n\n\n\n
\n
Get your headshots from a top commercial headshot photographer.
\n\n\n\n
Follow the best commercial agencies.
\n\n\n\n
Research great commercial Headshots so you can distinguish between brilliant headshots and bad commercial headshots.
\n\n\n\n
Avoid getting too creative with your Commercial Headshots; stick to the trends and be unique in the audition room.
\n\n\n\n
Watch commercials to understand trends and identify the top types. Get a headshot that reflects each type.
\n\n\n\n
Plan out your wardrobe, hair, and makeup for your headshot session.
\n\n\n\n
Listen to your agent. When they recommend headshot updates, get them.
\n\n\n\n
Post your headshots to social and your acting profiles when you receive them.
\n
\n\n\n\n
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\u2019ll be in great shape for your next commercial shoot. Happy booking!
\n\n\n\n
Final Takeaways
\n\n\n\n
If you\u2019re new to commercial acting, don\u2019t underestimate the power of a brilliant headshot. It\u2019s 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.
\n\n\n\n
\n
Hire a photographer who specializes in commercial headshots, not theatrical or DIY shots.
\n\n\n\n
Study current commercials and mimic the styles, wardrobe and looks you see for the types you want to play.
\n\n\n\n
Plan your shoot carefully. Wardrobe, hair, and makeup should all align with the commercial roles you\u2019re targeting.
\n\n\n\n
Listen to your agent\u2019s advice on updating your headshots and keep your portfolio fresh.
\n\n\n\n
Post your new headshots everywhere to maximize exposure.
\n",
"content_text": "Commercial headshots are a well-covered area. After looking at a slew of headshots and talking with and listening to countless commercial actors, there seem to be two camps on the topic: the believers in the power of the headshot and the non-believers. OK, there may be a third camp of actors who didn\u2019t get the memo at all.\n\n\n\nActors book on headshots and talent. Just like acting classes, there\u2019s no middle ground on headshots. This is a competitive industry, and professional headshots are required for your acting career to flourish.\n\n\n\nThis 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.\n\n\n\n\n\n\n\nWhat You’ll Find in This Article\n\n\n\n\nCommercial Actors Should Never Have Anything Less Than Brilliant Headshots\n\n\n\nGo With a Top Commercial Headshot Photographer\n\n\n\nKnow What Great Commercial Headshots Look Like\n\n\n\nDon\u2019t Get Creative With Your Commercial Headshots\n\n\n\nWatch Commercials, Identify Top Types, and Have a Headshot That Reflects Each One\n\n\n\nPlan, Plan, Plan: Wardrobe, Hair and Makeup\n\n\n\nWhen Your Agent Says \u201cGet Them,\u201d Get Them\u2014AND Post Them Everywhere\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\nCommercial Actors Should Never Have Anything Less Than Brilliant Headshots\n\n\n\nBrilliant? Do I really mean brilliant? Yes, I do, but what does \u201cbrilliant\u201d mean?\n\n\n\nYou\u2019ve 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\u2019s much, much more.\n\n\n\nWhy isn\u2019t a \u201cgood\u201d headshot sufficient for your acting career? Casting directors look at (no exaggeration) thousands of headshots per role. If I\u2019m not taken with your headshot right away, I\u2019ll never get to your resume, training, and skills. You can\u2019t charm me with those because I\u2019ll never see them.\n\n\n\nActor headshots come first, and there are plenty of performers who have fantastic ones. When a casting director doesn\u2019t know you, the headshot, in most circumstances, is your introduction.\n\n\n\nHere are a few thoughts on how to achieve brilliant commercial headshots.\n\n\n\nGo With a Top Commercial Headshot Photographer\n\n\n\nNot all headshot photographers are created equal, and not all specialize in commercial headshots, which differ from theatrical headshots.\n\n\n\nWhen you want brilliant commercial headshots, you\u2019ll want to go with a skilled photographer who specializes in just that. I won\u2019t name my favorite Los Angeles commercial photographers here, but I can say that most are booked several months out.\n\n\n\nTalk 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\u2019t have your photographer pal take your headshots, and don\u2019t attempt to do DIY headshots (a selfie won\u2019t cut it). Don\u2019t go with a fabulous, skilled photographer known for taking great theatrical shots, either.\n\n\n\nTheatrical headshots and commercial shots aren\u2019t 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.\n\n\n\nKnow What Great Commercial Headshots Look Like\n\n\n\nHow 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\u2019ll often post the headshot of an actor who has recently booked a commercial.\n\n\n\nWhile it\u2019s 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\u2019ll have a solid idea of what to aspire to.\n\n\n\nDon\u2019t Get Creative With Your Commercial Headshots\n\n\n\nJust because it seems like everyone has a commercial headshot in a blue polo, it doesn\u2019t mean you should avoid it. If you\u2019re a helpful Best Buy or Honda type, you\u2019d better have a headshot with you in a polo, or you\u2019re going to be missing opportunities.\n\n\n\nDon\u2019t 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\u2019re not ideal for commercial headshots.