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

Insights From Kerin Castillo

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

Get access to thousands
of high-quality roles.

JOIN FREE TODAY

How did you decide to become an actor?

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

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

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

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

How did you first discover Casting Networks?

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

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

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

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

What was the audition for that like?

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

What happened when you got to the set?

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

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

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

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

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

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

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

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

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

What would you say helps somebody succeed on Casting Networks?

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

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

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

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

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

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

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

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

Final Takeaways

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

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

You may also like:

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

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

Once Dinkins decided he was going to pursue acting, he gave it his all. Through Casting Networks, he’s managed to land roles on major productions such as Zero Day, The Marvelous Mrs. Maisel and Apple TV+’s Emmy-nominated hit Severance as Tramell Tillman’s stand-in on season 2.

For aspiring actors, the path to success often feels like a long shot. For Dinkins, persistence and an open mind shows us how big breaks can come from the most unexpected places.

Insights From Justin Dinkins

• Consistently check casting platforms and submit quickly. Early submissions increase the chances of booking roles.
• Building a versatile portfolio with regularly updated headshots helps avoid typecasting and showcases range to casting directors.
• Treat every opportunity professionally, regardless of project size or secrecy. Small roles can lead to major breakthroughs.

Get access to thousands
of high-quality roles.

JOIN FREE TODAY

Tell us a little bit about your journey and getting into the film and television industry. 

I’m originally from Hollywood, Florida. I moved to New York. This year, it’s going to be 10 years since I’ve been here. I originally moved up here with my best friend. 

He ended up crashing his car, and he was like, “Where can we go that we don’t need a car and we can still get around? Everyone’s telling me that we should go to New York.” 

I was in the hospital at the time, and apparently, I was a little comatose. In my state, I said. “Yes!,” and [my friend] said, “Let’s go.” I get out of the hospital, and his mom is running her car. Our apartment was packed, and we moved to New York. 

What’s crazy is that I wasn’t even going to pursue my dream of acting. I had hung it up. I performed in high school. I just never thought it would happen for me. 

I ended up having to have hip surgery [after the car accident]. I had a hip replacement, so I was out of work for a while, and I couldn’t go back to a full-time job. I had been reading the Casting Networks emails, and I had to bribe my dad to lend me money for the subscription for the first two months. I was like, “If it works, if I find some gigs, I’m going to pay you back.” 

How were you able to manifest that destiny?

One of the very first roles that I got on Casting Networks was actually when I rejoined the site. It’s on Netflix. It’s called Stamped From the Beginning. The original post [was for] a VFX testing shoot. They didn’t tell us anything [about the project]. It was vague.

We get there and we find out [what it is], and they have me change into my costume. It’s on a soundstage. It’s a huge studio. There are maybe 10 other actors there, and they explain to us what we’re doing. We’re going to be a part of this project; they don’t know if it’s going to get picked up by anybody. They’re still shopping around, but they just want to shoot it to get the content. 

That was in 2022. This past year, I got a letter from SAG-AFTRA [saying] that I get residual checks in the mail, and I’m like, “What is this from?” 

I didn’t understand. I almost threw the mail out because I thought it might have something to do with my dues. I’m thinking, “Okay, they’re trying to get me to pay my dues. They’re trying to tell me that my time is up because I’ve had some other projects and now I’m SAG-eligible.” 

I finally opened it up to see what they wanted. They sent me a letter in November; it’s probably January by now. I opened the letter, and it’s my first residual check from that project. I’m like, “What? I’m getting residual checks?” I look at the check, and it says “Netflix: Stamped From the Beginning.” 

I immediately go on Netflix, I watch the film and I’m in it. I see myself on the screen. I see everything that we shot in two different parts. Then I roll to the end, and my name’s in the credits. This is the first time my name has ever been in the credits of anything. 

That was so much. I celebrated that. I was able to celebrate that with my family, but that wasn’t the first time my family had seen me on television because of Casting Networks. I was lucky enough in 2022 to be part of The Marvelous Mrs. Maisel.

That’s amazing. What was that like?

I did three episodes on that show as a general background. For the final episode, it was the last week of shooting for the last big scene for the entire series at Steiner Studios here in Brooklyn. It took us a whole week to shoot that, and you don’t hear anything back or see anything until the show airs.

They have me in a scene by myself. I do this dramatic crossing between some of the main characters and myself, and they give me camera time all [to] myself. 

I had classmates who watched the episodes, and they’re just like, “Justin, my God, we just saw you on TV. Were you in The Marvelous Mrs. Maisel?” I had people posting to me and tagging me online just from that success.

Casting Networks has been a major resource for me. It’s been an excellent thing. I found an email from Casting Networks from 2012, when I originally signed up, and Casting Networks was just a blog. [I was in Florida at the time, and] I didn’t understand what Casting Networks was. I didn’t know it was going to be so big [for me]. 

I’d been subscribed to these things for 10 years, and I never paid attention to them [until now]. 

You guys have always been sending me emails, and I haven’t really responded, but now it’s coming full circle. Now, it’s the first thing I check. 

Every day I’m on the Casting Billboard looking for different roles. That’s how I get a lot of my major acting roles. I’ve been part of plays, like the off-Broadway play called Race: The Movie: The Play, because of Casting Networks. It launched my entire acting career.

I found a lot of success, but I think the biggest project I’ve ever been a part of was working on Zero Day — once again, through Casting Networks.

I was playing a role as one of their secret agents. We did that project for over a month, and because of my brand ambassador gig, I also worked for Netflix to do the release. I had my credentials for Zero Day, and I found the project through Zero Day on Casting Networks, so it’s a full circle that it came around for me, where I got to do both sides of it.

One of the huge projects you worked on was Severance, which is up for several Emmy Awards. How did that happen?

I saw a post for a project called “Cold Harbor” that said Tramell Tillman needed a stand-in. I submitted for it, not thinking or knowing anything. A lady emails me back 10, 15 minutes later, “Can you come in tomorrow? We’d like to do a test with you. He’s going to be in the Bronx. 

We can provide transportation. All you have to do is catch a train to this point.” 

I sent them my photos and they’re like, “Great. You’re the same height as Tramell. We think that you look like him, but can you grow out a mustache?” I’m like, “Yeah, but I can’t grow a mustache overnight.” She said, “No problem. Once we see you in the test tomorrow, we’ll give you a little bit more feedback.” 

I go in, they’re just like, “Wear this kind of suit.” I put it on, and in the first 10 minutes, the lady says, “You’re his stand-in. Can you be here? Can you commit to this for at least the next couple of weeks?” I said, “I can be as available as you guys need me.” I had watched the show, but I didn’t know that “Cold Harbor” was Severance until I met Tramell Tillman. 

The next day, I show up and we set up the scene and shots, and everyone’s like, “You’re doing fine.” I’m just standing there. I’m not saying anything to anybody. I’m not speaking because it’s my first day, and Tramell walks in, and I’m starstruck. I’m like, “My God, I’ve been watching your show. This is Severance.” [This project] was only known to me as “Cold Harbor,” and I didn’t know what “Cold Harbor” was. That was the code name they used on Casting Networks.

For Severance, I had to grow my hair out because Tramell Tillman has an afro, and I ended up being the stand-in for the entire season 2. Ben Stiller ended up directing me in some scenes.

I liked the scene where Milchick does the whole band choreography. Just to prepare for some of his scenes, the movement with the camera that he does, it was so interesting. 

At the end of the season, Ben Stiller invited us to the wrap party. We felt like we were part of the crew. The energy was great. They even sent me a sample of myself on camera in one of the scenes, and it was so cool to see myself be Milchick for that one scene. It was amazing.   

To see the show get so much recognition for the Emmys and everything [has been great]. Tramell Tillman is nominated for Outstanding [Supporting] Actor [in a Drama Series]. I’m rooting for him. I want him to win. I want this show to bring in so many awards because Dan Erickson is a great writer. Being part of this show, I want them to win across the board.   

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I’m backtracking a little bit, but did you say that people didn’t know what “Cold Harbor” was, even during the filming of the show?

That’s what you learn on Casting Networks. A lot of people use code names for shows, so you don’t know what you’re getting yourself into until you show up to set and you realize that you’re working on this crazy production.

For example, I didn’t know that “DWP” stood for The Devil Wears Prada. In my acting group, everyone was like, “What’s ‘DWP?’ What does that mean?” Finally, someone was like, “It’s The Devil Wears Prada,” but the production team always used “DWP.” 

I did an episode of Daredevil, and their code name for that is “Out of the Kitchen.” My friend Devin, with whom I moved up here, works in their corporate offices.

It didn’t dawn on me that I was on Daredevil until I did a scene where the main actor [Charlie Cox] crosses by me, and I’m like, “That’s the guy from Daredevil.” I went to [ask someone, and they said,] “Yeah, this is Daredevil.” I was like, “Get out. No way!” I immediately text my friend, and he’s like, “I’m looking at the call sheet. I see you, man! God has brought our paths to cross, and we’re working on the same project now.”

We came up here with two different agendas, but somehow the world, and being back in acting, came together, and we were able to grab lunch that day. He showed up to set, and he was like, “I can’t believe it. This is so crazy that we’re working on the same project. We didn’t try to do this on our own. We didn’t try to set this up. This is how it happened.” I was like, “It’s God.” 

It’s just a full circle because if I had never gotten hip surgery, I would have never been out of work, I would have never been seeking this. I was like, “You know what, let me try to at least pursue this while I’m in my recovery and see if this works.” 

I started booking so much work that I was able to pay off my rent with it. I was like, “I can keep going if I keep self-submitting and keep trying stuff.” 

I looked online today and [I’ve] submitted to over 1,600 jobs. I’ve probably only landed about 15 or 30 of them. It just goes to show that you have to keep trying, keep putting yourself out there. 

I’ve changed my profile picture so many times. I have my own DSLR camera that I use to take my headshots now. I try to take them every week. 

