Key Insights<\/h2>\n\n\n\n\n- Film and TV production now follows tax incentives, meaning actors can find real opportunities and income in emerging regional markets.<\/li>\n\n\n\n
- Building a career starts locally through theater, classes, and casting platforms, which help actors gain experience and visibility without an agent.<\/li>\n\n\n\n
- Success depends on treating your career strategically by researching agents, targeting the right casting directors, and clearly defining your personal brand.<\/li>\n<\/ul>\n\n\n\n
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We talked to casting directors in five of the hottest markets outside the two majors, and each chimed in with some solid advice, though there were a few common themes. For one, local theater<\/strong> is always a great way to get rolling, as oftentimes, local agents will not only see their own clients there, but also because they will use the forum as a scout for new talent. <\/p>\n\n\n\nAnother common theme: classes<\/strong>. Find a local acting teacher who speaks to you, and, as Rosen advises, \u201cis not abusive,\u201d and work with them. That will help you hone your craft and get you to a place where you can be reliably employable.<\/p>\n\n\n\nFLORIDA<\/strong><\/h3>\n\n\n\nRosen observes that \u201cthe self-tape situation has expanded our borders. The system that we have in place for films is incentive-based wherever there is an incentive. That\u2019s where the work is. Now, [in] Florida specifically, you can work out of the gate. You could go and do commercials and make a lot of money and really hone your craft. You can learn how to be on set. You can learn how to deliver a good line.\u201d<\/p>\n\n\n\n
Rosen is a big proponent of using social media. Both your own, and participating with others\u2019. \u201cHalf of my submissions come from the public billboard and half came from agents. So definitely make sure you have at least a free profile at Casting Networks. <\/p>\n\n\n\n
In fact, do the free membership everywhere they have one. Keep putting your profiles up, follow all the billboards, and keep track of the social media of any entity that is advertising work. If you don’t have an agent, that\u2019s your first move.\u201d <\/p>\n\n\n\n
Rosen\u2019s podcast is a primer on how to get started, \u201cfrom beginning to end,\u201d but more than that, it\u2019s about educating yourself. \u201cListen to all the podcasts. Every bit of free information is out there for you to absorb. You have to put the work in, in order to get to wherever you want to go.\u201d<\/p>\n\n\n\n
NEW ORLEANS<\/strong><\/h3>\n\n\n\nRyan Glorioso<\/a> observes there is an influx of films happening right now. \u201cSo I\u2019m seeing a lot of things happening for people. A lot of actors are booking jobs and it feels good to see.\u201d<\/p>\n\n\n\nGlorioso advises that while getting an agent is obviously very important, find one who has good local relationships. \u201cWe have a good handful of talent agencies in the state and in the surrounding region that cover the Southeast. Now, someone who’s based in Louisiana is probably going to have a stronger footprint in Louisiana. <\/p>\n\n\n\n
If you\u2019re looking to work more heavily in the Atlanta market, you\u2019re going to want to make sure that agent has good relationships with casting directors in the markets that you want to work in. So I think when looking for a local agent, actors should not just be interviewed by the agent, but also interview them to know what their reach is.\u201d <\/p>\n\n\n\n
Essentially, just as you would do research for a role, you should also do it to further your career, especially when it comes to finding an agent. \u201cLook into what some of their actors on their roster are booking,\u201d he says. <\/p>\n\n\n\n
\u201cSee who those casting directors are that these agents are working in close proximity with. So that\u2019s important to have a local agent, because most of us see the actors through the agents.\u201d <\/p>\n\n\n\n
CHICAGO<\/strong><\/h3>\n\n\n\nSarah Cayce<\/a> observes that the Windy City has more of a variety of opportunities than any other city outside of the Big Two. \u201cYou really can do a little bit of everything if you want to have a career on stage, whether that’s doing improv or stand-up or being on at the Goodman Theatre or even storefront,\u201d she says. <\/p>\n\n\n\n\u201cI mean, there are folks who make their living just on stage, all the way to folks who do industrials out the wazoo. It\u2019s such a big commercial town that [you\u2019ll find] everything from national spots that are conceived and shot in Chicago, to industrials that might be boring, but golly Moses do they pay the bills.\u201d<\/p>\n\n\n\n