\n\n\n\nCommercials deal in types. Your commercial headshots will have a similar look and feel to other headshots, and that\u2019s OK because YOU make them different. You and all the other actors with brilliant\u2014though similar-looking headshots\u2014will get the audition, meaning you\u2019ll have to duke it out on the merits of talent from there.\n\n\n\nWatch Commercials, Identify Top Types and Have a Headshot That Reflects Each One\n\n\n\nYour 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.\n\n\n\nFor example, if you\u2019re looking to get the perfect Midwest mom commercial headshot, watch commercials with Midwest moms and wear exactly what they\u2019re wearing, fix your hair the same way, and wear the same amount of makeup.\n\n\n\nTLDR: The advertising industry will dictate what the current trends are. Copy what you see on commercials today in your commercial headshots and remember: Don\u2019t get creative.\n\n\n\nPlan, Plan, Plan: Wardrobe, Hair and Makeup\n\n\n\nBrilliant headshots don\u2019t happen by chance; they come from thinking them through and planning ahead of time. Don\u2019t wing your headshot session.\n\n\n\nBy 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.\n\n\n\nWhen Your Agent Says \u201cGet Them,\u201d Get Them\u2014AND Post Them Everywhere\n\n\n\nI have to say, I\u2019m surprised this is a thing, but apparently it is. If your agent wants new headshots, you should get them. If you don\u2019t trust their discretion, then that\u2019s another (bigger) problem.\n\n\n\nAssuming you intend to take their suggestion, don\u2019t 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.\n\n\n\nThe longer you wait to take or post your photos, the more opportunities you\u2019re missing.\n\n\n\nActing, like all creative industries, is competitive. Brilliant headshots are essential. Here\u2019s a quick recap of what you need to do to get the best commercial headshots possible:\n\n\n\n\nGet your headshots from a top commercial headshot photographer.\n\n\n\nFollow the best commercial agencies.\n\n\n\nResearch great commercial Headshots so you can distinguish between brilliant headshots and bad commercial headshots.\n\n\n\nAvoid getting too creative with your Commercial Headshots; stick to the trends and be unique in the audition room.\n\n\n\nWatch commercials to understand trends and identify the top types. Get a headshot that reflects each type.\n\n\n\nPlan out your wardrobe, hair, and makeup for your headshot session.\n\n\n\nListen to your agent. When they recommend headshot updates, get them.\n\n\n\nPost your headshots to social and your acting profiles when you receive them.\n\n\n\n\nNow 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\u2019ll be in great shape for your next commercial shoot. Happy booking!\n\n\n\nFinal Takeaways\n\n\n\nIf you\u2019re new to commercial acting, don\u2019t underestimate the power of a brilliant headshot. It\u2019s 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.\n\n\n\n\nHire a photographer who specializes in commercial headshots, not theatrical or DIY shots.\n\n\n\nStudy current commercials and mimic the styles, wardrobe and looks you see for the types you want to play.\n\n\n\nPlan your shoot carefully. Wardrobe, hair, and makeup should all align with the commercial roles you\u2019re targeting.\n\n\n\nListen to your agent\u2019s advice on updating your headshots and keep your portfolio fresh.\n\n\n\nPost your new headshots everywhere to maximize exposure.\n\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nChris Skotchdopole and Larry Fessenden Discuss the Casting Process of \u2018Crumb Catcher\u2019\n\n\n\n\u2018Fly Me to the Moon\u2019 Star Stephanie Kurtzuba on How the \u201cOne-Two Punch\u201d of \u2018Annie\u2019 and \u2018Wolf of Wall Street\u2019 Pushed Her Career to New Heights\n\n\n\nChantal Nchako Reveals What Eddie Murphy Taught Her on the Set of \u2018Beverly Hills Cop: Axel F\u2019\n\nThe post Essential Tips for Getting Brilliant Commercial Headshots appeared first on Casting Networks.",
"date_published": "2025-10-31T09:52:00-07:00",
"date_modified": "2026-05-22T13:24:13-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2019/06/shutterstock_675855841-scaled.jpg",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://www.castingnetworks.com/?p=251284",
"url": "https://www.castingnetworks.com/news/how-to-take-a-note-from-your-director-quickly-and-well/",
"title": "How to Take a Note from Your Director Quickly and Well",
"content_html": "\n
Taking notes is a huge part of an actor\u2019s career and growth. The ability to take a note from a director gracefully and implement it swiftly is a skill that will set you apart and take you far. However, many classes and programs assume this is a skill actors come in with and don\u2019t necessarily teach emerging actors what taking notes well actually looks like. Let\u2019s break it down a little.
A note is feedback or instruction, usually from your director (or instructor or coach), meant to guide you in adjusting your performance.
\n\n\n\n
Not all directors are created equal. Some will be able to communicate more effectively than others. You won\u2019t always agree with a note or know what to do with it right away. However, for the most part, you\u2019ve entered into a contract that obligates you to take direction from the director, which means that you\u2019ll have to find a way to take notes of all sorts.
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\u2019t 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\u2019re 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.