I want my look to change. I like to have a lot of different versatility in my portfolio and my photos. They have a lot of different depths of what my possible look can be like so that I’m not typecast. 

With getting an email and seeing that it’s a project you want to apply to, how quickly do you do a turnaround? 

The fastest that I’ve been able to turn around a self-submission to have a self tape has probably been a couple of hours. I think it was one project where they wanted a self tape by the end of the day. I read one tip, that the early bird gets the worm. The quicker you can get in that self tape, the better. 

Casting directors love early submissions. They don’t want any major edits; they just want basic off-the-dome. You’re communicating with the camera and then hitting “submit.” They don’t want to see any major editing, blending or other similar adjustments. They just want you to slate your name, get into it, and submit it, and I either get the gig or I don’t, so I’m pretty quick about that. 

It’s hard to keep up and check your email as often as Casting Networks is sending out the emails. You can get an email every five minutes, although it may take up to an hour. You just don’t know who’s going to post what or when, so you have to stay on top of your email.

Do you have any tips for your fellow actors on how to use Casting Networks? 

I tell everybody, if you’re trying to start [your acting career], start on Casting Networks. You can go as far as you allow yourself to go. You can get as immersive as you want with it, and you can take it upon yourself to go as far as you need to go with the casting submissions, constantly updating, reloading and refreshing the pages. It’s full of resources, at least here in New York, which is why I love it so much. 

I don’t know about any of the other websites, but Casting Networks works for me, and I have the proof. I tell people you have to stay refreshed and you have to look at those email alerts, because the early bird [does] get the worm.

I’ve landed some of the biggest projects, and now I’m SAG-eligible. I just have to pay my dues, and I’ll be in the union now. This is all without an agent. I did all this by self-submitting, so it is possible. 

You have to put the work in — be patient and it’s possible. You can’t force it. You never know when people are going to post anything on there, and you can never underestimate a project. It keeps you on your toes. 

I keep getting more amazed by the projects every time I submit for something. One time, I think the code name was “Dust Bunny,” and [the role] was a stand-in for Marvel’s Ant-Man overseas [promotion]. We did it here in New York. 

The actor was coming in the next day, but we set up all the shots, and we were working on one of the Marvel promotions that they were doing. Once again, this is another big project where I was like, “‘Dust Bunny’? Who would have thought this was ‘Dust Bunny’?’” 

You just never know what you could be a part of. You have to be professional for everything. Any little project, whatever its title, just go in and give your all and give your best.

Final Takeaways

Justin Dinkins’ journey shows that breaking into acting isn’t always a straight path, and success often comes from staying persistent and open to unexpected opportunities. His story proves that dedication and professionalism pay off. Here are some practical tips for new actors based on his experience:

• Check casting calls frequently and submit your self tapes as early as possible to stand out.
• Keep your headshots fresh by taking new photos regularly to show your versatility.
• Treat every role, big or small, with professionalism because you never know where it might lead.
• Use casting platforms like Casting Networks to find diverse opportunities and don’t rely solely on agents.
• Be patient and persistent, knowing that rejection is part of the process but consistency brings results.

You may also like:

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

The post Justin Dinkins on Booking ‘Severance’ as Tramell Tillman’s Stand-In | Success Story appeared first on Casting Networks.

Through unexpected turns and persistence, she has landed roles with brands like Foot Locker and WhatsApp — all on Casting Networks. Williams’ journey offers a candid look at the challenges and small victories behind building an acting career today.

Insights From Aconda Williams

• Actively seek and audition for commercial roles to gain professional experience and union eligibility.
• Building relationships with casting directors can increase opportunities for bookings and referrals.
• Securing a union card, like a SAG card, is a great way to advance your acting career and access higher-profile jobs.

Get access to thousands
of high-quality roles.

JOIN FREE TODAY

How did you decide to become an actor?

It’s funny because I didn’t want to be an actor. During college, I went to school for broadcasting.

I deal with chronic migraines, and it was too difficult to manage with the workload. I thought, “Okay, let me try getting behind the camera or in front of the camera.” I didn’t even like the camera. I hated pictures. Every time my mom would take them, I hated it.

Slowly, I started to get into taking photos and acting, watching more movies. That’s kind of how I landed here. It was not on purpose, but now I love this.

How did you first discover Casting Networks?

I was on set for a commercial for The Athlete’s Foot, maybe five or six years ago. A girl on set told me about Casting Networks. I checked it out, and from there it was like, “Wow, I’m getting all these auditions!” 

I didn’t have an agent at the time. It was just so many auditions and opportunities. It just went up from there.

Your first SAG project was with Foot Locker. What was the audition process like?

It’s funny because my agent texted me, “Hey, you have an audition for Foot Locker.” I’m like, “My gosh, it’s a SAG project!” 

I had worked with that casting director many times, so I was excited to get the opportunity to audition for her. Honestly, we had the original audition and then the callback. I texted my agent back like, “I know I got this job. I know I booked it.” She texted me a few days later, “You booked it!” I screamed. 

The audition was through Casting Networks, and I believe it was done by Stacy Gallo Casting. 

What ended up happening when you got on set?

First, they showed us around. There was a cafe there. We then went to the Foot Locker location. It was very relaxed and a great experience. I met a lot of people. 

Honestly, [the shoot was] kind of in and out. We sat there for a little while, shot for maybe an hour. I got some free Nike shoes, so that was pretty cool. It was a great time.

[My role] was a shopper. They had me looking at shoes, pretending I’m a shopper, and buying a new pair of shoes. A few of the other people were Foot Locker employees with the jersey [uniform] on. I think they had Kevin Durant in the commercial as well, because this was in Arizona [when he was playing for the Phoenix Suns]. I was living there at the time.

Are you currently a SAG member, or are you still on your way?

I’m a must-join right now, so I’ve been very choosy with projects and stuff. 

This was the last voucher I needed [to join]. When I found out, I thought, “Yes!”

You also just booked a job with WhatsApp. Tell me a little bit more about that one. 

For the audition, they had us explain what kind of apps we use and how we keep in touch with family members. 

I think I got up at like, five in the morning [for the shoot day]. The streets were empty and we shot in the heart of Times Square on this circle that said, “WhatsApp.” We had to stand in the middle of it, and then have a conversation with somebody next to us.

It was a very interactive thing. Of course, there were people around, and they wanted it to be more realistic, instead of [looking like a] commercial. That was outside. We also shot some stuff inside at a cafe nearby, which was cool. It was fun being in Times Square shooting. 

What are some other successes you’ve booked on Casting Networks?

I booked The Athlete’s Foot commercial, as well as work for Kat Von D, Snapchat, Coca-Cola and Adidas. Aside from Foot Locker and WhatsApp, those are the really big ones that I’ve booked on Casting Networks.

What do you think helps someone succeed on Casting Networks?

Just keep submitting. I’m so used to being told “no,” that I don’t think about booking it. I audition because I love doing this. It’s fun. I’m on Casting Networks every day faithfully.

It’s a great platform with so many opportunities. It’s the main platform I use, and it has helped me with my success.

I like that you can upload multiple photos and videos, and that you can select them for each submission and cater to that submission. On the app, I like how you can filter it. I recently discovered that you can filter by age and state. It’s just really user-friendly. 

What audition tips and advice do you have for your peers?

Be yourself. Know your personality, be who you are, and then show that in the audition. 

I think sometimes we get so focused on booking it, or focused on messing up. I’ve messed up in so many auditions where I’ve stuttered [and then decided], “I’m going to send this because it’s what we do as humans,” and I end up booking it. 

Be yourself, have fun with it, and don’t be so serious.

Final Takeaways

Landing your first commercial gig can be a game-changer for any new actor, opening doors to bigger opportunities and professional growth. Aconda Williams’ journey shows that persistence, preparation, and making the right connections are key to success. Here are some practical steps new actors can take to follow a similar path:

• Always prepare thoroughly for auditions to showcase your best self confidently.
• Network consistently with casting professionals to stay top of mind for upcoming roles.
• Don’t hesitate to audition for smaller roles; they can lead to bigger breaks and union membership.
• Understand the value of getting your SAG card as a milestone in your acting career.
• Stay patient and persistent, knowing that every audition builds experience and momentum.

You may also like:

• Mike Knox Talks Impersonating Elvis on ‘Good Mythical Morning,’ Improvising With Kylie Jenner | Success Story
• Celine Milien on Booking Hand Modeling and Lottery Commercials | Success Story
• Trevs Begalman Talks Booking a Role in ‘F1: The Movie’ | Success Story

The post How Aconda Williams Booked a Foot Locker Commercial and Got Her SAG Card | Success Story appeared first on Casting Networks.

By embracing failure and going out of his comfort zone, Knox has landed roles through Casting Networks that ended up being some of his favorites. 

Knox shares stories of booking roles that include an Elvis impersonator officiating a wedding on the web series Good Mythical Morning, and improvising alongside Kylie Jenner in a major commercial. Get ready to dive into a story of resilience, fearless reinvention and the surprising lessons learned from chasing the spotlight.

Insights From Mike Knox

• Actors should embrace failure as part of the process and keep auditioning consistently, understanding that rejection is normal and helps build resilience.
• They should prepare to be flexible and improvise on set, as scripts and directions can change rapidly, requiring adaptability.
• Actors should focus on being present and authentic in auditions, responding naturally to their scene partners instead of trying to overly “be” the character.

Get access to thousands
of high-quality roles.

JOIN FREE TODAY

How did you first decide to become an actor?

It’s something that I’ve always wanted to do. When I started out doing it, it was a lot harder because you didn’t have access to social media. You would respond to an ad and have to drive [to auditions]. I realized early on that I wouldn’t make any money from doing this. It’s extremely hard. I had a family, my daughter got sick, so it sidetracked me. Now that I’m retired from law enforcement, I have the opportunity to do it.

How did you first discover Casting Networks?