The film incentive in Illinois just improved markedly<\/a> in 2026, which means there\u2019s going to be a lot more work in both Chicago and the southern half of the state, but that also means that when you\u2019re out there selling yourself to potential employers, you have to know what it is you\u2019re selling. <\/p>\n\n\n\n\u201cBe specific about what you want to do. You\u2019re just like any other department head or small business owner,\u201d she says. \u201cHelp us understand who you are and what you’re good at. Assume that once we trust you, we will expand into other things. <\/p>\n\n\n\n
Let’s say that someone moves to Chicago because they really want to work on Chicago P.D<\/em>. If they come here and start taking a ton of improv and commercial classes and get a commercial agent, they\u2019re telling us something very different than their goals.\u201d<\/p>\n\n\n\nAdditionally, know who it is you\u2019re targeting. Do research on local casting directors. Make sure you’re approaching the right place. <\/p>\n\n\n\n
\u201cLots of us make it easy, all the way to submitting to us. Almost all of us have a website that tells folks exactly what we do, what we’re good at, and our awards. So you know exactly what what to expect from us. God forbid you start reaching out to a bunch of casting offices without having any idea who you are, trying to pitch something and you don’t know what that pitch is.\u201d<\/p>\n\n\n\n
OKLAHOMA<\/strong><\/h3>\n\n\n\nChris Freihofer<\/strong><\/a> has been working as a casting director in Oklahoma for 22 years, and has had a front-row seat for the explosion in film production there. \u201cI used to do maybe one movie a year,\u201d he says, \u201cbut lately it\u2019s been 10 to 12, and I\u2019m already doing my third one this year.\u201d <\/p>\n\n\n\n
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Get access to thousands
of high-quality roles.<\/h2>\n <\/div>\n \n \n \n \n <\/picture>\n <\/div>\n \n \n JOIN FREE TODAY <\/a>\n <\/div>\n <\/div>\n\n\n\n\n
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We talked to casting directors in five of the hottest markets outside the two majors, and each chimed in with some solid advice, though there were a few common themes. For one, local theater<\/strong> is always a great way to get rolling, as oftentimes, local agents will not only see their own clients there, but also because they will use the forum as a scout for new talent. <\/p>\n\n\n\nAnother common theme: classes<\/strong>. Find a local acting teacher who speaks to you, and, as Rosen advises, \u201cis not abusive,\u201d and work with them. That will help you hone your craft and get you to a place where you can be reliably employable.<\/p>\n\n\n\nFLORIDA<\/strong><\/h3>\n\n\n\nRosen observes that \u201cthe self-tape situation has expanded our borders. The system that we have in place for films is incentive-based wherever there is an incentive. That\u2019s where the work is. Now, [in] Florida specifically, you can work out of the gate. You could go and do commercials and make a lot of money and really hone your craft. You can learn how to be on set. You can learn how to deliver a good line.\u201d<\/p>\n\n\n\n
Rosen is a big proponent of using social media. Both your own, and participating with others\u2019. \u201cHalf of my submissions come from the public billboard and half came from agents. So definitely make sure you have at least a free profile at Casting Networks. <\/p>\n\n\n\n
In fact, do the free membership everywhere they have one. Keep putting your profiles up, follow all the billboards, and keep track of the social media of any entity that is advertising work. If you don’t have an agent, that\u2019s your first move.\u201d <\/p>\n\n\n\n
Rosen\u2019s podcast is a primer on how to get started, \u201cfrom beginning to end,\u201d but more than that, it\u2019s about educating yourself. \u201cListen to all the podcasts. Every bit of free information is out there for you to absorb. You have to put the work in, in order to get to wherever you want to go.\u201d<\/p>\n\n\n\n
NEW ORLEANS<\/strong><\/h3>\n\n\n\nRyan Glorioso<\/a> observes there is an influx of films happening right now. \u201cSo I\u2019m seeing a lot of things happening for people. A lot of actors are booking jobs and it feels good to see.\u201d<\/p>\n\n\n\nGlorioso advises that while getting an agent is obviously very important, find one who has good local relationships. \u201cWe have a good handful of talent agencies in the state and in the surrounding region that cover the Southeast. Now, someone who’s based in Louisiana is probably going to have a stronger footprint in Louisiana. <\/p>\n\n\n\n