It\u2019s shocking how many times actors need this reminder. If you\u2019re approaching notes with defensiveness, you may have already decided what you think the director is going to say or how they\u2019re going to say it.
\n\n\n\n
Take a breath and really try to listen \u2014 not only to the note itself, but the spirit behind it. If you can mentally place why the note was given, you\u2019ll be able to implement it more quickly and fully. For example, does a note about your character\u2019s response to their father in one scene affect your character\u2019s arc later on? Is this one note trying to get at the heart of your character\u2019s motivation? Extrapolating from a single note might help you problem-solve on your own throughout the process.
We\u2019ve all gotten a note that prickles our pride. You know the director missed something, or didn\u2019t see what you were going for, or any one of a million things that might spur you to say \u201cActually\u2026\u201d Ninety percent of the time, it\u2019s not worth it. If you understand what the director is going for and can adjust on your own, it\u2019s not worth nitpicking over details. Save your push back for battles that are worth it. Keep it moving.
Different directors have different communication styles. The quicker you can identify different styles and implement them on the fly, the better. Notice how they\u2019re giving notes to other actors as well. Do they favor visually driven language? Comparisons, \u201cas ifs\u201d and references? Are they more physically based? Being able to translate someone else\u2019s note-giving style into something usable for yourself is a massively valuable skill.
Even if you disagree with a note or think it won\u2019t work, try it once. There\u2019s a chance you\u2019re wrong, and you\u2019ll 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\u2019t click for you when you\u2019re discussing it will make more sense once you put it on its feet. In most cases, it\u2019s worth the effort to give it a shot.
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.
Some artistic hills are worth dying on. Taking a note gracefully doesn\u2019t mean being a doormat or that your input doesn\u2019t matter.
\n\n\n\n
There will be times when you\u2019ll 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.
\n\n\n\n
Final Takeaways
\n\n\n\n
Taking notes well is a crucial skill that will help you grow as an actor and build strong working relationships. It\u2019s 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.
\n\n\n\n
\n
Listen fully and stay open to the director\u2019s intention behind the note.
\n\n\n\n
Try out every note, even if it feels uncomfortable or unfamiliar at first.
\n\n\n\n
Avoid arguing or explaining too much; save your energy for important issues.
\n\n\n\n
Learn to translate different directors\u2019 styles into something that works for you.
\n\n\n\n
Speak up respectfully if a note causes harm or you need clarification.
\n",
"content_text": "Taking notes is a huge part of an actor\u2019s career and growth. The ability to take a note from a director gracefully and implement it swiftly is a skill that will set you apart and take you far. However, many classes and programs assume this is a skill actors come in with and don\u2019t necessarily teach emerging actors what taking notes well actually looks like. Let\u2019s break it down a little.\n\n\n\n\n\n\n\nWhat You’ll Find in This Article\n\n\n\n\nWhat is a Note?\n\n\n\nKeep an Open Mind\n\n\n\nListen and Assess\n\n\n\nDon\u2019t Waste Time Explaining or Debating\n\n\n\nTranslate\n\n\n\nTry it Out\n\n\n\nAdvocate\n\n\n\nClarify\n\n\n\nChoose Your Battles\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\nWhat is a Note? \n\n\n\nA note is feedback or instruction, usually from your director (or instructor or coach), meant to guide you in adjusting your performance. \n\n\n\nNot all directors are created equal. Some will be able to communicate more effectively than others. You won\u2019t always agree with a note or know what to do with it right away. However, for the most part, you\u2019ve entered into a contract that obligates you to take direction from the director, which means that you\u2019ll have to find a way to take notes of all sorts. \n\n\n\nKeep an Open Mind \n\n\n\nRemember 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\u2019t 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\u2019re 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. \n\n\n\nListen and Assess\n\n\n\nIt\u2019s shocking how many times actors need this reminder. If you\u2019re approaching notes with defensiveness, you may have already decided what you think the director is going to say or how they\u2019re going to say it. \n\n\n\nTake a breath and really try to listen \u2014 not only to the note itself, but the spirit behind it. If you can mentally place why the note was given, you\u2019ll be able to implement it more quickly and fully. For example, does a note about your character\u2019s response to their father in one scene affect your character\u2019s arc later on? Is this one note trying to get at the heart of your character\u2019s motivation? Extrapolating from a single note might help you problem-solve on your own throughout the process. \n\n\n\nDon\u2019t Waste Time Explaining or Debating \n\n\n\nWe\u2019ve all gotten a note that prickles our pride. You know the director missed something, or didn\u2019t see what you were going for, or any one of a million things that might spur you to say \u201cActually\u2026\u201d Ninety percent of the time, it\u2019s not worth it. If you understand what the director is going for and can adjust on your own, it\u2019s not worth nitpicking over details. Save your push back for battles that are worth it. Keep it moving.