I took an acting class at UCLA, but it turned out to be a class about the business of acting, which was great. The teacher talked about Casting Networks, which I had never heard of before. What I love about Casting Networks is that being a user is so flawless. 

[I like] the way a casting call is broken down. I can see where it is, you know what it is, how much the pay is, the time it’s due by and the shoot dates. A lot of it is scheduling, and what I didn’t realize going into it was you might get an avail where you’re available, but then nobody calls you back, so there’s a lot of failure to it. 

There’s a lot of waiting around. There are a lot of jobs you think you’re going to get that you don’t, and Casting Networks is keeping all of that cataloged for you [with the Role Tracker feature]. Often, I’ll accept something and forget what it was, or I’ll audition for something and forget what it was. Now I can go back to Casting Networks and refer to it. 

You booked a role as an Elvis impersonator. Tell me a little bit more about that gig. 

It was for Good Mythical Morning with Rhett and Link. It was during a time when I just thought, “If I’m going to get into it, if I’m going to do acting, I’ve got to do something that scares me to death.” That was an Elvis impersonator. 

I went and got the outfit, and I watched a bunch of Elvis impersonations. I sent in a self tape, got a callback for it and sent in another one. Then they wanted to see more of the outfit that I had. The studio was in Burbank, so it was close by. I was scared to death. 

[They gave me] 12 lines, and they kept changing them. That was another thing I didn’t realize — how much improv goes into all of this. The lines were changed at 8 o’clock at night, and then they were changed [again] at [midnight]. When I arrived at the set, they had been changed again. 

I did my best, and it turned out to be great. [My role] was an Elvis impersonator who was officiating a wedding. It was something I worked hard to achieve, and I landed the role. It was something that I was very proud of.

What was the whole experience like for you?

You meet with the producers, then you go to the green room, where you wait. It’s surreal because you’re in a green room by yourself. Between my anxiety and panic, everything was setting in. The producers are coming in, telling you, “Hey, 15 minutes ’till we do this,” or walking you through a little bit of what they want [you] to do.

I’m waiting at the door to go onto the set, and they’re calling, “Action.” I’m meeting the two stars of the show for the very first time. Again, it is a lot of improv because I’m having to react to what they’re saying to me, which wasn’t in the script. I have to play off of what they’re doing. That’s their show. It’s not my show. I’m just there for a specific amount of time. 

I did my scene. I talked with everybody for a little bit of time, and then they’re like, “Okay, that’s it.” Your job’s over, you’re ushered out the door, and that’s [what it is] for most acting jobs. I think for some people, that’s hard to deal with because you have this huge high, and then you have this low when they shuffle you out the back door.

What other successes have you achieved through Casting Networks?

I got a Kylie Jenner commercial I did two weeks ago. That turned out to be great. It was a lip gloss commercial. [When I booked it, at first] I was like, “I don’t think I want to do that, but the money’s good.” 

That said, I’d been going to commercial classes and acting classes. One of the teachers said, “Take the job because there are hundreds [if not] thousands of other actors that want that job. The fact that you’ve got [it] is kind of like winning the lottery. Take the job and then see where it goes from there.” 

I didn’t know it was for [Kylie Cosmetics], Kylie Jenner’s cosmetics [company]. [The casting notice] just said, “lip gloss,” and then I didn’t hear anything until 6 o’clock in the morning. I contacted one of the producers and said, “Where’s the call sheet? Is there a call sheet?” My call sheet was at 8 o’clock, so I rushed over to the set, and it turned out to be a huge production. I did an improv scene with Kylie Jenner. 

When I auditioned, I sent in a self tape thinking I didn’t know if I was going to get it or not. That’s what a lot of it is, not thinking about whether you’re going to get it. To me, it’s the numbers game. I’ve auditioned over a thousand times and I’ve gotten about 30 jobs.

The Kylie Jenner one has probably been one of the best. The Elvis one was just great because I got to be Elvis. 

Do you have any advice for your peers on what you think helps someone succeed on Casting Networks?

For me, it’s embracing failure. I was always taught growing up that you can never fail at anything. Don’t even try if you think you’ll fail. 

To me, it is all failure, and it’s running toward the fire. Just signing up for Casting Networks when I started two years ago was horrifying for me because I didn’t understand it. I thought all of these other people knew [something that] I didn’t know. A lot of it was simply the repetitive nature of the process. 

If you’re just starting, or have been doing this for a long time, I think people recognize that as the craft. Just like learning lines, it’s going to stick with you through repetition and failure. 

I’ve always been afraid of failing, and now I’m just embracing the constant failing. When you audition for something and don’t hear anything, that’s considered a failure.

I think it’s very hard on our egos to do that, but that’s how I approach things. That’s coming from somebody who has a law enforcement background, where you’re supposed to be in control of everything. 

On one of my very first jobs, I played George Handel, the 1700s composer. Afterwards, the director came and hugged me. I’d never had a job or anybody who hugged me or anything like that. I was like, “This is what emotions are about.” 

That’s what I love about acting, and it’s also what I love about Casting Networks. You’re meeting all these people, and you’re networking constantly. Besides the acting part, Casting Networks is bringing all that together — all of these people to help you do your job. That was something that I had never seen before. I thought everybody was against you, and now I see everybody’s there to help you.

With your law enforcement background, a lot of that job is going into uncomfortable situations and just being ready to deal with whatever ends up happening. 

That’s what I always remind myself. I worked in a prison for five years. I can walk into a room and do an audition. 

I’m still scared. I still have all those thoughts going through my mind, but it’s getting a little easier as I go about doing it, and that’s my goal. My goal is to finally get into an audition where I’m at ease. 

Like with Casting Networks, every day you’re getting that list of jobs, and you’re just taking it day by day, applying for these jobs, and you never know what’s going to happen. That’s what I think is great about it.

What’s the best way to approach an audition, and what tips and advice do you have for your peers?

I’ve taken a bunch of different acting classes. For me, it’s about going in there, being yourself and being present. 

You can go in there and start to get nervous, and then you’re thinking, “What’s that person thinking, and what are they thinking about me?” If you’re just going in to play that character and be present with that character and listen, I think it’s going to take you farther than if you’re trying to figure out how to be that person, because you’re not that person. 

If the scene’s about anger, you can be angrier. For the scenes about loving, if you’re present and thinking, “How am I going to respond to that person,” that’s yourself coming in, being present, and just being yourself. Again, bringing in the improv, I think, is always great. I never realized how much casting allows you to do improv. 

I think that it’s hard for a lot of people to just be themselves because we’re always trying to act like we’re somebody else.

Final Takeaways

Starting out as an actor can feel overwhelming, especially when facing constant rejection and unexpected challenges. Mike Knox’s journey shows that success comes from embracing failure, staying open to improvisation, and being authentic in your work. Here are some practical tips to help new actors navigate the ups and downs of this craft.

• Accept that failure is part of the process and keep auditioning without losing confidence.
• Be ready to improvise and adjust quickly when scripts or directions change on set.
• Focus on being present and true to yourself during auditions rather than trying to force a character.
• Use tools like Casting Networks to stay organized and track your auditions and roles.
• Remember that building ease and comfort in auditions takes time, so be patient with yourself.

You may also like:

• Celine Milien on Booking Hand Modeling and Lottery Commercials | Success Story
• Trevs Begalman Talks Booking a Role in ‘F1: The Movie’ | Success Story
• How Pauline Sala Went From Skate Park to Coca-Cola Commercial | Success Story

The post Mike Knox Talks Impersonating Elvis on ‘Good Mythical Morning,’ Improvising With Kylie Jenner | Success Story appeared first on Casting Networks.

With her heart set on entertaining and a knack for turning everyday moments into performances, Milien dove headfirst into auditions, self tapes and even hand modeling gigs. Through trial and error, she learned how the biggest breaks come when you least expect them.

Celine shares her journey into acting, offering an insider’s glimpse into the highs, the lessons and the moments that keep her passion alive.

Insights From Celine Milien

• Actors should respond quickly to media requests and notifications to stay competitive and secure roles.
• Use Casting Networks’ features like Role Tracker and Alerts to monitor submissions and follow up effectively.
• For auditions, focus on giving your best performance without overthinking, and limit self tapes to about five takes to maintain authenticity.

Thinking about joining Casting Networks? Sign up for a free trial today!

How did you decide to become an actor?

In 2021, everyone’s “favorite” year, I was in the house. The world had paused a little bit, and I thought to myself, “What is something that you’ve always wanted to do? You should just do that!” 

I knew in my heart that I wanted to be an actor, because I literally just could not stop watching cast videos. Any time I saw an article come out about my favorite actor on a show, I’d watch a video about the cast. Watching Hannah Montana, That’s So Raven, just anything you can imagine, I was like, “That’s something that I can do.” 

I felt like I was born to entertain. I love making people laugh. I love being silly. My mom would always say that everyone I met was my friend because I love talking to people, so I was like, “Why don’t we try to pursue acting?” 2021 came and I was like, “This is scary,” but I wanted to take that chance.

How did you discover Casting Networks?

I knew nothing about it, so I [searched for], “How to be an actor in New York City,” and I found casting sites [online] immediately. I found Casting Networks and a few others, and I was like, “Hmm … What’s this one?” 

By the way, always check your emails, because I signed up for Casting Networks, not knowing [how the] website [worked]. I just knew that you can submit for roles, and I didn’t realize that you can get responses. I would submit to things and get media requests, not really knowing what they were. 

What I know now: production moves fast. There are so many people who are probably on Casting Networks right now who are waiting for their requests. Send it in as soon as you get it. I learned that the hard way. 

I don’t miss a notification now. If I get a media request, I jump for joy because I’m going to be on that. 

I’ve been grateful for that experience, and acting is something that I just love so much. [It’s] awesome that I get to be these different characters and dress up and be in period pieces through Casting Networks. 

I have been on so many sets: [The] Marvelous Mrs. Maisel, Raising Kanan, [plus] other sets that have code names that I didn’t know were code names until I went to set. For example, I was like, “What does ‘Bad Witch’ mean?” Come to find out that means Gossip Girl. 

