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{
"id": "https://www.castingnetworks.com/?p=336962",
"url": "https://www.castingnetworks.com/news/netflix-casting-director-julie-tucker-interview-how-we-role/",
"title": "How Actors Can Play the Long Game with Netflix Casting Director Julie Tucker",
"content_html": "\n
Emmy-winning casting director Julie Tucker shares practical audition advice, industry perspective, and a reminder actors may need right now.
\n\n\n\n
For Tucker, kindness isn’t just a personality trait. It’s a professional philosophy.
\n\n\n\n
“Kindness is my religion,” Tucker says during a recent episode of How We Roll. “It is respect\u2026 one can be really kind and fierce. And I think that’s an important thing to be.”
\n\n\n\n
The two-time Emmy-winning casting director has spent more than two decades helping build some of television’s most memorable worlds, with credits including The Americans, Homeland, Nurse Jackie, The Affair, Damages, and most recently Netflix’s The Beast in Me.
\n\n\n\n
In her conversation with host Robert Peterpaul, Tucker offered insight into everything from audition preparation and self-tape habits to survival jobs, social media, and navigating an industry that’s still evolving after years of disruption.
\n\n\n\n
In this interview for actors, you’ll learn:
\n\n\n\n
\u2022 Why virtual auditions still dominate and what returning to offices looks like \u2022 Kindness as respect that creates safety and courage in auditions \u2022 A healthy actor mindset for beginners and why it can be a golden period \u2022 Survival jobs that feed your craft and build character (literally) \u2022 What makes an audition feel undeniable versus merely \u201cgood\u201d \u2022 The differences in casting a limited series versus network TV \u2022 Why you should stop after three self-tape takes \u2022 How casting is championing you behind the scenes \u2022 Why a mistake in the audition can actually help you book, plus more
When asked about the current state of the entertainment business, Tucker described a landscape that looks different depending on where you’re standing.
\n\n\n\n
“There are pockets that are thriving and feel abundant,” she says. “But then there’s also areas that are in more of the rebirth stage.”
\n\n\n\n
While she’s seen consistent work on the East Coast, Tucker acknowledges that many industry professionals are still feeling uncertainty. Her outlook, however, remains hopeful.
\n\n\n\n
“I do think there’s stuff bubbling underneath that once it starts growing, we’ll begin to feel abundant again.”
\n\n\n\n
The Best Survival Job Might Be One You Can Learn From
\n\n\n\n
Actors often ask what kinds of jobs work best alongside an acting career. Tucker’s answer isn’t about finding the perfect flexible schedule. It’s about finding experiences you can eventually bring into your work.
\n\n\n\n
“One of the best survival jobs is temping because you get into worlds and you have to act.” She points out that exposure to different professions can become valuable character research later.
\n\n\n\n
“When you have to play a lawyer or an accountant or whatever it is, you have that exposure and you don’t have to act it. You’re like, ‘Oh, I know how to be this. I was around it.'” Most importantly, she reminds actors that paying bills is a legitimate purpose.
\n\n\n\n
“Purpose is I’m paying my rent. I’m paying my student loans. That is a huge purpose.”
\n\n\n\n
What Makes an Audition Stand Out?
\n\n\n\n
For Tucker, the most memorable auditions aren’t necessarily the most technically perfect. “It’s a feeling,” she explains. “You’re pulled in in a different way than paying attention.” When that happens, her analytical brain quiets down.
\n\n\n\n
“I’m not thinking as much about the performance when that’s happening.” That doesn’t always mean the actor is right for the role. But it does mean they’ve made an impact. “Something about them is affecting me.”
\n\n\n\n
Stop Doing So Many Takes
\n\n\n\n
One of Tucker’s strongest pieces of advice centered on self-tapes. While actors often submit multiple takes in search of perfection, she believes that too many options can actually work against them.
\n\n\n\n
“The more takes you do, the harder it becomes.” Her rule of thumb? “Once you’re really past three, something in your preparation is off.”
\n\n\n\n
Instead of endlessly recording, Tucker encourages actors to create a clear distinction between rehearsal and performance. “Your preparation should be such that you are stepping into your tape setup and you’re like, ‘I’m gonna go do that job.'” Giving yourself only a few chances can help recreate the energy actors naturally bring into a live audition room.
\n\n\n\n
Mistakes Aren’t the Problem. Recovery Is.
\n\n\n\n
Perhaps the most reassuring advice from the conversation came when Tucker discussed mistakes. Many actors panic when they stumble over a line or experience a technical issue during a self-tape. Tucker sees those moments differently.
\n\n\n\n
“Auditions are never about the mistakes. They’re always about the recovery.” In fact, a small mistake can tell her something valuable. “What it shows me is that they can recover. I need to know they can recover on a set.”
\n\n\n\n
Rather than aiming for perfection, actors should focus on staying present and moving forward. “I want to feel confident in their ability to do that on set.”