\n\n\n\nTranslate\n\n\n\nDifferent directors have different communication styles. The quicker you can identify different styles and implement them on the fly, the better. Notice how they\u2019re giving notes to other actors as well. Do they favor visually driven language? Comparisons, \u201cas ifs\u201d and references? Are they more physically based? Being able to translate someone else\u2019s note-giving style into something usable for yourself is a massively valuable skill. \n\n\n\nTry it Out\n\n\n\nEven if you disagree with a note or think it won\u2019t work, try it once. There\u2019s a chance you\u2019re wrong, and you\u2019ll 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\u2019t click for you when you\u2019re discussing it will make more sense once you put it on its feet. In most cases, it\u2019s worth the effort to give it a shot.\n\n\n\nDon\u2019t Argue. Instead:\n\n\n\nAdvocate\n\n\n\nIf 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.\n\n\n\nClarify\n\n\n\nIf you don\u2019t fully understand the note, respectfully asking for clarification is perfectly professional. \n\n\n\nChoose Your Battles\n\n\n\nSome artistic hills are worth dying on. Taking a note gracefully doesn\u2019t mean being a doormat or that your input doesn\u2019t matter. \n\n\n\nThere will be times when you\u2019ll 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. \n\n\n\nFinal Takeaways\n\n\n\nTaking notes well is a crucial skill that will help you grow as an actor and build strong working relationships. It\u2019s 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.\n\n\n\n\nListen fully and stay open to the director\u2019s intention behind the note.\n\n\n\nTry out every note, even if it feels uncomfortable or unfamiliar at first.\n\n\n\nAvoid arguing or explaining too much; save your energy for important issues.\n\n\n\nLearn to translate different directors\u2019 styles into something that works for you.\n\n\n\nSpeak up respectfully if a note causes harm or you need clarification.\n\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nHorror 101: Where Do You Fit in the Halloween Genre?\n\n\n\nDon\u2019t Wait for Permission: Making the Bucket List Dreams a Reality\n\n\n\n How to Take Direction in Auditions\n\nThe post How to Take a Note from Your Director Quickly and Well appeared first on Casting Networks.",
"date_published": "2025-10-31T09:13:09-07:00",
"date_modified": "2026-05-22T13:24:45-07:00",
"authors": [
{
"name": "Rachel Frawley",
"url": "https://www.castingnetworks.com/news/author/rachel-frawley/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/380/380bfe1e4a62070d90457d53f1559039x512.jpg"
}
],
"author": {
"name": "Rachel Frawley",
"url": "https://www.castingnetworks.com/news/author/rachel-frawley/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/380/380bfe1e4a62070d90457d53f1559039x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/10/iStock-1411002426.jpg",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://www.castingnetworks.com/?p=241717",
"url": "https://www.castingnetworks.com/news/csa-president-destiny-lilly-talks-protecting-yourself-from-the-fake-casting-director-scam/",
"title": "CSA President Destiny Lilly Talks Protecting Yourself from the Fake Casting Director Scam",
"content_html": "\n
As long as there\u2019s been an entertainment industry, there have been people looking to exploit others wanting to be involved in it. Over the years, many scams have remained the same; it\u2019s just that the technology has changed. This has never been more true than now, with a series of ongoing scam attempts by people targeting actors by pretending to be some of the biggest casting directors in Hollywood.
\n\n\n\n
Key Insights:
\n\n\n\n
\n
Scammers are impersonating top Hollywood casting directors on social media to trick actors into paying for fake auditions, travel, or visa costs.
\n\n\n\n
The scams have become increasingly sophisticated, using real projects and names to appear legitimate, making awareness and verification essential.
\n\n\n\n
The Casting Society (CSA) urges actors to verify contacts, move conversations off DMs, and report suspicious messages\u2014especially if money is requested.
\n
\n\n\n\n\n\n\n\n
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\u2019s just a partial listing. There are many more, and the number of scam attempts has only increased since the first of the year.
\n\n\n\n
\u201cBasically, 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, \u2018Oh, I have this opportunity for you, you should audition for this big-name director,\u2019\u201d explains Destiny Lilly, the president of Casting Society (CSA). \u201cAnd at some point, usually in that conversation back and forth, they would ask for money. \u2018Oh, I need this amount of money to get your travel to LA for your screen test,\u2019 or, \u2018We need this to process a visa for you to work abroad,\u2019 or something like that.\u201d
What\u2019s dangerous about these scams is their sophistication. There\u2019s 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\u2019t even aware it\u2019s happening until after someone has been scammed and reached out to them through other channels to alert them that they are being impersonated.
\n\n\n\n
\u201cThe thing that’s really difficult,\u201d Lilly says, \u201cis 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.\u201d
\n\n\n\n
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\u2019s 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.
\n\n\n\n
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.
\n\n\n\n
What should an actor do if they\u2019re 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?
\n\n\n\n
Additionally, if a real casting director contacts an actor without representation, all further communication will go through the casting director\u2019s 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 \u201ccasting director\u2019s\u201d part is a major red flag.
\n\n\n\n
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, \u201cWe have ways of contacting them.\u201d
\n\n\n\n
There is also the CSA\u2019s page dedicated to Online Safety and Scams, a fairly comprehensive guide to the issue and how to avoid being victimized.
\n\n\n\n
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\u2019s not real.