Casting Networks is the only casting site that I really like. It helps you find different jobs, and honestly, that’s why we’re here, because I booked a job that was really cool, and it landed me my SAG card. Casting Networks is the reason why I was able to join SAG. 

How did that happen?

What I love about Casting Networks is that you can submit for anything. I thought that because I was non-union, I could only submit for non-union things, but I found out the way to get your SAG card is through submitting yourself for SAG jobs, or if you’re on set and you get a waiver. If you get three, that’s how you can join SAG. 

Knowing that I can submit to SAG jobs, I submitted for this commercial. That was the first time I’ve ever been on a commercial set as background. I was like, “Okay, this commercial is asking for SAG people. I’m not SAG, but if they like me, they’ll take me.” And they did. It was perfect.

Then [the production company] emailed me and said, “Hey Celine, we have a hold on your account right now. You should call SAG and figure that out.” I called SAG to find out what was going on. They were like, “You know you need to join, right?” 

I probably had like 10 SAG waivers and didn’t know. Sometimes they come at you quickly. You’re just doing the work, and you really don’t know. They usually send a letter, but I didn’t get one. 

The call solved it all. They were like, “No worries, girl. You’re right on time, but for this next project that you just did, you have to join.” 

That job got me into SAG, and honestly, it was the best thing that could have ever happened until the strike happened. Luckily, I joined SAG during the strike on Halloween, and it ended a week later. 

Now I had a whole new world of things to submit for. Being in SAG, I can no longer submit for non-union projects, but that’s okay because being in the union is amazing, and I’m covered. 

Every time I’m on a set, I get to see my SAG reps. It’s smooth sailing, and I love my union. By doing that, I was like, “Okay, I’ve done everything that I wanted to do.”

You booked a hand modeling gig for Cafe Bustelo/Folgers. Tell me about that experience.

I always knew I could be a hand model and thought, “What if I find a hand modeling gig on Casting Networks?” I’d seen some, but never submitted because I was like, “Should I?” That turned into “Why shouldn’t you? You’re paying for a yearly subscription. Might as well make the most of it.” 

I started looking for hand model roles, and I found one, and I submitted for it. Every actor should have some hand digitals because you never know when you’re submitting to jobs. You can always check off the boxes that you want to have on the profile when you’re submitting. 

I had some hand digitals — front and back on a flat surface; not up. You’re not supposed to have your hands up in the air. They want to see it on a flat surface. I submit that, and I get a media request almost immediately. 

I turned those bell notifications on, and I have text notifications and email notifications on. I don’t play. I’ve never missed a media notification again in my life. [The message] was basically to check to see if I was available for the shoot date. I said, “Yes, I’m available. I’m in New York City, a local hire. Here’s my phone number and anything else you need.” Then I booked the gig, and then I was on set doing my thing.

How does somebody become a hand model? 

There are hand modeling agencies. I’m actually going to submit to one. I need to push through the fear because it’s a thing. I’ve looked on TikTok to find out how to do it. They’ve shown things like making sure that you have your hands massaged and moisturized, taking nice pictures and having pictures of your hands on your profiles. 

I’ve submitted for so many hand modeling gigs, a lot of which have been under consideration. 

Here’s another tip for people on Casting Networks: There’s a great feature [Role Tracker] where you can check to see if [casting is] looking at the submission that you submitted. Sometimes they don’t, but sometimes you can see the little activity tab where they’ve opened it, and you’ll know from there. 

You just have to have some pictures of your hands on your profile, find jobs and then just submit for that. 

Here’s another thing: when I submit for these jobs, I don’t put my profile picture as the first photo. I’ll make my primary pictures my hands, because I feel like that’s what they’re looking for.

That was my other question. What does a hand modeling audition look like?

I think it’s just sending casting directors the pictures of your hands on a flat surface. I also have a picture of my hands just doing random things, too, because I feel like the more they can see, the better. I want to make their job easier when they’re looking, because sometimes it’s that quick, the casting process.

What happened when you got on set for the Cafe Bustelo spot? What did they ask you to do? 

I got to set so happy. They actually paid us to get gel manicures done so that we could have them ready for the set, which I thought was genius. After that, we got to set, nails ready.

They also had a wardrobe for us. Even though they couldn’t see our faces, they could see our bodies [and didn’t want anything to distract from the coffee]. They picked out neutral color shirts for us to wear. 

For the Cafe Bustelo part, they had an animation drawn, so I had something to follow. They brought me the same color shirt that the person in the graphic design was wearing. The shot is of me holding the coffee and then pouring it into a cup. We did that maybe like four or five times because it was real coffee, and the mug kept getting dirty. 

Everyone probably thinks hand modeling is so easy. It’s not. Your hand is shaking. You’re tensed up. You’re like, “My God, am I holding this right?” Luckily, they were so kind to me on set. They were just directing me, “Hold it like you’re excited to pour.” I’m like, “How am I ‘excited to pour?’” 

You’re acting as well, because you wouldn’t pour like you normally pour at home. At home, you’re like, “I don’t care about this cup of coffee,” but these people are recording you, so you want to make sure that you’re in tip-top shape. I’m pouring it and making sure the camera can see the different angles, trying it a little lower. 

The second part of the shoot was for Folgers. I’m pouring, and then it turns into the animation. That one was a little bit easier because I had the coffee, and it was just pouring the coffee into the cup. 

The Folgers scene was a split screen. I’m doing it with this other guy on the side, and we had to mix this iced coffee [at the same time]. It’s fake ice with real coffee, so you can mix it, and the ice won’t melt. 

I had a real frother that I had to pour the coffee powder mix into and then put the frother in and mix it, but the frother was bumping the fake ice in the glass. I was stressed, and they could tell. 

They were like, “Celine, don’t worry about it,” because they wanted to get it like one take. It all turned out fine. The end product looks great, but I was shaky a couple of times.

What successes have you had since joining SAG?

Your girl booked her first SAG principal commercial on Casting Networks for the Maryland Lottery. 

What did you have to do? What did the casting call ask for, and what happened on set?

When I saw this particular role, I was like, “This is mine.” I felt it in my spirit. I saw it in my head. It was for the role, “Sunflower.” 

Casting Networks does a great job of knowing your profile and [sending you a list of] roles that might be geared toward you. I found out after there were five other roles, but I only saw the Sunflower one. 

The role type was principal, and the rate was also there. It said the age range and the description was for a “Black female, ages 25 to 40. She’ll be dressed in a sunflower costume. The face will not be covered. Should have excellent improv and comedy chops, strong actress, bubbly personality and cheery disposition, an expressive face and a bright, clear voice.” 

I submitted, and maybe the next day, I got a media request. I responded immediately.

In the media request, it asked for a self tape audition. There were sides included and instructions. It was really just one line saying, “Yes. One, please.” [The idea is that] you’re buying a lottery ticket, and they wanted to see three different versions of that. 

Even with seeing this role and knowing that this is possibly for me, I was still in my head. One thing about an actor, they’re going to be in their head. I filmed it, and thought, “Maybe I’m not being cheery enough. Maybe I’m not being bright enough.” Things that you don’t need to be thinking about. As long as you put your all into it, you’re going to be fine, and you’re overthinking for no reason.

The best thing about Casting Networks is the “Alerts” tab, because you get to see everything that you’re doing. The next day, I’m on my Alerts tab. I’m looking through, and I see the media requests and the callback requests. 

This was my first time ever seeing a callback request on Casting Networks. I’ve been on the platform for about three years now. I was like, “What does this mean? It was inviting me to a Zoom call. I get into Zoom, the producers are there, the casting director is there, and there are six other faceless names. I just see boxes and I know they’re all looking [at me] and I’m like, “My gosh, there are so many people in here.”

It was so interesting because this is also for actors with self tape setups. I had to shift gears during the callback. I was mortified because I’m switching, and they’re like, “Can you lower the camera a little bit?” They didn’t know that I had my iPad balanced on my fan. 

They wanted to see everything. They’re like, “Don’t worry about the background.” I was like, “It’s not the background that I’m worried about. It’s what my phone is leaning on!” Crisis averted, because I handled it well. 

They saw me, and it was great. I kept it upbeat. I do the performance, they give me a note, I do it again, they give me another note, I do it again, they give me another note. I’m on my fourth time, and it wasn’t clicking to me that this means they like you. I’m still in my head saying, “No! I’m probably ruining this.” 

It was all fine. After I did it for the fourth time, they were like, “Thank you so much for doing that. We’ll get back to you.” I was like, “Thank you so much. This is exciting. I am so happy to have met everyone here.” 

They immediately end the call, and I have been staring at the wall for [what feels like] three hours thinking, “I don’t know what just happened here, but I hope that it was good.” 

Two days later, I get an email saying, “You’re booked!” Next thing I know, I’m in Maryland for three days in a really cute hotel with awesome cast members, eating food and acting. 

What was the on-set experience? Did you go into a studio, or did they just have a store that they rented out for the day?

I think they had a store that they rented out for the day. We were in Maryland, and we were at a gas station, and they switched up the interior a little bit. They had a car for us. They drove us from the hotel to the filming location. We had our trailer, got our hair and makeup done, put on our costumes, and then went to set.

Acting [involves] a lot of waiting. We were in costume, and we were waiting for everyone’s part. I was first up. I ran through the side door and came in. They were catching me running from different angles to the cashier. 

There were more shots like the close-up of me coming in, saying the line, doing some improv to show that either I’m paying for this ticket, or getting the ticket and running out with it like a crazy person. There were no scenes of us interacting with each other until the very end. We were all filming our parts and then [waiting for the end when] we did the selfie. 

I saw your TikTok — you have a billboard ad in Times Square for Rizos Curls. What does it feel like to go into the city for a normal day out, only to see your face on one of the most famous billboard displays in the world? 