\n\n\n\n
Social Media Doesn’t Need to Be a Performance
\n\n\n\n
When asked what she likes to see from actors online, Tucker’s answer was simple.
\n\n\n\n
“Truth. I just like who they are.” She views social media much like the postcards actors used to send casting offices: a way to stay connected and share what you’re working on. “I love getting to know people that way.” Authenticity, not branding, is what stands out.
\n\n\n\n
Your Headshot Is Still One of Your Most Important Tools
\n\n\n\n
If Tucker could give one practical piece of profile advice, it would be to keep your headshot current.
\n\n\n\n
“A really current picture is everything.” A strong photo doesn’t just show what you look like. It tells a story. “The thing tells a story. And if you get that right, then I know what to call you in for.”
\n\n\n\n
Don’t Dig Up the Seeds
\n\n\n\n
At the end of the conversation, Tucker shared a metaphor she’s carried throughout her career. “Don’t go digging up the seeds to see what’s growing.”
\n\n\n\n
It’s advice for actors tempted to constantly check results, seek validation, or measure progress before it’s had time to develop. “If I was Mother Nature, I’d be digging up everything to see what’s happening under it. Nothing would ever grow.”
\n\n\n\n
After decades in the industry, she’s watched careers rise, stall, shift, and flourish again. “We are no different.”
\n\n\n\n
The work still needs care. It still needs attention. But it also needs patience. “Trust what’s happening.”
\n\n\n\n
And sometimes, Tucker says, the healthiest thing you can do is walk away from the garden for a little while and let it grow.
\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
\n",
"content_text": "Emmy-winning casting director Julie Tucker shares practical audition advice, industry perspective, and a reminder actors may need right now.\n\n\n\nFor Tucker, kindness isn’t just a personality trait. It’s a professional philosophy.\n\n\n\n“Kindness is my religion,” Tucker says during a recent episode of How We Roll. “It is respect\u2026 one can be really kind and fierce. And I think that’s an important thing to be.”\n\n\n\nThe two-time Emmy-winning casting director has spent more than two decades helping build some of television’s most memorable worlds, with credits including The Americans, Homeland, Nurse Jackie, The Affair, Damages, and most recently Netflix’s The Beast in Me.\n\n\n\nIn her conversation with host Robert Peterpaul, Tucker offered insight into everything from audition preparation and self-tape habits to survival jobs, social media, and navigating an industry that’s still evolving after years of disruption.\n\n\n\nIn this interview for actors, you’ll learn:\n\n\n\n\u2022 Why virtual auditions still dominate and what returning to offices looks like\u2022 Kindness as respect that creates safety and courage in auditions\u2022 A healthy actor mindset for beginners and why it can be a golden period\u2022 Survival jobs that feed your craft and build character (literally)\u2022 What makes an audition feel undeniable versus merely \u201cgood\u201d\u2022 The differences in casting a limited series versus network TV\u2022 Why you should stop after three self-tape takes \u2022 How casting is championing you behind the scenes\u2022 Why a mistake in the audition can actually help you book, plus more\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nThe Industry Is Still in Transition\n\n\n\nWhen asked about the current state of the entertainment business, Tucker described a landscape that looks different depending on where you’re standing.\n\n\n\n“There are pockets that are thriving and feel abundant,” she says. “But then there’s also areas that are in more of the rebirth stage.”\n\n\n\nWhile she’s seen consistent work on the East Coast, Tucker acknowledges that many industry professionals are still feeling uncertainty. Her outlook, however, remains hopeful.\n\n\n\n“I do think there’s stuff bubbling underneath that once it starts growing, we’ll begin to feel abundant again.”\n\n\n\nThe Best Survival Job Might Be One You Can Learn From\n\n\n\nActors often ask what kinds of jobs work best alongside an acting career. Tucker’s answer isn’t about finding the perfect flexible schedule. It’s about finding experiences you can eventually bring into your work.\n\n\n\n“One of the best survival jobs is temping because you get into worlds and you have to act.” She points out that exposure to different professions can become valuable character research later.\n\n\n\n“When you have to play a lawyer or an accountant or whatever it is, you have that exposure and you don’t have to act it. You’re like, ‘Oh, I know how to be this. I was around it.'” Most importantly, she reminds actors that paying bills is a legitimate purpose.\n\n\n\n“Purpose is I’m paying my rent. I’m paying my student loans. That is a huge purpose.”\n\n\n\nWhat Makes an Audition Stand Out?\n\n\n\nFor Tucker, the most memorable auditions aren’t necessarily the most technically perfect. “It’s a feeling,” she explains. “You’re pulled in in a different way than paying attention.” When that happens, her analytical brain quiets down.\n\n\n\n“I’m not thinking as much about the performance when that’s happening.” That doesn’t always mean the actor is right for the role. But it does mean they’ve made an impact. “Something about them is affecting me.”