If you\u2019re looking to work more heavily in the Atlanta market, you\u2019re going to want to make sure that agent has good relationships with casting directors in the markets that you want to work in. So I think when looking for a local agent, actors should not just be interviewed by the agent, but also interview them to know what their reach is.\u201d <\/p>\n\n\n\n
Essentially, just as you would do research for a role, you should also do it to further your career, especially when it comes to finding an agent. \u201cLook into what some of their actors on their roster are booking,\u201d he says. <\/p>\n\n\n\n
\u201cSee who those casting directors are that these agents are working in close proximity with. So that\u2019s important to have a local agent, because most of us see the actors through the agents.\u201d <\/p>\n\n\n\n
CHICAGO<\/strong><\/h3>\n\n\n\nSarah Cayce<\/a> observes that the Windy City has more of a variety of opportunities than any other city outside of the Big Two. \u201cYou really can do a little bit of everything if you want to have a career on stage, whether that’s doing improv or stand-up or being on at the Goodman Theatre or even storefront,\u201d she says. <\/p>\n\n\n\n\u201cI mean, there are folks who make their living just on stage, all the way to folks who do industrials out the wazoo. It\u2019s such a big commercial town that [you\u2019ll find] everything from national spots that are conceived and shot in Chicago, to industrials that might be boring, but golly Moses do they pay the bills.\u201d<\/p>\n\n\n\n
The film incentive in Illinois just improved markedly<\/a> in 2026, which means there\u2019s going to be a lot more work in both Chicago and the southern half of the state, but that also means that when you\u2019re out there selling yourself to potential employers, you have to know what it is you\u2019re selling. <\/p>\n\n\n\n\u201cBe specific about what you want to do. You\u2019re just like any other department head or small business owner,\u201d she says. \u201cHelp us understand who you are and what you’re good at. Assume that once we trust you, we will expand into other things. <\/p>\n\n\n\n
Let’s say that someone moves to Chicago because they really want to work on Chicago P.D<\/em>. If they come here and start taking a ton of improv and commercial classes and get a commercial agent, they\u2019re telling us something very different than their goals.\u201d<\/p>\n\n\n\nAdditionally, know who it is you\u2019re targeting. Do research on local casting directors. Make sure you’re approaching the right place. <\/p>\n\n\n\n
\u201cLots of us make it easy, all the way to submitting to us. Almost all of us have a website that tells folks exactly what we do, what we’re good at, and our awards. So you know exactly what what to expect from us. God forbid you start reaching out to a bunch of casting offices without having any idea who you are, trying to pitch something and you don’t know what that pitch is.\u201d<\/p>\n\n\n\n
OKLAHOMA<\/strong><\/h3>\n\n\n\nChris Freihofer<\/strong><\/a> has been working as a casting director in Oklahoma for 22 years, and has had a front-row seat for the explosion in film production there. \u201cI used to do maybe one movie a year,\u201d he says, \u201cbut lately it\u2019s been 10 to 12, and I\u2019m already doing my third one this year.\u201d <\/p>\n\n\n\n
![\"Banner](\"https:\/\/www.castingnetworks.com\/wp-content\/uploads\/2026\/02\/PHONE-MOCK-2-mobile.webp\")
\n <\/picture>\n <\/div>\n \n\n\n\n
<\/p>\n\n\n\n
We talked to casting directors in five of the hottest markets outside the two majors, and each chimed in with some solid advice, though there were a few common themes. For one, local theater<\/strong> is always a great way to get rolling, as oftentimes, local agents will not only see their own clients there, but also because they will use the forum as a scout for new talent. <\/p>\n\n\n\n Another common theme: classes<\/strong>. Find a local acting teacher who speaks to you, and, as Rosen advises, \u201cis not abusive,\u201d and work with them. That will help you hone your craft and get you to a place where you can be reliably employable.<\/p>\n\n\n\n Rosen observes that \u201cthe self-tape situation has expanded our borders. The system that we have in place for films is incentive-based wherever there is an incentive. That\u2019s where the work is. Now, [in] Florida specifically, you can work out of the gate. You could go and do commercials and make a lot of money and really hone your craft. You can learn how to be on set. You can learn how to deliver a good line.