I’m about to tear up because it’s indescribable. It’s something you dream about. You literally work toward it and manifest. I’m getting emotional. It’s a great feeling. I built such an amazing relationship with that brand. 

They’re like, “Celine, we really want you to be a part of it because you’ve shown so much love to our community, and we love having you. And we know you’re a New Yorker, so we want to see you and your city shining bright.” Wow. 

Sometimes I forget. With the hustle and bustle of being a New Yorker and doing this, it’s really sometimes you need to take a step back and really celebrate these moments. 

What’s the best way to approach a self tape or in-person audition? Can you share some audition tips and advice for your peers? 

Don’t worry too much about your background. Don’t worry too much about where you are. They genuinely just want to see you in your element. Submit with the heart of knowing that, “I did my best, and I’m going to continue doing my best, and if they love that and they see that, they’ll always see me at my best.” 

I think approaching it with an open mind and not stressing too much, and keeping it at five takes. Anything over five, just stop, because you’ve already got it and now you’re just doing a lot [for no reason].

Final Takeaways

Celine Milien’s acting journey began during the quiet of 2021, turning downtime into opportunity. From discovering Casting Networks to booking her first SAG principal role, she shares honest insights and lessons learned along the way. Her story highlights the importance of persistence, adapting to new experiences, and celebrating the wins big and small.

• Celine started acting by embracing her love for entertaining during the pandemic and diving into auditions and self tapes.
• She learned to navigate Casting Networks quickly, responding fast to media requests and tracking submissions to book roles.
• Joining SAG came through persistence and snagging waivers on union projects, opening new doors for her career.
• Hand modeling gigs taught her that every role requires focus and professionalism, even when it seems simple.
• Her first principal commercial booking led to an exciting on-set experience and a billboard ad, marking milestones worth celebrating.

You may also like:

• Trevs Begalman Talks Booking a Role in ‘F1: The Movie’ | Success Story
• How Pauline Sala Went From Skate Park to Coca-Cola Commercial | Success Story
• Success Story: Sarah Murray Talks Booking a PopSugar Campaign for Walmart and Her Social Media Advice

The post Celine Milien on Booking Hand Modeling and Lottery Commercials | Success Story appeared first on Casting Networks.

Here’s how Begalman quickly navigated the industry as a newcomer, landing a role in F1: The Movie through Casting Networks.

Insights From Trevs Begalman

• Actors should create authentic profiles that show their true personality to connect better with casting directors and agents.
• Always respect deadlines by submitting auditions early to demonstrate professionalism and reliability.
• Use self tapes creatively by sending multiple versions when possible to showcase versatility and stand out.

Thinking about joining Casting Networks? Sign up for a free trial today!

How did you decide to become an actor?

It was a spur-of-the-moment decision. I’d been a nurse forever, and I’ve always had a passion for acting and singing since I was younger. I woke up one day and said, “I think I’m gonna do it.” And I quit my job.

I know it’s a bit crazy. I quit my job, and I said, “I’m going to try this,” with my husband’s full support. I’ve been doing it since last year and haven’t looked back.

I’m in my late forties now. I don’t want to go to my grave not knowing how it feels or what the journey is about when it comes to pursuing singing and acting, so I’m giving it a try.

That’s awesome. How did you end up discovering Casting Networks?

I like to research things before I dive into them in any aspect of my life. Whether I’m shopping for an item on Amazon or something else, I always research first and look into different articles.

Casting Networks was one of those websites highly recommended for beginners like me. I joined your website, and I was like, “Bring it on!”

I put my résumé on there, created my profile and crossed my fingers. I didn’t have an agent yet, but to me, it was all about learning as I go — learning the ropes, seeing it and hearing it.

You’ve only been doing this since last fall, and you ended up booking a background role with F1: The Movie through Casting Networks. What was the audition process like?

It’s pretty much the same, because with background acting, you just submit your application with your photo and your résumé. They don’t ask you for a specific audition since it’s a background acting job.

When I saw it on Casting Networks, I figured it wouldn’t hurt to submit my application again. They emailed me and said, “Hey, tell us more about yourself.”

Then they asked for more photos and details about me. I submitted them, and less than a day later, they said, “You booked the gig!” I didn’t have to self tape or anything like that. They based it on the information I provided and the fact that I live locally.

It was pretty quick, and they were very organized about it. They even gave us their email, saying, “If you need to get in touch with us, you don’t have to send it through Casting Networks.” It was a quick transition.

Great. What happened when you got on set?

When I got on set, it was very organized. The film shoot took place in a nightclub within a Las Vegas casino. Participants registered and showed their IDs to verify their identities. There were designated rooms: a fitting room, a waiting area for background actors, and other spaces. 

The casting director who contacted me even showed up in person and introduced himself to a room full of extras. I didn’t expect that at all, but his showing up and introducing himself, saying, “Hi, I’m so and so, thank you for coming,” felt very classy and made it a great experience.

What did they have you doing?

I was one of the patrons at the nightclub. The scene had us dancing and grooving, just like you would at a typical nightclub. They shot several scenes on different levels of the club, then would change things up, telling different groups to move to other sections. That was pretty much how it was the whole time, for about 13 hours.

What would you say helps someone succeed on Casting Networks?

I think the ideal way to introduce yourself to directors and agents is to simply show them who you are. I don’t think they want to see the actor right away; they just want to see the person they’re going to work with. For example, I’m talking to you right now. I don’t know you, but I’m talking to you as if you were a buddy from school.

Regardless of what industry you work in, I think that’s how it should be. You want to know who that person is and if they fit the character. Will they work well with the production crew? It’s just easier if you’re being yourself.

Do you have any audition advice that you could share with your peers?

Be true to yourself, be honest. Be respectful of time. If they say your self tape deadline is at a certain time, make sure you truly honor and respect that. Agents are so busy, they don’t have time to wait for you.

The way I see it, if I receive an audition request, I won’t wait until the last minute to send or complete it. If I have time tonight, I’ll create my self tape audition and send it right away.

Don’t wait for the deadline, or even one minute before it. It’s important. It’s a sign of respect to the people who are requesting your audition.

Whether you get the gig or not, you always leave an impression. Being timely speaks highly of you, I think.

For self tapes, it’s kind of hard in the sense that, at least when we’re doing Zoom calls and whatnot, I can see your reaction. With self tapes, you don’t get much feedback at all.

If you’re able to submit multiple versions of the self tape audition, try to. You’re showing them your creativity, in a sense; you’re not a one-trick pony. This is your audition. Enjoy it! There’s no reason not to enjoy the audition.

Final Takeaways

Trevs Begalman’s story shows that it’s never too late to chase your dreams and start fresh in a new career. Switching from nursing to acting wasn’t easy, but with research, persistence and the right tools, she quickly found her footing. Here’s a quick recap of how she made it happen and what she learned along the way.

• Trevs quit her nursing job in her late forties to pursue her passion for acting and singing.
• She researched casting platforms and chose Casting Networks to create her profile and apply for roles.
• Trevs booked a background role in F1: The Movie without an agent, simply by submitting her resume and photos.
• On set, she experienced a professional and respectful environment that made the long day enjoyable.
• Her advice: be yourself, respect deadlines and submit multiple self tapes when possible to show creativity.

You may also like:

• How Pauline Sala Went From Skate Park to Coca-Cola Commercial | Success Story
• Success Story: Sarah Murray Talks Booking a PopSugar Campaign for Walmart and Her Social Media Advice
• Success Story: Val Athanassiou Talks Booking Australian Government Ads and One Wild Energy Spot

The post Trevs Begalman Talks Booking a Role in ‘F1: The Movie’ | Success Story appeared first on Casting Networks.

Through her journey, Sala has succeeded on Casting Networks, landing major gigs with brands like Target and Coca-Cola by leveraging her skateboarding skills, building a strong portfolio and embracing every opportunity with authenticity. 

In this inspiring interview, she shares how she turned adversity into an opportunity, offers her tips for breaking into the industry and emphasizes the importance of never giving up.

Insights From Pauline Sala

• Build a strong, authentic portfolio that highlights your unique skills and experiences, and keep it updated on casting platforms.
• Take acting classes to broaden your skill set, boost your confidence, and make yourself more versatile for diverse roles.
• Embrace rejection as part of the process and persistently pursue opportunities, knowing that perseverance leads to breakthroughs.

How did you get into skateboarding, and what drew you in?

It was during the pandemic in 2021. I was going through a lot. I’m originally from France, and I couldn’t travel back home.

I was very alone. I had just moved to LA, was going through a breakup and my grandma passed away. I couldn’t go to the funeral. I was really sad and thinking, “What am I going to do with my life?” At this point, I was still going to acting school. That was the only thing I had going on.

I went to the Venice Beach Skate Park at some point. I felt called to go there for some reason. I was watching people skate. Eventually, I picked up skateboarding, and I fell in love.

You mentioned that you were scouted for modeling at a skate park. What was that moment? Did you see that coming? How did that whole thing work out?

I did not [see that coming] because I’m short. I’m 5′ 3″, so I never knew I could be a model and do that for a living. I always thought that I needed to be tall to be a model.

I was skateboarding when a casting director approached me and asked for my email, and they booked me. I got booked for Gymshark and then for a job with 47 Brand.

I felt excited. I also felt imposter syndrome because I thought, “Why me, and why not other girls who are pretty, know how to skate, and are giving off awesome vibes?” But it happened.

Did that happen early on when you were learning how to skateboard, or was it after you had already learned the ropes?

It happened a couple of months into my skateboarding journey.

Wow. That’s quick.

I know. It was crazy.

How did you decide to pursue modeling after that? Was it a tough decision, or did it feel natural?

It felt natural because I had originally moved to LA to go to acting school. I grew up interested in theater, and I realized how challenging it is to be in the industry. A lot of people want to be actors, especially in LA.

I didn’t know what I was going to do because I was thinking, “Damn, how am I going to get into this industry that I love?” Then I got into modeling and eventually started doing commercials and stuff, and I fell in love with it. It came naturally to me for some reason.