\n\n\n\nStop Doing So Many Takes\n\n\n\nOne of Tucker’s strongest pieces of advice centered on self-tapes. While actors often submit multiple takes in search of perfection, she believes that too many options can actually work against them.\n\n\n\n“The more takes you do, the harder it becomes.” Her rule of thumb? “Once you’re really past three, something in your preparation is off.”\n\n\n\nInstead of endlessly recording, Tucker encourages actors to create a clear distinction between rehearsal and performance. “Your preparation should be such that you are stepping into your tape setup and you’re like, ‘I’m gonna go do that job.'” Giving yourself only a few chances can help recreate the energy actors naturally bring into a live audition room.\n\n\n\nMistakes Aren’t the Problem. Recovery Is.\n\n\n\nPerhaps the most reassuring advice from the conversation came when Tucker discussed mistakes. Many actors panic when they stumble over a line or experience a technical issue during a self-tape. Tucker sees those moments differently.\n\n\n\n“Auditions are never about the mistakes. They’re always about the recovery.” In fact, a small mistake can tell her something valuable. “What it shows me is that they can recover. I need to know they can recover on a set.”\n\n\n\nRather than aiming for perfection, actors should focus on staying present and moving forward. “I want to feel confident in their ability to do that on set.”\n\n\n\nSocial Media Doesn’t Need to Be a Performance\n\n\n\nWhen asked what she likes to see from actors online, Tucker’s answer was simple.\n\n\n\n“Truth. I just like who they are.” She views social media much like the postcards actors used to send casting offices: a way to stay connected and share what you’re working on. “I love getting to know people that way.” Authenticity, not branding, is what stands out.\n\n\n\nYour Headshot Is Still One of Your Most Important Tools\n\n\n\nIf Tucker could give one practical piece of profile advice, it would be to keep your headshot current.\n\n\n\n“A really current picture is everything.” A strong photo doesn’t just show what you look like. It tells a story. “The thing tells a story. And if you get that right, then I know what to call you in for.”\n\n\n\nDon’t Dig Up the Seeds\n\n\n\nAt the end of the conversation, Tucker shared a metaphor she’s carried throughout her career. “Don’t go digging up the seeds to see what’s growing.”\n\n\n\nIt’s advice for actors tempted to constantly check results, seek validation, or measure progress before it’s had time to develop. “If I was Mother Nature, I’d be digging up everything to see what’s happening under it. Nothing would ever grow.”\n\n\n\nAfter decades in the industry, she’s watched careers rise, stall, shift, and flourish again. “We are no different.”\n\n\n\nThe work still needs care. It still needs attention. But it also needs patience. “Trust what’s happening.”\n\n\n\nAnd sometimes, Tucker says, the healthiest thing you can do is walk away from the garden for a little while and let it grow.\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\nListen to How We Role on Apple Podcasts, Spotify, YouTube or anywhere you stream podcasts.\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\nThe post How Actors Can Play the Long Game with Netflix Casting Director Julie Tucker appeared first on Casting Networks.",
"date_published": "2026-06-16T09:05:00-07:00",
"date_modified": "2026-06-16T09:00:05-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/06/EP33-Julie-Tucker.jpg",
"tags": [
"Podcast: How We Role"
]
},
{
"id": "https://www.castingnetworks.com/?p=336046",
"url": "https://www.castingnetworks.com/news/tiffany-little-canfield-on-what-casting-directors-really-look-for-in-auditions/",
"title": "Tiffany Little Canfield on What Casting Directors Really Look for in Auditions",
"content_html": "\n
Casting director Tiffany Little Canfield of The Telsey Office joins host Robert Peterpaul on How We Role for a wide-ranging conversation about auditions, storytelling, and what actually makes actors stand out.
\n\n\n\n
With credits ranging from Wicked and Verity to Ryan Murphy\u2019s Monster and Paradise, Little Canfield has helped cast some of the biggest projects in film and television. In this episode, she offers a refreshing reminder that actors often overcomplicate the audition process when the real work is much simpler: tell the story.
\n\n\n\n
In this episode you’ll learn:
\n\n\n\n
\n
Why breakdowns are often more useful for agents than actors
\n\n\n\n
What casting notices in the very first frame of a self-tape
\n\n\n\n
Why \u201cstrong choices\u201d don\u2019t necessarily mean big choices
\n\n\n\n
The surprising psychology behind co-star and day-player auditions
\n\n\n\n
Why technical perfection matters less than most actors think
\n\n\n\n
How great actors establish character before saying a single word
\n
\n\n\n\n\n\n\n\n
One of the most valuable moments comes when Little Canfield dismantles the importance many actors place on breakdowns. While performers often search for clues about how to \u201cget it right,\u201d she explains that breakdowns are intentionally broad and shouldn\u2019t be treated as a blueprint for performance.