\n\n\n\n
\u201cI would suggest that actors be wary of any casting director asking for money in exchange for an acting opportunity,\u201d Lilly says. \u201cIf it seems to be pay-for-play, then the answer is \u2018no.\u2019\u201d
\n\n\n\n\n\n\n\n
Final Takeaways
\n\n\n\n
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.
\n\n\n\n
\n
Check if the casting director\u2019s social media accounts look official and have consistent content.
\n\n\n\n
Move conversations from direct messages to phone calls or verified emails whenever possible.
\n\n\n\n
Never pay money for auditions, travel, or visa processing requests.
\n\n\n\n
If unsure, contact the Casting Society to verify any suspicious offers.
\n\n\n\n
Trust your instincts\u2014if something feels off or too good to be true, it probably is.
\n",
"content_text": "As long as there\u2019s been an entertainment industry, there have been people looking to exploit others wanting to be involved in it. Over the years, many scams have remained the same; it\u2019s just that the technology has changed. This has never been more true than now, with a series of ongoing scam attempts by people targeting actors by pretending to be some of the biggest casting directors in Hollywood. \n\n\n\nKey Insights:\n\n\n\n\nScammers are impersonating top Hollywood casting directors on social media to trick actors into paying for fake auditions, travel, or visa costs.\n\n\n\nThe scams have become increasingly sophisticated, using real projects and names to appear legitimate, making awareness and verification essential.\n\n\n\nThe Casting Society (CSA) urges actors to verify contacts, move conversations off DMs, and report suspicious messages\u2014especially if money is requested.\n\n\n\n\n\n\n\n\nPeople 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\u2019s just a partial listing. There are many more, and the number of scam attempts has only increased since the first of the year.\n\n\n\n\u201cBasically, 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, \u2018Oh, I have this opportunity for you, you should audition for this big-name director,\u2019\u201d explains Destiny Lilly, the president of Casting Society (CSA). \u201cAnd at some point, usually in that conversation back and forth, they would ask for money. \u2018Oh, I need this amount of money to get your travel to LA for your screen test,\u2019 or, \u2018We need this to process a visa for you to work abroad,\u2019 or something like that.\u201d\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\nWhat\u2019s dangerous about these scams is their sophistication. There\u2019s 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\u2019t even aware it\u2019s happening until after someone has been scammed and reached out to them through other channels to alert them that they are being impersonated.\n\n\n\n\u201cThe thing that’s really difficult,\u201d Lilly says, \u201cis 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.\u201d \n\n\n\nThe 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\u2019s 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. \n\n\n\nFor 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.\n\n\n\nWhat should an actor do if they\u2019re 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?\n\n\n\nAdditionally, if a real casting director contacts an actor without representation, all further communication will go through the casting director\u2019s 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 \u201ccasting director\u2019s\u201d part is a major red flag.\n\n\n\nIf 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, \u201cWe have ways of contacting them.\u201d\n\n\n\nThere is also the CSA\u2019s page dedicated to Online Safety and Scams, a fairly comprehensive guide to the issue and how to avoid being victimized. \n\n\n\nUltimately, 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\u2019s not real.\n\n\n\n\u201cI would suggest that actors be wary of any casting director asking for money in exchange for an acting opportunity,\u201d Lilly says. \u201cIf it seems to be pay-for-play, then the answer is \u2018no.\u2019\u201d\n\n\n\n\n\n\n\nFinal Takeaways\n\n\n\nThe 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.\n\n\n\n\nCheck if the casting director\u2019s social media accounts look official and have consistent content.\n\n\n\nMove conversations from direct messages to phone calls or verified emails whenever possible.\n\n\n\nNever pay money for auditions, travel, or visa processing requests.\n\n\n\nIf unsure, contact the Casting Society to verify any suspicious offers.\n\n\n\nTrust your instincts\u2014if something feels off or too good to be true, it probably is.\n\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nKahleen Crawford Reveals the Casting Insights Behind \u2018House of Guinness\u2019\n\n\n\nHow to Spot Scam Casting Calls: 6 Red Flags Every Actor Should Know\n\n\n\nHow to Spot Paid Audition Casting Scams\n\nThe post CSA President Destiny Lilly Talks Protecting Yourself from the Fake Casting Director Scam appeared first on Casting Networks.",
"date_published": "2025-10-14T09:20:48-07:00",
"date_modified": "2025-10-15T10:24:50-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2024/03/AR65337-scaled-e1710183249216.jpg",
"tags": [
"Industry 101",
"The Industry"
]
},
{
"id": "https://www.castingnetworks.com/?p=231192",
"url": "https://www.castingnetworks.com/news/mitch-hudson-brings-biblical-comedy-to-life-with-the-promised-land/",
"title": "Mitch Hudson Brings Biblical Comedy to Life with \u2018The Promised Land\u2019",
"content_html": "\n
If you have seen even a single episode of Prime Video\u2019s biblical TV series The Chosen, about the life of Jesus Christ, you know it\u2019s far from a comedy. And yet, it\u2019s because of that show that we have the new sitcom The Promised Land. The Chosen\u2019s first assistant director, Mitch Hudson, was approached by the show\u2019s producers to create a comedic biblical adaptation, this one focused on Moses and the Jews after their Exodus from Egypt. The result is a mockumentary in the style of The Office that stars several Chosen actors, and has plenty of laugh-out-loud moments. Hudson wrote and directed all six episodes of the first season, and has big plans for the show, should it find an audience.