Thinking about joining Casting Networks? Sign up for a free trial today!

How did you first hear about Casting Networks?

I started using Casting Networks last year and began working on it full time. I discovered it on my own.

I researched the best casting websites and tried several of them. Casting Networks was the one that I fell in love with, and that is giving me many amazing opportunities.

That’s awesome. What was the thing that finally got you to sign up and start submitting? Was there a role in particular that stood out to you?

It was all the different casting calls for different roles. I love the diversity and how there are different things for different clients. I was also interested in other things, and I love how Casting Networks is updated daily with new roles.

I love how easy it is to post things and upload my pictures on Casting Networks. I fell in love with it because it’s clean, and it’s super easy for me to read through roles and not be overwhelmed.

Can you walk us through the process of submitting for the Target commercial? Did you have to film a self tape, or was it based on photos or a reel?

Oh yeah, the SW/CH Board! I submitted myself because they were looking for a skateboarder that looked young. I was 24 at the time. I’m 25, but I look very young. My age range varies from 16 or younger to my age. I submitted clips of me skateboarding. I saw the role and said, “This sounds awesome.”

I had kind of forgotten about it, and then I heard back a couple of weeks later. I didn’t even remember what it was for, and then I showed up on set. I was like, “Wait, this is awesome! Now I remember!”

I met a lot of cool people on set. It was awesome. I didn’t know it was going to be at Target and on the Target website and everything.

What was your reaction when you found out that you booked it? Were you pleasantly surprised?

I was super stoked and, honestly, felt like this was what I wanted to do. Eventually, I started booking way more and for even bigger clients.

I booked a Coca-Cola commercial with Casting Networks in December. That one was insane. I’ve ridden bikes before, so I thought, “Yeah, I can ride a bike.” Turns out I had to ride a BMX on set, which was super fun.

Tell me more about your day on the set for the Target commercial for SW/CH Board. What stood out to you the most?

That one was really fun because I knew one of the talents. He’s a little kid and an awesome skateboarder that I’ve seen at my local skate park. It was fun to work with him.

I was working with other talented skateboarders, too. It was fun to be on set, skateboard and learn.

The client was there, too. He was telling us about how he came up with the idea of the skateboard that allows you to switch different trucks, which is awesome.

I had to show up early on set because they wanted to take shots of my hands beforehand, showing how you put on the trucks. It was a really fun day.

The team and the crew were amazing. They were following us on roller skates as we were skateboarding. It was insane. The camera guy had his camera, and he was roller skating behind us while we were skateboarding.

Awesome. Tell me about the Coca-Cola commercial.

Coca-Cola was a dream come true. It was an “I made it” moment because we shot at the Universal Studios lot. I showed up and was like, “Wait, what?”

I had my own trailer on set, right by where they have the Jaws ride when you do the studio tour. It was really, really fun. We shot on Wisteria Lane, where they filmed Desperate Housewives. I love that show.

I was starstruck, like, “Whoa, this is my life right now.” I was working with John C. Reilly’s kids.

What do you think helped you stand out and succeed on Casting Networks? Especially if someone is new to modeling.

I think I was very lucky because I got scouted and had that experience. I feel like it really helps to have a good portfolio and a little bit of experience to book roles. I was very lucky with that because I got started where I already had done a job. I was able to find that on Casting Networks and put my pictures from that [onto my profile].

Also, a lot of times, people would take pictures of me without really asking, and then give me the pictures. They’re genuinely good pictures that were taken without my knowledge at first. Maybe my pictures helped.

I also had experience in acting. I went to acting school for 10 years. I was trying to study and did improv. Maybe that helped a little bit as well.

Do you have any tips for other skateboarders, athletes or extreme sports people who might want to break into acting or commercials?

Taking acting classes is very important. It’s a way to learn about acting, and also makes you realize that not a lot of [skateboarders or athletes have both sets of skills]. They’re shy, and they’re scared about what other people think of [them], but at the end of the day, it doesn’t really matter. You will have to do things like eating on set, and then sitting out in front of 30 people on set.

It’s not a big deal to do things that are weird or kind of embarrassing, because they’re not. It’s really fun. Be confident and not afraid to be yourself 100%. That’s how you stand out.

I will never get tired of that feeling of my friends telling me that they saw my commercial on their Instagram, TikTok, YouTube and even on TV. It makes my day.

With Coca-Cola, a lot of people told me they saw me on Amazon Prime while they were watching something.

My parents are in France, and they actually saw me [on TV]. I was in a music video for Sia and David Guetta’s new song, and they were like, “Hey, we saw you on TV!” I was like, “What?”

To me, it’s surreal because I remember when I was little, it was my dream to be in my position now. I’m very grateful.

What’s the biggest lesson that you’ve learned so far in your journey from skate park to set?

Part of the industry and part of doing what we do is hearing a lot of “no”s. It’s okay to be rejected because then all the “yeses” will be so worth it at the end of the day. My biggest lesson was to keep pushing and not take “no” as a final answer.

When you’re skateboarding, you’re going to fall a lot. It’s part of skateboarding — and yes, it’s going to hurt — but you keep getting back up and trying again because it’s worth it. It’s all about having fun and trying again.

What would be a dream brand that you hope to work with?

I’ve been a fan of Disney since I was little. Anything that has to do with Disney would be a blessing. The theme park or show would be amazing, or even a model for their merch. Anything with Disney, I would be so happy.

Any last words of advice for your peers?

Never give up. It is tough out there, but I think that whenever you have a dream in your heart, and you feel that it’s meant to be, you have to work hard and persevere and not take “no” for an answer. 

If you get a “no,” don’t give up. [It’s] okay. It’s part of the industry, because one “yes” is going to be worth it.

Final Takeaways

Pauline Sala’s inspiring journey from feeling lost at the Venice Beach Skate Park to starring in major commercials shows that resilience and authenticity can open unexpected doors. By turning challenges into opportunities and always staying true to herself, she’s built a career she once only dreamed about. Here’s a quick recap of her story:

• Pauline discovered skateboarding at a low point in her life and found community and confidence at the skate park.
• She was scouted for modeling while skateboarding, which led to commercial work for brands like Target and Coca-Cola.
• Using Casting Networks and a strong, authentic portfolio helped her land major gigs.
• Acting classes and embracing new skills made her stand out, especially as an athlete and performer.
• Her biggest lesson: never give up, and treat rejection as a stepping stone, not a roadblock.

You may also like:

• Success Story: Sarah Murray Talks Booking a PopSugar Campaign for Walmart and Her Social Media Advice
• Success Story: Val Athanassiou Talks Booking Australian Government Ads and One Wild Energy Spot
• Success Story: Amy McKillop Talks UGC Content and Why You Need to Update Your Profile Pictures

The post How Pauline Sala Went From Skate Park to Coca-Cola Commercial | Success Story appeared first on Casting Networks.

Murray shares details about how she got the gig, and advice for actors on how to use social media as a tool that showcases your personality.

Insights: Lessons From Sarah Murray

• Seize casting opportunities at once, showing genuine passion for the brand.
• Use select, high-quality media to demonstrate your range on casting platforms.
• Share your personality and hobbies on social media to enhance your professional image and network.

I wanted to talk about your PopSugar campaign. First off, I love how you just went into the store and bought all of the boxes. Can you tell me about how you got the job? What was the audition process like, and how does it feel to have your face in Walmart?

I remember it like it was yesterday. Sounds silly, but truthfully, it was exciting for me because I’ve been a fan of PopSugar as a brand for a very long time. PopSugar Fitness, especially, got me through the pandemic with all of their free workout classes. 

I was walking to my parents’ place, and I received a notification from my email. I saw Casting Networks [had posted a casting call for] PopSugar, and I stopped in the middle of the sidewalk and applied right there. I said, “You don’t understand, I love PopSugar. I love PopSugar Fitness. Jake Dupree’s workouts kick my butt every time, but I thank him for my abs every day.” 

I was just very honest. [I said], “I love this brand. This would be a great opportunity for me. It’s a dream opportunity, and I’d love to be considered.” I didn’t even know what the project was, or what the project was for. I just knew it was PopSugar, so I wanted to apply.

They requested a self tape via Casting Networks. I uploaded it the next morning. There were a few back-and-forths over email for a little bit. Then I received an email that said, “Okay, Sarah, PopSugar wants to confirm you for the shoot.” Dream come true.

It was on the day of the shoot that I found out that we were taking photos for more of the PopSugar wellness side of the brand, and that my face was going to be on a box. I didn’t know any of that before; I just wanted to have an opportunity to be a model for this brand that I know and love. It’s always exciting when you get to model for brands or companies that you have a personal connection with. It means a lot. 

I later found out that it was going to be in Walmart. I was visiting my sister in Georgia for [her] graduation, and I said, “Let’s go to Walmart while we’re in the South.”

Thinking about joining Casting Networks? Sign up for a free trial today!

That’s amazing. How did you decide to become an actor/creative?

Parents are always a heavy, and hopefully, positive influence on most people. They were positive for me. My parents had me in a modeling agency when I was much younger, but then we found it difficult to balance. I was, like, seven. They decided it was difficult to balance my schoolwork, in-person schoolwork, and also attending auditions for modeling and acting, so we stopped. 

Once I graduated from college, my parents were kind of pushing me to get back into modeling, and maybe try a little bit of acting and background artist work. I did that for a little bit, but I have a stutter. That’s always made me nervous to do any kind of script reading or speech work, which is why I tend to lean a bit more toward modeling. Funnily enough, I am frequently hired to do voiceover work and on-camera script reading for commercial modeling. Either way, I’m talking no matter what! 

My parents were probably the biggest influence on me getting into this industry from a young age, then pushing me to get back into it now. As a career, that kind of came naturally as I was able to expand my network more into modeling and acting. I’m building up a network of other creatives that I get to work with and regularly brainstorm and collaborate with. 