\u201d<\/p>\n\n\n\n Rosen is a big proponent of using social media. Both your own, and participating with others\u2019. \u201cHalf of my submissions come from the public billboard and half came from agents. So definitely make sure you have at least a free profile at Casting Networks. <\/p>\n\n\n\n In fact, do the free membership everywhere they have one. Keep putting your profiles up, follow all the billboards, and keep track of the social media of any entity that is advertising work. If you don’t have an agent, that\u2019s your first move.\u201d <\/p>\n\n\n\n Rosen\u2019s podcast is a primer on how to get started, \u201cfrom beginning to end,\u201d but more than that, it\u2019s about educating yourself. \u201cListen to all the podcasts. Every bit of free information is out there for you to absorb. You have to put the work in, in order to get to wherever you want to go.\u201d<\/p>\n\n\n\n Ryan Glorioso<\/a> observes there is an influx of films happening right now. \u201cSo I\u2019m seeing a lot of things happening for people. A lot of actors are booking jobs and it feels good to see.\u201d<\/p>\n\n\n\n Glorioso advises that while getting an agent is obviously very important, find one who has good local relationships. \u201cWe have a good handful of talent agencies in the state and in the surrounding region that cover the Southeast. Now, someone who’s based in Louisiana is probably going to have a stronger footprint in Louisiana. <\/p>\n\n\n\n If you\u2019re looking to work more heavily in the Atlanta market, you\u2019re going to want to make sure that agent has good relationships with casting directors in the markets that you want to work in. So I think when looking for a local agent, actors should not just be interviewed by the agent, but also interview them to know what their reach is.\u201d <\/p>\n\n\n\n Essentially, just as you would do research for a role, you should also do it to further your career, especially when it comes to finding an agent. \u201cLook into what some of their actors on their roster are booking,\u201d he says. <\/p>\n\n\n\n \u201cSee who those casting directors are that these agents are working in close proximity with. So that\u2019s important to have a local agent, because most of us see the actors through the agents.\u201d <\/p>\n\n\n\n Sarah Cayce<\/a> observes that the Windy City has more of a variety of opportunities than any other city outside of the Big Two. \u201cYou really can do a little bit of everything if you want to have a career on stage, whether that’s doing improv or stand-up or being on at the Goodman Theatre or even storefront,\u201d she says. <\/p>\n\n\n\n \u201cI mean, there are folks who make their living just on stage, all the way to folks who do industrials out the wazoo. It\u2019s such a big commercial town that [you\u2019ll find] everything from national spots that are conceived and shot in Chicago, to industrials that might be boring, but golly Moses do they pay the bills.\u201d<\/p>\n\n\n\n The film incentive in Illinois just improved markedly<\/a> in 2026, which means there\u2019s going to be a lot more work in both Chicago and the southern half of the state, but that also means that when you\u2019re out there selling yourself to potential employers, you have to know what it is you\u2019re selling. <\/p>\n\n\n\n \u201cBe specific about what you want to do. You\u2019re just like any other department head or small business owner,\u201d she says. \u201cHelp us understand who you are and what you’re good at. Assume that once we trust you, we will expand into other things. <\/p>\n\n\n\n Let’s say that someone moves to Chicago because they really want to work on Chicago P.D<\/em>. If they come here and start taking a ton of improv and commercial classes and get a commercial agent, they\u2019re telling us something very different than their goals.\u201d<\/p>\n\n\n\n Additionally, know who it is you\u2019re targeting. Do research on local casting directors. Make sure you’re approaching the right place. <\/p>\n\n\n\n \u201cLots of us make it easy, all the way to submitting to us. Almost all of us have a website that tells folks exactly what we do, what we’re good at, and our awards. So you know exactly what what to expect from us. God forbid you start reaching out to a bunch of casting offices without having any idea who you are, trying to pitch something and you don’t know what that pitch is.\u201d<\/p>\n\n\n\n Chris Freihofer<\/strong><\/a> has been working as a casting director in Oklahoma for 22 years, and has had a front-row seat for the explosion in film production there. \u201cI used to do maybe one movie a year,\u201d he says, \u201cbut lately it\u2019s been 10 to 12, and I\u2019m already doing my third one this year.\u201d <\/p>\n\n\n\nFLORIDA<\/strong><\/h3>\n\n\n\n
NEW ORLEANS<\/strong><\/h3>\n\n\n\n
CHICAGO<\/strong><\/h3>\n\n\n\n
OKLAHOMA<\/strong><\/h3>\n\n\n\n