\n\n\n\n
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\u2019s 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.
\n\n\n\n\n\n\n\n
Key Insights
\n\n\n\n
\n
Mitch Hudson, former assistant director on The Chosen, created The Promised Land as a biblical comedy inspired by The Office.
\n\n\n\n
The show was independently financed and produced under Hudson\u2019s company Milk and Honey, giving him full creative control.
\n\n\n\n
Casting focused on Middle Eastern actors to bring authenticity and realism to the portrayal of Moses, Aaron, Miriam, and their community.
Where\u2019d the show come from? I know The Chosen is definitely not a comedy.
\n\n\n\n
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.
\n\n\n\n
The idea came from one of our producers who brought it to me and said, \u201cHey, 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?\u201d 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.
\n\n\n\n
How so?
\n\n\n\n
I realized we have this story where Moses\u2019 father-in-law, who he loves, comes to town and basically tells him, \u201cHey, 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.\u201d 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.
\n\n\n\n
Did you guys do this independently?
\n\n\n\n
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.
\n\n\n\n
Let’s talk about the cast. There are a bunch of people here who first showed up in The Chosen.
\n\n\n\n
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\u2019mani, 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.
\n\n\n\n
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, \u201cHey, your cast is awesome. I want you to cast some of these guys [from] The Chosen.\u201d So yeah, first it was just Wasim, and then more and more crossover started to happen.
\n\n\n\n
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?
\n\n\n\n
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.
\n\n\n\n
What was it about Wasim that made him Moses to you?
\n\n\n\n
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\u2019s 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.
\n\n\n\n
Since you mentioned Majed, let\u2019s talk about him and Shereen Khan, as Moses\u2019 brother Aaron and sister Miriam, who are both hilarious. Both of them were very natural, being funny without trying to sell it.
\n\n\n\n
That’s the thing about casting for this show \u2014 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\u2019s 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.
\n\n\n\n
When I saw Tucker Smallwood, I said, \u201cWait a minute, is that the guy from Seinfeld playing Jethro, Moses\u2019 father-in-law?\u201d
\n\n\n\n
(Laughs) It\u2019s 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, \u201cThat’s it. That’s a guy that Moses would look up to, but also be a little bit intimidated by.\u201d
\n\n\n\n
Since you mentioned the book of Numbers, what\u2019s the plan moving forward?
\n\n\n\n
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.
\n\n\n\n
What will be the deciding factor? Is there a number of viewers in mind?
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n\n\n\n\n
Key Takeaways
\n\n\n\n
\n
The Promised Land blends biblical storytelling with modern mockumentary humor to make ancient stories relatable.
\n\n\n\n
Independent productions like this showcase the potential for creators outside of Hollywood\u2019s studio system.
\n\n\n\n
Audience engagement and grassroots word-of-mouth will determine whether the show continues beyond its first six-episode season.
\n",
"content_text": "If you have seen even a single episode of Prime Video\u2019s biblical TV series The Chosen, about the life of Jesus Christ, you know it\u2019s far from a comedy. And yet, it\u2019s because of that show that we have the new sitcom The Promised Land. The Chosen\u2019s first assistant director, Mitch Hudson, was approached by the show\u2019s producers to create a comedic biblical adaptation, this one focused on Moses and the Jews after their Exodus from Egypt. The result is a mockumentary in the style of The Office that stars several Chosen actors, and has plenty of laugh-out-loud moments. Hudson wrote and directed all six episodes of the first season, and has big plans for the show, should it find an audience. \n\n\n\nOne 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\u2019s 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.\n\n\n\n\n\n\n\nKey Insights\n\n\n\n\nMitch Hudson, former assistant director on The Chosen, created The Promised Land as a biblical comedy inspired by The Office.\n\n\n\nThe show was independently financed and produced under Hudson\u2019s company Milk and Honey, giving him full creative control.\n\n\n\nCasting focused on Middle Eastern actors to bring authenticity and realism to the portrayal of Moses, Aaron, Miriam, and their community.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\nWhere\u2019d the show come from? I know The Chosen is definitely not a comedy. \n\n\n\nNo, 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. \n\n\n\nThe idea came from one of our producers who brought it to me and said, \u201cHey, 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?\u201d 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.\n\n\n\nHow so?\n\n\n\nI realized we have this story where Moses\u2019 father-in-law, who he loves, comes to town and basically tells him, \u201cHey, 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.\u201d 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. \n\n\n\nDid you guys do this independently? \n\n\n\nThe 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. \n\n\n\nLet’s talk about the cast. There are a bunch of people here who first showed up in The Chosen.\n\n\n\nYes, 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\u2019mani, 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. \n\n\n\nThe 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, \u201cHey, your cast is awesome. I want you to cast some of these guys [from] The Chosen.\u201d So yeah, first it was just Wasim, and then more and more crossover started to happen. \n\n\n\nLike Wasim, the cast is all made up of people of color. Was this a conscious decision? Or did it just work out that way? \n\n\n\nI 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. \n\n\n\nWhat was it about Wasim that made him Moses to you?