\n\n\n\n
\u201cThe breakdown is really for the agents,\u201d she says. \u201cIt\u2019s not actually\u2014I\u2019d take it with a grain of salt, honestly.\u201d
\n\n\n\n
Instead, she encourages actors to focus on the material itself. The writer doesn\u2019t know you personally, she reminds listeners. If you don\u2019t immediately see yourself reflected in the breakdown, that doesn\u2019t mean you\u2019re wrong for the role. The script contains far more useful information than a few descriptive lines ever could.
\n\n\n\n
Little Canfield returns repeatedly to the idea that acting is storytelling, not test-taking. Too often, she says, actors approach auditions as if they\u2019re trying to guess the correct answer rather than contribute creatively to the project.
\n\n\n\n
One of the clearest examples comes when discussing self-tapes. Asked what she notices in the first few seconds of an audition, she points to something far more fundamental than camera quality or lighting setup.
\n\n\n\n
\u201cWhat story is being told?\u201d she asks.
\n\n\n\n
For her, great actors establish an impression immediately. Before speaking, they\u2019ve already made decisions about who this person is, how others perceive them, and what energy they bring into the scene. Whether the character commands authority, creates discomfort, or instantly wins people over, those choices are visible from the first frame.
\n\n\n\n
That same philosophy extends to the phrase actors hear constantly: make a strong choice.
\n\n\n\n
Little Canfield believes many performers misunderstand what that means. Strong choices aren\u2019t about doing something flashy or unconventional. They\u2019re about committing fully to a specific interpretation.
\n\n\n\n
\u201cA strong wrong can be more successful than something general,\u201d she explains.
\n\n\n\n
Even if the choice isn\u2019t exactly what the creative team imagined, commitment reveals something valuable. It shows imagination. It shows preparation. Most importantly, it shows the actor is bringing something personal and specific to the material.
\n\n\n\n
The conversation also offers an insightful look at co-star auditions, which Little Canfield believes are often more difficult than actors realize. The challenge isn\u2019t the size of the role\u2014it\u2019s the psychology surrounding it.
\n\n\n\n
Actors frequently dismiss smaller parts as unimportant, which limits their creativity before they even begin. Casting, however, doesn\u2019t think in terms of hierarchy. The question is always the same: what does this scene require?
\n\n\n\n
A memorable example comes from And Just Like That\u2026, where a nearly silent restaurant waiter became one of the most memorable moments in a scene simply because the actor understood the circumstances and brought a fully realized point of view to the role.
\n\n\n\n
Specificity, she argues, is often more powerful than size.
\n\n\n\n
When the conversation turns to self-tapes, Little Canfield delivers perhaps the episode\u2019s most reassuring takeaway. Actors obsess over ring lights, backdrops, framing, and technical perfection, but those things rarely determine whether someone gets cast.
\n\n\n\n
Her priority is much simpler.
\n\n\n\n
\u201cI\u2019m not in the business of casting good self-tapes.\u201d
\n\n\n\n
She\u2019s in the business of casting great actors.
\n\n\n\n
The Jonathan Bailey audition for Wicked serves as a perfect example. Recorded quickly backstage at a theater, complete with technical imperfections and background noise, the tape worked because it captured the qualities of the character. It wasn\u2019t a perfect audition. It was the right storytelling.
\n\n\n\n
Throughout the episode, Little Canfield continually returns to collaboration. Whether discussing actors like Anne Hathaway, Ariana Grande, Charlie Hunnam, or the ensembles she\u2019s helped build on projects like Wicked and Monster, the common denominator is generosity.
\n\n\n\n
The best actors, she says, understand that they\u2019re joining an ensemble of storytellers. They\u2019re not arriving to prove themselves. They\u2019re arriving to help tell the story.
\n\n\n\n
She closes with a perspective that feels especially valuable in an industry often driven by anxiety and perfectionism: stop trying to figure out the right answer.
\n\n\n\n
Read the script. Trust your imagination. Make a choice. Tell the story.