How did you discover Casting Networks? Was it something that you also found in the network that you were building?

It was through a referral. Someone said, “Wait, how are you not on Casting Networks?” I said, “I’m so sorry. Please tell me more.” This is not sponsored, but people kept telling me, “I prefer Casting Networks over other platforms for A, B, and C reasons.” I simply signed up because people told me it was a great platform to be on, and I’ve been a member ever since.

What tips would you share with someone who is just signing up for Casting Networks to set up their profile and stand out? 

I could talk about this forever, but I’ll try and keep it brief-ish. I think it’s quality over quantity when it comes to what you upload to the platform. You may be limited to how many videos and how many photos you have as examples. If you can show a lot of range of what you can do with just 10 photos, I think that’s great. 

Same thing with a video. If you can compile all your work from any work you’ve done, either in school as a student or as extra work, you can make a beautiful reel. That’s just a good asset to have as a model or an actor. On top of that, it helps casting directors see all the work you’ve done without having to click on individual files. 

How do you prepare for auditions? Do you have any rituals or techniques that could help someone when they get that email in the middle of the street? What advice would you give them?

I don’t think I have a ritual per se, but I do a lot of research. I recently, through Casting Networks, received a virtual audition. It was for a food company, and they wanted me to eat on camera. Usually, I try to go out and buy the brand’s food to have with me for those instances. It’s a manifestation of practicing for the real deal. I like doing it in that capacity, but this time around, my audition was at 10 a.m., and it was for fried chicken, so they were not open at 10 a.m. 

Instead, I went to Target, committed to the bit, and bought chicken tenders. I got three different sizes to show them some variety, which they appreciated. 

I also did extensive YouTube/Googling on previous ads that they’ve done in various parts of the world with people [taking a bite of] and eating their chicken. I was trying to focus on how they were holding the chicken sandwich versus the tenders versus the nuggets, so I could make sure I wasn’t just grappling with a chicken nugget like, “I’m starving. This is the first meal of the day. Let’s get it in my mouth as quickly as possible.” 

I use whatever resources might be out there to serve as an example of what this brand is looking for when it comes to the colors that they typically have in their branding, the execution of what they do, and if there’s a similar style of how they direct their models and actors for these still shoots or videos. If there’s an opportunity for me to have the brand’s product with me in the audition or the self tape — even if they don’t ask for it — I do my best to have those materials. It helps make it as easy as possible for them to see me in this campaign with their product.

Your social media stands out. What advice would you give to actors or models regarding the use of social media and building an online presence?

You probably have seen this as well, but there has been an increase in casting directors wanting to see talent as more than just someone coming into an audition and performing a role. They want to see: Who are you as a person? Who are you outside of this occupation? If this is your one occupation, how long have you been doing it? What’s your history with wanting to be in acting? 

Social media is just an asset to show more of who you are and to serve as a combination of a secondary portfolio of your work. I use my Instagram and TikTok for that work and purpose. You should also use it to show a bit of your personality, your interests, and as a result, some of your talents outside of the usual. 

For example, I’ll sometimes post ice skating and baking content. I’m a huge baker. I love cooking. I’m also a self-taught baker/skater, and that can be exciting. It’s a chance for people to get to know more about you outside of what you might record and submit for a self tape. It can also be a way to connect with other creatives and find people who want to help you build your portfolio while also building theirs. 

It can be mutually beneficial to have some kind of social media presence. It doesn’t have to be big, but if anything, try to see it as an asset and a tool to utilize for other opportunities and to meet new people in your network.

You may also like:

• Success Story: Val Athanassiou Talks Booking Australian Government Ads and One Wild Energy Spot
• Success Story: Amy McKillop Talks UGC Content and Why You Need to Update Your Profile Pictures
• New Feature: Link Your Social Media to Your Talent Profile

The post Success Story: Sarah Murray Talks Booking a PopSugar Campaign for Walmart and Her Social Media Advice appeared first on Casting Networks.

Athanassiou also has an interesting niche that he books regularly: Australian government ads. He shared a number of spots he’s done in this sector, along with plenty of advice for mastering Casting Networks. 

Insights: Lessons From Val Athanassiou

• Have professional headshots for different roles and keep your reels short and updated.
• Read audition briefs fully, submit auditions quickly and communicate with your agent.
• Treat each audition as an opportunity, be professional and don’t rush to leave the building.

How did you decide to become an actor?

It was pretty much a dream from as [early] as I can recall, even growing up in New South Wales. At school, I often found myself standing up in front of the class, or my peers, or my parents doing terrible impersonations. 

I apparently got onto this Tom Jones thing for a while where I’d get dressed up in flares and baggy shirts, and sing along to songs like “What’s New Pussycat?” It kept me out of trouble with my peers and often got me into trouble with my teachers. The seed was planted there at a very young age.

Growing up and working in my parents’ seafood restaurant in the northern part of Sydney, I’d often sneak out after school, and after helping them out, to a little movie theatre across the road. I was often the only human being there. They would be playing Marx Brothers movies and science fiction films like Buck Rogers in the 25th Century and Battlestar Galactica. 

The more time I thought I could spend in front of a camera, I thought to myself, “This is something I want to do. It’s something I need to do.” Hopefully, I can keep doing it until they carry me out in a long box with metal handles. I’ve succeeded so far. 50 years old this year and I’m still going!

How did you discover Casting Networks?

I might have come across it by accident. When I first started building a profile, I was searching for anything and everything [where] I could get my face up online. 

I must have had 15 profiles up at any given time, and eventually came across Casting Networks. Then the agent that I had at the time said, “Look, pick these three or four.” One of them was Casting Networks. 

Ninety percent of my work comes through Casting Networks. I’ve been on it for a long time, and it’s still my favorite. It’s the first one I recommend to any budding actors. 

Thinking about joining Casting Networks? Sign up for a free trial today!

You’ve got multiple ads running on different mediums right now—all of which you booked up through Casting Networks. Can you please name a few and walk me through the audition process for one of them?

One of the most high-profile ads turns out to be one of the most lucrative as well, because it’s gone into a turnaround or rollover three times now. I originally filmed it back in 2021. It was an ad for AGL, which is the Australian Gas Light Company. It’s the big company here in Australia that pretty much takes all of our money when it comes to gas and electricity. 

They were looking for real families—dads with real daughters, or daughters with real dads. I tapped my daughter on the shoulder and said, “Would you be interested?” We sat in front of the camera and the brief was to pretend you’re looking at an AGL app. I’m the dad who isn’t quite all there with technology. I’ve got it upside down and my daughter’s there with a sly grin on her face, “You silly man, you. This is the way you do it.” That then resulted in a callback. 

We went to the casting director in Melbourne and we did it all again. The directors were both there and they must have liked us because they gave us the job. It’s one of those almost “blink and you’ll miss” ads. You can very clearly see me, and in the full ad, my daughter gets the full screen to herself. It was a fun ad and it’s still running. It’s about to get renewed for another 12 months. 

This is the benefit I’ve found over the years of doing these ads that are tied to government somehow. They pay very well and they tend to reuse them. That’s happened to me quite a few times over the years. 

Any others?

Last year I did a short comedic piece for a mining company, of all things, called Envirosuite. The pitch was to sell plain coal, renewables and renewable energy from digging a big hole in the ground. The whole “Don’t look at me, man. I only work here,” bit. That was a fun gig.

I’m the team leader, the boss. I’m conversing with my team telling them, “We’ve got some big issues here. There’s a storm, all the power poles are down. What are we going to do? What are we going to do?” “Oh, we’ll fire up the renewables, boss, and we’ll save the town.” That one’s still going. That’s online and on social media.

What was the audition process for that one like?

That was a bit more rigorous because I didn’t quite have an understanding of what the ad was about in the beginning, and they had me sign an NDA. The hint was that it was energy-related, not insofar as mining goes. I was just me in a high-vis top running through the script. The lines were quite straightforward. 

One of the girls that was there was actually from Boston. They used her natural accent. The rest of us were Aussies. She was wonderful to work with. I think I had to go back twice, once via Zoom, and then in the casting agent’s office with the director. That was a pretty rigorous one, that one. 

Excellent.

I had another fairly easy one. We have Flybuys here, which is kind of like your American Express miles: the more you spend, the more you get back. It’s an interesting little rewards program. I did one for them several years ago and they tapped me on the shoulder to do another one. 

It was almost like a sequel where I’m playing the very suspicious father-in-law who’s eyeing out the potential new son-in-law while he serves me up a wonderful plate of seafood at Christmas time. That one I didn’t even have to audition for. That was last Christmas. 

The other ad that’s on at the moment is for Deakin University. It’s a big university here in Australia. One part of what they offer at this university is all based around sports. There’s a big push here, as there is globally, to empower women in sports, and that’s what this ad was for. 

The audition process was me just looking slightly off camera, and a few lines here and there between my daughter and I. Me being very, very proud of her because she’s going to not just get into Deakin, but get into sports. 

What’s the most interesting on-set story you have? 

The most interesting one…actually, there is one more that just popped into my head! I had to sign a non-disclosure agreement again. It was all about energy. I seem to be getting a lot of ads, energy and politics at the moment. It’s probably typecast.

This ad’s got a political bent and it’s trying to sell the idea that we shouldn’t be afraid of nuclear energy, okay? They asked me to audition for the role of a clown, and because they’ve not given me any information, I’m thinking, “What’s going on here? Thank goodness I don’t have a fear of clowns!” They asked me to read a couple of lines in a very deadpan style to make it look like this clown’s a bit of a simple fella. The callback was non-existent. It just came straight back the following day saying, “We love it, Val. You’ve got the job.”

I turn up on set for fittings and wardrobe. It was filming a couple of days later. There’s my outfit, the full top-to-toe clown outfit. We must have run through six or seven different outfits and another 10, 15 variations within those outfits.