\n\n\n\nWhat’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\u2019s 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.\n\n\n\nSince you mentioned Majed, let\u2019s talk about him and Shereen Khan, as Moses\u2019 brother Aaron and sister Miriam, who are both hilarious. Both of them were very natural, being funny without trying to sell it.\n\n\n\nThat’s the thing about casting for this show \u2014 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\u2019s 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.\n\n\n\nWhen I saw Tucker Smallwood, I said, \u201cWait a minute, is that the guy from Seinfeld playing Jethro, Moses\u2019 father-in-law?\u201d \n\n\n\n(Laughs) It\u2019s 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, \u201cThat’s it. That’s a guy that Moses would look up to, but also be a little bit intimidated by.\u201d \n\n\n\nSince you mentioned the book of Numbers, what\u2019s the plan moving forward?\n\n\n\nIt 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.\n\n\n\nWhat will be the deciding factor? Is there a number of viewers in mind?\n\n\n\nI 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. \n\n\n\nI 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.\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nThe Promised Land blends biblical storytelling with modern mockumentary humor to make ancient stories relatable.\n\n\n\nIndependent productions like this showcase the potential for creators outside of Hollywood\u2019s studio system.\n\n\n\nAudience engagement and grassroots word-of-mouth will determine whether the show continues beyond its first six-episode season.\n\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nHorror 101: Where Do You Fit in the Halloween Genre?\n\n\n\nCasting the Fear: Rose Wicksteed & Sophie Kingston-Smith on The Conjuring: Last Rites\n\n\n\nOctober 2025: Activities for Every Day This Month\n\nThe post Mitch Hudson Brings Biblical Comedy to Life with ‘The Promised Land’ appeared first on Casting Networks.",
"date_published": "2025-10-03T08:56:00-07:00",
"date_modified": "2025-10-03T07:57:10-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/10/Mitch-Hudson-Blog.jpg",
"tags": [
"Advice",
"Filmmakers & Creators",
"Industry 101"
]
},
{
"id": "https://www.castingnetworks.com/?p=213485",
"url": "https://www.castingnetworks.com/news/the-importance-of-emotional-preparation/",
"title": "The Importance of Emotional Preparation",
"content_html": "\n
The internal world of a character is about building an authentic life for the person you’re playing. Emotional preparation is about effectively using your character’s persona, their past life events, and the choices they make throughout the story. You can engage in this process using tools like guided meditation and music to evoke emotional cues.
\n\n\n\n
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.
\n\n\n\n
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.
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?
\n\n\n\n
Use this information without judgment \u2014 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.
\n\n\n\n
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.
\n\n\n\n
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.
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.
\n\n\n\n
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.
\n\n\n\n
Using this timeline, try to identify patterns that correlate between your character\u2019s 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.
\n\n\n\n
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.
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.
\n\n\n\n
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.
\n\n\n\n
In 2021, I played the lead role in David Harrower\u2019s 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.
\n\n\n\n
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.
\n\n\n\n
Sometimes, too much knowledge in complex subjects can affect our ability to play and explore the inner world of the character.
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.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
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?
\n\n\n\n
What your character could have been doing right before a scene is also essential to consider. It\u2019s 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.
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:
\n\n\n\n
\n
Journaling: Write as your character. Starting with one page, cover the entire journey of the script, and use it to refer to throughout production.
\n\n\n\n
Music: Create a playlist using songs that inspire your character\u2019s emotional journey.
\n\n\n\n
Run Errands: Take a walk, or make a cup of coffee as your character. Think about how your character would run errands.
\n\n\n\n
Find a Muse: Use another person or performance to inspire you. Think of your favorite actor or go watch a play for inspiration.
\n\n\n\n
Guided Meditation: Use meditation to help clear your mind and any noise that isn’t helpful for your character.
\n\n\n\n
Timeline Mapping: Create a physical timeline, mapping out your character’s emotional arc with key events.
\n\n\n\n
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?
\n\n\n\n
Drama Therapy: Invest in well-being and drama therapy for artists to help you de-role after playing an emotionally taxing part.
\n\n\n\n
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.
\n\n\n\n
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!
\n
\n\n\n\n
Final Takeaways
\n\n\n\n
Diving into a character\u2019s internal world is where your performance comes alive. Emotional preparation isn\u2019t just about feeling\u2014it\u2019s about understanding your character\u2019s 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.
\n\n\n\n
\n
Map Your Character\u2019s Emotional Journey: Create a timeline of key events and emotions in the script to understand how your character evolves from beginning to end.
\n\n\n\n
Live Like Your Character: Incorporate simple everyday actions like walking or ordering coffee as your character to build authentic habits and mannerisms.