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
\n",
"content_text": "Casting director Tiffany Little Canfield of The Telsey Office joins host Robert Peterpaul on How We Role for a wide-ranging conversation about auditions, storytelling, and what actually makes actors stand out.\n\n\n\nWith credits ranging from Wicked and Verity to Ryan Murphy\u2019s Monster and Paradise, Little Canfield has helped cast some of the biggest projects in film and television. In this episode, she offers a refreshing reminder that actors often overcomplicate the audition process when the real work is much simpler: tell the story.\n\n\n\nIn this episode you’ll learn:\n\n\n\n\nWhy breakdowns are often more useful for agents than actors\n\n\n\nWhat casting notices in the very first frame of a self-tape\n\n\n\nWhy \u201cstrong choices\u201d don\u2019t necessarily mean big choices\n\n\n\nThe surprising psychology behind co-star and day-player auditions\n\n\n\nWhy technical perfection matters less than most actors think\n\n\n\nHow great actors establish character before saying a single word\n\n\n\n\n\n\n\n\nOne of the most valuable moments comes when Little Canfield dismantles the importance many actors place on breakdowns. While performers often search for clues about how to \u201cget it right,\u201d she explains that breakdowns are intentionally broad and shouldn\u2019t be treated as a blueprint for performance.\n\n\n\n\u201cThe breakdown is really for the agents,\u201d she says. \u201cIt\u2019s not actually\u2014I\u2019d take it with a grain of salt, honestly.\u201d\n\n\n\nInstead, she encourages actors to focus on the material itself. The writer doesn\u2019t know you personally, she reminds listeners. If you don\u2019t immediately see yourself reflected in the breakdown, that doesn\u2019t mean you\u2019re wrong for the role. The script contains far more useful information than a few descriptive lines ever could.\n\n\n\nLittle Canfield returns repeatedly to the idea that acting is storytelling, not test-taking. Too often, she says, actors approach auditions as if they\u2019re trying to guess the correct answer rather than contribute creatively to the project.\n\n\n\nOne of the clearest examples comes when discussing self-tapes. Asked what she notices in the first few seconds of an audition, she points to something far more fundamental than camera quality or lighting setup.\n\n\n\n\u201cWhat story is being told?\u201d she asks.\n\n\n\nFor her, great actors establish an impression immediately. Before speaking, they\u2019ve already made decisions about who this person is, how others perceive them, and what energy they bring into the scene. Whether the character commands authority, creates discomfort, or instantly wins people over, those choices are visible from the first frame.\n\n\n\nThat same philosophy extends to the phrase actors hear constantly: make a strong choice.\n\n\n\nLittle Canfield believes many performers misunderstand what that means. Strong choices aren\u2019t about doing something flashy or unconventional. They\u2019re about committing fully to a specific interpretation.\n\n\n\n\u201cA strong wrong can be more successful than something general,\u201d she explains.\n\n\n\nEven if the choice isn\u2019t exactly what the creative team imagined, commitment reveals something valuable. It shows imagination. It shows preparation. Most importantly, it shows the actor is bringing something personal and specific to the material.\n\n\n\nThe conversation also offers an insightful look at co-star auditions, which Little Canfield believes are often more difficult than actors realize. The challenge isn\u2019t the size of the role\u2014it\u2019s the psychology surrounding it.\n\n\n\nActors frequently dismiss smaller parts as unimportant, which limits their creativity before they even begin. Casting, however, doesn\u2019t think in terms of hierarchy. The question is always the same: what does this scene require?\n\n\n\nA memorable example comes from And Just Like That\u2026, where a nearly silent restaurant waiter became one of the most memorable moments in a scene simply because the actor understood the circumstances and brought a fully realized point of view to the role.\n\n\n\nSpecificity, she argues, is often more powerful than size.\n\n\n\nWhen the conversation turns to self-tapes, Little Canfield delivers perhaps the episode\u2019s most reassuring takeaway. Actors obsess over ring lights, backdrops, framing, and technical perfection, but those things rarely determine whether someone gets cast.\n\n\n\nHer priority is much simpler.\n\n\n\n\u201cI\u2019m not in the business of casting good self-tapes.\u201d\n\n\n\nShe\u2019s in the business of casting great actors.\n\n\n\nThe Jonathan Bailey audition for Wicked serves as a perfect example. Recorded quickly backstage at a theater, complete with technical imperfections and background noise, the tape worked because it captured the qualities of the character. It wasn\u2019t a perfect audition. It was the right storytelling.\n\n\n\nThroughout the episode, Little Canfield continually returns to collaboration. Whether discussing actors like Anne Hathaway, Ariana Grande, Charlie Hunnam, or the ensembles she\u2019s helped build on projects like Wicked and Monster, the common denominator is generosity.\n\n\n\nThe best actors, she says, understand that they\u2019re joining an ensemble of storytellers. They\u2019re not arriving to prove themselves. They\u2019re arriving to help tell the story.\n\n\n\nShe closes with a perspective that feels especially valuable in an industry often driven by anxiety and perfectionism: stop trying to figure out the right answer.\n\n\n\nRead the script. Trust your imagination. Make a choice. Tell the story.\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify, YouTube or anywhere you stream podcasts.\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post Tiffany Little Canfield on What Casting Directors Really Look for in Auditions appeared first on Casting Networks.",
"date_published": "2026-06-09T10:25:44-07:00",
"date_modified": "2026-06-09T10:39:36-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/06/EP32-Tiffany-Little-Canfield.jpg",
"tags": [
"Podcast: How We Role"
]
},
{
"id": "https://www.castingnetworks.com/?p=333036",
"url": "https://www.castingnetworks.com/news/how-to-audition-for-high-stakes-tv-casting-director-julie-schubert/",
"title": "How to Audition for High Stakes TV with Emmy-Winning Casting Director Julie Schubert",
"content_html": "\n
Emmy-winning casting director Julie Schubert is back for a second visit on How We Role, where she joins host Robert Peterpaul fresh off the new season of Netflix’s political thriller The Diplomat.