I’m looking across the room and there’s a fellow there with a huge suit on. It looks like something out of Monsters University. What’s going on over there? Who knows? On the other side of the room, a lady is wearing this huge hat or full face/full head bit of gear. She looks like a bird: two big eyes and a big beak. I look over my shoulder thinking, “What have I gotten myself into?”

Then the shoot date comes, and it’s in the biggest town hall in the middle of Melbourne. It is old, it’s creaky, but it’s beautiful. Then it all falls into place. The guy that was there in the monster bit, he’s got the full outfit; and the lady that had the bird head on, she’s in a complete bird suit. Another girl’s there with this outfit with eight arms all attached because she’s a spider. You can’t make this stuff up. 

It’s all about the fears and being misunderstood and they’re selling themselves. The spider’s saying, “I’m not mean, I’m jittery. Nobody should be afraid of me. I’m just a poor little spider. I won’t do anything unless you come after me.” The bird over here’s going, “Just because I steal things, doesn’t mean you should be afraid of me. I’m just trying to build things for my nest.” And the monster over here says, “Come on, I can’t even fit under a bed. Why should you be afraid of me?” My lines were basically, “Stephen King, he gave me a bad rap. I’m just a clown. I can’t believe they think we’re terrifying.” 

There was a little animatronic model off to our left, which was meant to be this little nuclear reactor. There’s puppeteers and hydraulics and they’re timing the beak of the bird to the lines, and the legs of this spider, and the mouth of this Monsters University knockoff. I had the easy job. I just had makeup on and I’m just sitting there doing this and reciting my lines. 

That was a long process from the audition to the wardrobe, to some principal photography to the shoot date. It ran for about two months. Each actor had a slot to turn up across that period. I was in this clown outfit for 15 hours and it was one of those hot days, so the others who were in these full outfits were really feeling the heat. It took about five days out of my life, and I reckon about 20 pounds off my weight.

You’ve rattled off a ton of stuff that you’ve done. What would you say helps someone succeed on Casting Networks?

Be surgical and succinct. Have your 10, maybe 15 headshots. Don’t use screen grabs. Don’t use AI. Use proper, professional, old-school happy snaps. Have one that’s just your generic “This is you on a good day.” The rest [should be] some form of a character or an archetype: person in a business suit, person in military fatigues, person in a leather vest. 

As for your reels, gather your footage and have it professionally edited. I do all of my own, but you need to have them short and sharp. Your buzz reel: try and keep that under a minute where it’s just little grabs of some of your favorite stuff. 

Always consult with your agent. If you’re not reaching out to fellow actors who you have some faith or confidence in (or have not done something approximating what I’m talking about), just ask for help. All we want to do is help. 

List those credits. Again, in conjunction with your agent, if you have one, what’s their feel? Should you [list] just the last three years, or should you have everything on Casting Networks? It takes a bit of time to set up, but get those years, [products, directors and production houses] right. 

If you haven’t got a lot of footage coming in, well, the buzz reel is the first thing that you can pretty much update every time you’ve got a job. Put the new and good stuff at the beginning, and the slightly older stuff toward the end. 

Just bear in mind that the image that you’re putting forward is the first thing that the casting director and the potential employer will see, so try and keep everything as up to date as you possibly can. 

What’s the best way to approach an audition? Are there any audition tips and self tape advice that you could share?

Always read the brief from beginning to end. I’m guilty of missing things from time to time, but always read that brief and make sure you understand everything. If there’s anything unclear, just go straight back to the agent and ask. 

Try and get your audition done, if you can, within 24 hours. If not, give your agent a good, maybe eight to 10 hours lead time so that after you’ve uploaded it, they can review it. The agent can connect with the casting house and make sure of all those necessary changes if need be. 

Everyone’s here to help you. Everybody wants you to do your best. There’s no judgment. It’s just a matter of whether you can do the job. Can you take direction? Be polite, be courteous and be professional. Don’t be too friendly. Leave the room quickly, but leave the building slowly in case they think, “Wait a minute, come back. Try this one out.” 

It can be tough, but don’t overthink it. Always think about it as a job. If you do the job well, then you might get the bigger job.

Every single audition—no matter how weird or unimportant you think it may be—is another stepping stone. It’s another rung on that ladder and it sits in an archive. Somebody might pull that up one day and say, “Remember when Val did that ad for Flybuys? Get him back. We want him to do another Flybuys ad.” The proof’s in the pudding. That’s exactly what happened to me. 

And be good to yourself. Don’t be hard on yourself. You’re there to do the job. Just do the job. You’re going to be a donut? What’s your motivation? Be a donut.

You may also like:

• Success Story: Amy McKillop Talks UGC Content and Why You Need to Update Your Profile Pictures
• Success Story: Darren Anselmo Talks Booking ‘Pulse,’ Rolex
• Success Story: How Christie Harms’ Versatility Helped Her Book Commercials for Disney+ and Apple

The post Success Story: Val Athanassiou Talks Booking Australian Government Ads and One Wild Energy Spot appeared first on Casting Networks.

Insights: Lessons From Shirley Bryant

• Regularly check casting platforms like Casting Networks for new opportunities each morning.
• Apply for roles that match your skills, practice self tapes and don’t get disheartened by rejection.
• Set up a dedicated audition space at home with good lighting and minimal distractions.

Thinking about joining Casting Networks? Sign up for a free trial today!

How did you decide to become an actor? 

I want to say I was kind of pushed a little bit, but not pushed. I was 59. I was 34 years into my career and was asked to take a new job. I was like, “I don’t want to learn anybody else’s name. I’m good.” 

That night, after I had a meeting with my boss, I said, “Let me think about some of the things that I was currently doing at work and the skills that I was using.” I thought about emceeing a program, taking photos for the website and things like that. Being in the green room with our marketing team and how much I enjoyed that, I decided, “Hey, what the heck, let me try it.” That was my journey into the acting/modeling industry.

What was your career at the time?

I was an HR/Recruiting/Diversity Manager for a large utility company. I enjoyed my job because that was also a place where I went out to all the different schools and organizations looking for talent. In a sense, it was almost a win-win because I was a headhunter, so I know how to search for jobs for others and search for people. It was like an automatic connection going into this industry. 

How did you first discover Casting Networks? 

I Googled it to be exact. I didn’t know anything about this industry, so I was like, “Okay, how would I find jobs?” Casting Networks came up and it’s history from there. I read the casting calls when I get up in the mornings. It’s almost like my morning “do.” I go out on the patio, get my coffee and I search for opportunities to hopefully be successful in this industry.

You’ve booked a nationwide commercial through Casting Networks that’s currently airing. What commercial is it? What was the audition process like? 

It’s for the U.S. Department of Health and Human Services. This was when we were experiencing a hurricane here in Florida. I saw the specs and I was like, “I can do that.” There was one little caveat, [but] I always say “Go for it,” because you just never know. There was a comment on the posting that said you must be able to swim. I’m like “Oh boy, I’ve got everything [else], but I can’t swim.” 

When I did my self tape, I said, “Hi, I should not have applied for this because I can’t swim. It’s not that I have a fear of water, but I can’t swim.” Then I got a callback.

When the guy called me back, I was like, “I think you might have the wrong person. I can’t swim.” They said, “No. We love your personality and we have something else for you.”  

There were two of us that were interviewing with the director. I guess they were doing a final check to see if they liked you. You had to say your name and if you could swim. I’m like, “Hold on, hold on, wait. Listen, before you go through that. I think you guys still have the wrong person,” because in my mind I’m still thinking they need me to swim. The guy said, “When you say your name, just say you can’t swim. We got you.” 

What happened when you got on set? 

It was amazing. I went to Tennessee. The girl who played my daughter was actually from Florida. [It’s just so funny that] we met on set in Tennessee, which was beautiful. It was a great opportunity to be able to share my talent, meet new people in a different state, and then hopefully build relationships. I think that’s what’s important. 

From that, I have spoken to another agent in that area to grow my talents. 

Do you still keep in touch with the person who was your daughter for the shoot? 

Absolutely. Funny thing, we had met each other before on another set in Florida. We did a Hard Rock commercial. She was [in a] principal role and I was one of the backgrounds, so we didn’t talk. [In Tennessee] I was like, “I know you from somewhere.” She said, “You and I are in the same commercial!” It’s amazing how this all works. We’re friends on social media, and that’s a good thing. 

What would you say helps somebody succeed on Casting Networks?

I think being successful on Casting Networks is putting in the work. Number one: you’ve got to do your research and read. Make sure that you’re applying for jobs that you meet the qualifications for, and don’t get discouraged. Always know that you’ve gotta get in it to get a yes or a no; and if you meet the qualifications, then apply. The most they can do is say no. Don’t get discouraged when you get that no, but just go forth again and work harder. 

I enjoy self tapes. Practice on it. Practice with your family. Get a reader. Get someone to help you. Someone interested in the industry is also interested in helping you. If you get someone who is only reading for you, they’re not reading with you. You can’t display what you need to display to the director, the casting director or whoever is reviewing your self tape. It’s important that you put in the work and be positive and know that when it’s for you, you’ll land that job. That next job is always right around the corner.

What’s some audition advice that you can share with your peers? 

There are a lot of auditions that will come your way. Unless it’s a callback [where you’re going] into a studio, you can do all of your auditions right in your home. Make sure you have a space in your house where you can get yourself prepared for auditions. Change that room into a set. 

Don’t dress the part unless the posting says so. Be yourself and share the knowledge that you’ve learned. Also, find a mentor—someone who will guide you and help you through the process. Finally, make sure that the lighting is right. Get that ring light, make sure that backdrop is nice and clear, and go for it!

You may also like:

• Success Story: Amy McKillop Talks UGC Content and Why You Need to Update Your Profile Pictures
• Success Story: Darren Anselmo Talks Booking ‘Pulse,’ Rolex
• Success Story: How Christie Harms’ Versatility Helped Her Book Commercials for Disney+ and Apple

The post Success Story: Shirley Bryant Talks Starting Acting Later in Life, Booking Commercials appeared first on Casting Networks.