\n\n\n\n
Use Emotional Anchors Safely: Combine your memories with imagination to connect emotionally, but set boundaries to avoid getting overwhelmed by your character\u2019s trauma.
\n\n\n\n
Take Five Minutes Before and After Scenes: Use this time to ground yourself\u2014try breathing exercises, listen to a playlist that inspires your character, or do something physical to focus and then reset after the scene.
\n\n\n\n
Journaling and Asking Questions: Write as your character and dig into the script for clues about their motivations and relationships to deepen your understanding.
\n
\n\n\n\n
By approaching your character with curiosity and care, you\u2019ll 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\u2019s both honest and sustainable.
\n",
"content_text": "The internal world of a character is about building an authentic life for the person you’re playing. Emotional preparation is about effectively using your character’s persona, their past life events, and the choices they make throughout the story. You can engage in this process using tools like guided meditation and music to evoke emotional cues.\n\n\n\nAs 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.\n\n\n\nActing 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.\n\n\n\n\n\n\n\nWhat You’ll Find in This Article\n\n\n\n\nFinding your Character\n\n\n\nFollowing the Journey\n\n\n\nResearch and Exploration\n\n\n\nFive Minutes Before and After\n\n\n\nTips, Techniques and Exercises\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\nFinding Your Character\n\n\n\nBuilding 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?\n\n\n\nUse this information without judgment \u2014 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.\n\n\n\nTry 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.\n\n\n\nEmotional 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.\n\n\n\nFollowing the Journey\n\n\n\nOnce 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.\n\n\n\nUse 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.\n\n\n\nUsing this timeline, try to identify patterns that correlate between your character\u2019s 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.\n\n\n\nYou 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.\n\n\n\nResearch and Exploration\n\n\n\nIn 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.\n\n\n\nHistorical 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.\n\n\n\nIn 2021, I played the lead role in David Harrower\u2019s 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.\n\n\n\nWhile 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.\n\n\n\nSometimes, too much knowledge in complex subjects can affect our ability to play and explore the inner world of the character.\n\n\n\nFive Minutes Before and After\n\n\n\nEmotional 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.\n\n\n\nYou 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.\n\n\n\nThis 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. \n\n\n\nThe 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?\n\n\n\nWhat your character could have been doing right before a scene is also essential to consider. It\u2019s 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.\n\n\n\nTips, Techniques and Exercises\n\n\n\nFor 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:\n\n\n\n\nJournaling: Write as your character. Starting with one page, cover the entire journey of the script, and use it to refer to throughout production.\n\n\n\nMusic: Create a playlist using songs that inspire your character\u2019s emotional journey.\n\n\n\nRun Errands: Take a walk, or make a cup of coffee as your character. Think about how your character would run errands.\n\n\n\nFind a Muse: Use another person or performance to inspire you. Think of your favorite actor or go watch a play for inspiration.\n\n\n\nGuided Meditation: Use meditation to help clear your mind and any noise that isn’t helpful for your character.\n\n\n\nTimeline Mapping: Create a physical timeline, mapping out your character’s emotional arc with key events.\n\n\n\nAsk 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?\n\n\n\nDrama Therapy: Invest in well-being and drama therapy for artists to help you de-role after playing an emotionally taxing part.\n\n\n\nUsing 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.\n\n\n\nRest 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!\n\n\n\n\nFinal Takeaways\n\n\n\nDiving into a character\u2019s internal world is where your performance comes alive. Emotional preparation isn\u2019t just about feeling\u2014it\u2019s about understanding your character\u2019s 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.\n\n\n\n\nMap Your Character\u2019s Emotional Journey: Create a timeline of key events and emotions in the script to understand how your character evolves from beginning to end.\n\n\n\nLive Like Your Character: Incorporate simple everyday actions like walking or ordering coffee as your character to build authentic habits and mannerisms.\n\n\n\nUse Emotional Anchors Safely: Combine your memories with imagination to connect emotionally, but set boundaries to avoid getting overwhelmed by your character\u2019s trauma.\n\n\n\nTake Five Minutes Before and After Scenes: Use this time to ground yourself\u2014try breathing exercises, listen to a playlist that inspires your character, or do something physical to focus and then reset after the scene.\n\n\n\nJournaling and Asking Questions: Write as your character and dig into the script for clues about their motivations and relationships to deepen your understanding.\n\n\n\n\nBy approaching your character with curiosity and care, you\u2019ll 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\u2019s both honest and sustainable.\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nHow To Analyze Sides for Film and TV Auditions Like a Pro\n\n\n\nAndy Dispensa on Playing Luca in \u20181923,\u2019 What it Takes to Be an Actor\n\n\n\nAn Intimacy Coordinator\u2019s Insight with Joshua Okpala\n\nThe post The Importance of Emotional Preparation appeared first on Casting Networks.",
"date_published": "2025-08-20T07:37:50-07:00",
"date_modified": "2025-08-20T07:37:52-07:00",
"authors": [
{
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
}
],
"author": {
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/08/iStock-1474799489.jpg",
"tags": [
"Advice",
"Industry 101",
"The Industry"
]
}
]
}
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