\n\n\n\n
In this episode, Schubert gets practical about what actually moves the needle for actors auditioning for high-stakes television. If you want to understand how a seasoned casting director thinks and what she’s looking for, this one is worth your full attention.
\n\n\n\n
In this episode you’ll learn:
\n\n\n\n
\n
Why honoring the exact dialogue is non-negotiable on writer-driven TV (and who’s really watching your tape)
\n\n\n\n
What Julie needs to see before she sends a self-tape to producers and what makes her hold it back
\n\n\n\n
A game-changing hack for eyeline when your scene has multiple characters
\n\n\n\n
How to reframe networking as genuine curiosity rather than a transaction
\n\n\n\n
High-stakes scene tips for authority, subtext, and big emotional moments
\n
\n\n\n\n\n\n\n\n
One of the sharpest moments in this conversation comes early, when Schubert breaks down what she means by honoring the words on the page. On a show like The Diplomat, where the writing is as precise as it is political, word changes aren’t without purpose.
\n\n\n\n
“The dialogue, the specific word choices of every scene, it’s all very deliberate,” she tells Peterpaul. What makes this even more pointed is the reminder she offers right after: in television, the showrunner is the writer, and the person who put those words on the page is very likely the same person watching your tape. It’s a deceptively simple observation that reframes the entire self-tape process.
\n\n\n\n
Schubert is equally direct when it comes to the co-star circuit, the part of the audition process that trips up even experienced actors. She has a full class dedicated to one-liners and short scenes because, as she puts it, they’re the hardest thing to audition for. Her advice: these roles almost never have character names. They have job titles. Barista. Receptionist. Secretary.
\n\n\n\n
“That already gives you an idea of what they’re looking for in a character,” she explains, “because each of these roles has an expectation.” From there, she says, you build outward. Set the environment, make specific choices, and bring who, what, where, when, and why to material most actors treat as a throwaway.
\n\n\n\n
Schubert also gets candid about rejection and the pressure actors put on themselves chasing approval. Her take is grounding: the rejection rate will always outpace the success rate, for actors and for casting directors alike.
\n\n\n\n
But the real insight she offers is about what keeps that from spiraling. “Have other interests outside of this,” she says plainly. “If this is your end-all, be-all, you’re gonna spiral.” She connects it directly to desperation in the room, and how a full life outside the audition process is one of the few things actually within an actor’s control.
\n\n\n\n
She closes the episode with the advice she’s both received and now gives: don’t take things too seriously, and enjoy your life regardless of the outcome. Enjoy the process.
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
\n",
"content_text": "Emmy-winning casting director Julie Schubert is back for a second visit on How We Role, where she joins host Robert Peterpaul fresh off the new season of Netflix’s political thriller The Diplomat.\n\n\n\nIn this episode, Schubert gets practical about what actually moves the needle for actors auditioning for high-stakes television. If you want to understand how a seasoned casting director thinks and what she’s looking for, this one is worth your full attention.\n\n\n\nIn this episode you’ll learn:\n\n\n\n\nWhy honoring the exact dialogue is non-negotiable on writer-driven TV (and who’s really watching your tape)\n\n\n\nWhat Julie needs to see before she sends a self-tape to producers and what makes her hold it back\n\n\n\nA game-changing hack for eyeline when your scene has multiple characters\n\n\n\nHow to reframe networking as genuine curiosity rather than a transaction\n\n\n\nHigh-stakes scene tips for authority, subtext, and big emotional moments\n\n\n\n\n\n\n\n\nOne of the sharpest moments in this conversation comes early, when Schubert breaks down what she means by honoring the words on the page. On a show like The Diplomat, where the writing is as precise as it is political, word changes aren’t without purpose.\n\n\n\n“The dialogue, the specific word choices of every scene, it’s all very deliberate,” she tells Peterpaul. What makes this even more pointed is the reminder she offers right after: in television, the showrunner is the writer, and the person who put those words on the page is very likely the same person watching your tape. It’s a deceptively simple observation that reframes the entire self-tape process.\n\n\n\nSchubert is equally direct when it comes to the co-star circuit, the part of the audition process that trips up even experienced actors. She has a full class dedicated to one-liners and short scenes because, as she puts it, they’re the hardest thing to audition for. Her advice: these roles almost never have character names. They have job titles. Barista. Receptionist. Secretary. \n\n\n\n“That already gives you an idea of what they’re looking for in a character,” she explains, “because each of these roles has an expectation.” From there, she says, you build outward. Set the environment, make specific choices, and bring who, what, where, when, and why to material most actors treat as a throwaway.\n\n\n\nSchubert also gets candid about rejection and the pressure actors put on themselves chasing approval. Her take is grounding: the rejection rate will always outpace the success rate, for actors and for casting directors alike. \n\n\n\nBut the real insight she offers is about what keeps that from spiraling. “Have other interests outside of this,” she says plainly. “If this is your end-all, be-all, you’re gonna spiral.” She connects it directly to desperation in the room, and how a full life outside the audition process is one of the few things actually within an actor’s control.\n\n\n\nShe closes the episode with the advice she’s both received and now gives: don’t take things too seriously, and enjoy your life regardless of the outcome. Enjoy the process.\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify, YouTube or anywhere you stream podcasts.\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post How to Audition for High Stakes TV with Emmy-Winning Casting Director Julie Schubert appeared first on Casting Networks.",
"date_published": "2026-06-02T09:32:12-07:00",
"date_modified": "2026-06-02T10:00:23-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
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"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
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"image": "https://www.castingnetworks.com/wp-content/uploads/2026/05/EP30-Julie-Schubert.jpg",
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{
"id": "https://www.castingnetworks.com/?p=330146",
"url": "https://www.castingnetworks.com/news/nobody-wants-this-casting-directors-how-we-role-podcast/",
"title": "What Makes Actors Pop with \u2018Nobody Wants This\u2019 Casting Directors | \u2018How We Role\u2019",
"content_html": "\n
The casting team behind Netflix’s Nobody Wants This is here to make sure “everybody” wants to cast you.
\n\n\n\n
Casting Directors Brett Greenstein and Collin Daniel join host and actor Robert Peterpaul to chat through what actually gets actors hired, from self-tape prep to how tiny choices can make a co-star role feel alive.\u00a0
\n\n\n\n
In this episode:
\n\n\n\n
\u2022 What \u201cbeing prepared\u201d looks like in practical audition terms \u2022 If you need to be off book or not \u2022 How many actors are typically called in for co-star roles \u2022 How props can help or hurt you \u2022 What makes a performance feel specific, natural, and real \u2022 How they scout new talent on Instagram and TikTok \u2022 What they learn from working with legendary talent like Kristen Bell, plus much more!
\n\n\n\n
BRETT GREENSTEIN, CSA, and COLLIN DANIEL, CSA, launched Greenstein/Daniel Casting more than 20 years ago. Together, they have cast hundreds of hours of entertainment.
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Brett Goldstein: I think keeping it simple, keeping it minimal, is the way to go. Certainly we’ve seen props where they totally work and it makes us laugh and they nail it. Other times we see people who just get so bogged down by a costume or props or too much blocking, working the room. For the sake of [auditions], keep it easy, keep it simple, keep it grounded.
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "The casting team behind Netflix’s Nobody Wants This is here to make sure “everybody” wants to cast you.\n\n\n\nCasting Directors Brett Greenstein and Collin Daniel join host and actor Robert Peterpaul to chat through what actually gets actors hired, from self-tape prep to how tiny choices can make a co-star role feel alive.\u00a0\n\n\n\nIn this episode:\n\n\n\n\u2022 What \u201cbeing prepared\u201d looks like in practical audition terms\u2022 If you need to be off book or not\u2022 How many actors are typically called in for co-star roles\u2022 How props can help or hurt you\u2022 What makes a performance feel specific, natural, and real\u2022 How they scout new talent on Instagram and TikTok\u2022 What they learn from working with legendary talent like Kristen Bell, plus much more!\n\n\n\nBRETT GREENSTEIN, CSA, and COLLIN DANIEL, CSA, launched Greenstein/Daniel Casting more than 20 years ago. Together, they have cast hundreds of hours of entertainment.\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\nBrett Goldstein: I think keeping it simple, keeping it minimal, is the way to go. Certainly we’ve seen props where they totally work and it makes us laugh and they nail it. Other times we see people who just get so bogged down by a costume or props or too much blocking, working the room. For the sake of [auditions], keep it easy, keep it simple, keep it grounded.\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post What Makes Actors Pop with ‘Nobody Wants This’ Casting Directors | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-05-26T09:12:00-07:00",
"date_modified": "2026-05-20T10:54:00-07:00",
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"Podcast: How We Role"
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"id": "https://www.castingnetworks.com/?p=327253",
"url": "https://www.castingnetworks.com/news/shrinking-casting-directors-audition-advice-how-we-role/",
"title": "Keep It Simple: \u2018Shrinking\u2019 Casting Directors on Audition Advice That Books | \u2018How We Role\u2019",
"content_html": "\n
What do TV casting directors actually want in a self-tape? We’re scrubbing in with acclaimed Casting Directors Debbie Romano and Brett Benner of Romano/Benner Casting. From One Tree Hill to Scrubs to ABC’s Scrubs revival to Apple TV\u2019s Shrinking, these two are a true powerhouse pair.
\n\n\n\n
Sitting down with host and actor Robert Peterpaul, they break down auditions from a casting perspective and share how actors can make smarter, more grounded choices that actually lead them to getting on set.
\n\n\n\n
In this episode for actors, you\u2019ll learn:
\n\n\n\n
\n
The real key to nailing co-star auditions (and why less is more)
\n\n\n\n
How to approach self-tape auditions with clear, effective choices
\n\n\n\n
Why nerves can actually improve your performance
\n\n\n\n
When chemistry reads matter\u2014and what casting is watching for
\n\n\n\n
How and when to send two contrasting takes
\n\n\n\n
Where improvisation helps\u2014and where it can hurt your audition
\n\n\n\n
The difference between grounded comedy and \u201ctoo big\u201d for camera
\n\n\n\n
Behind-the-scenes insight into casting Shrinking, Scrubs, and more
\n
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Brett Benner: I do think it’s important that you understand if the show is available to be seen to try to watch even a few minutes of the show to get a sense of tone. I also think it’s ok to, you know, and this goes back to a different point, but it’s related to the breakdown…
\n\n\n\n
If you are given the opportunity, and most offices have to, it’s what we should be doing, giving people an opportunity to come in live. Whether it’s a Zoom or if the [casting] office has an office, take that opportunity.
\n\n\n\n
Because it’s the chance for you to get in the room and say, “Hey, can I ask questions? Can I do those things? Is this broad? Is it grounded? How is this particular thing played?”
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "What do TV casting directors actually want in a self-tape? We’re scrubbing in with acclaimed Casting Directors Debbie Romano and Brett Benner of Romano/Benner Casting. From One Tree Hill to Scrubs to ABC’s Scrubs revival to Apple TV\u2019s Shrinking, these two are a true powerhouse pair. \n\n\n\nSitting down with host and actor Robert Peterpaul, they break down auditions from a casting perspective and share how actors can make smarter, more grounded choices that actually lead them to getting on set.\n\n\n\nIn this episode for actors, you\u2019ll learn:\n\n\n\n\nThe real key to nailing co-star auditions (and why less is more)\n\n\n\nHow to approach self-tape auditions with clear, effective choices\n\n\n\nWhy nerves can actually improve your performance\n\n\n\nWhen chemistry reads matter\u2014and what casting is watching for\n\n\n\nHow and when to send two contrasting takes\n\n\n\nWhere improvisation helps\u2014and where it can hurt your audition\n\n\n\nThe difference between grounded comedy and \u201ctoo big\u201d for camera\n\n\n\nBehind-the-scenes insight into casting Shrinking, Scrubs, and more\n\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\n\n\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\nBrett Benner: I do think it’s important that you understand if the show is available to be seen to try to watch even a few minutes of the show to get a sense of tone. I also think it’s ok to, you know, and this goes back to a different point, but it’s related to the breakdown…\n\n\n\nIf you are given the opportunity, and most offices have to, it’s what we should be doing, giving people an opportunity to come in live. Whether it’s a Zoom or if the [casting] office has an office, take that opportunity. \n\n\n\nBecause it’s the chance for you to get in the room and say, “Hey, can I ask questions? Can I do those things? Is this broad? Is it grounded? How is this particular thing played?”\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post Keep It Simple: ‘Shrinking’ Casting Directors on Audition Advice That Books | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-05-12T09:13:00-07:00",
"date_modified": "2026-05-12T09:15:38-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
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"id": "https://www.castingnetworks.com/?p=321024",
"url": "https://www.castingnetworks.com/news/only-murders-in-the-building-jackie-hoffman-how-we-role/",
"title": "How To Be A Scene-Stealing Character Actor with Jackie Hoffman (Only Murders in the Building) | How We Role",
"content_html": "\n
Jackie Hoffman is best known for her Emmy-nominated role as Mamacita in FX\u2019s Feud: Betty and Joan. She has appeared in acclaimed series including Only Murders in the Building (Actor Award Nomination) and The Marvelous Mrs. Maisel, and in films such as Glass Onion, Birdman, and Kissing Jessica Stein.
\n\n\n\n
Alongside host and actor Robert Peterpaul, Jackie reveals how to build a lasting career by trusting your instincts, protecting your comic timing, and showing up with the kind of energy people want on set and in the room.
\n\n\n\n
This episode is a treasure trove of creative wisdom, covering:
\n\n\n\n
\n
From Only Murders in the Building alongside Steve Martin, Martin Short and Selena Gomez to Feud with Jessica Lange and Susan Sarandon, she shares what it’s like to work in top tier ensembles.
\n\n\n\n
What it really means to be a character actor and how to find the fun in the process.
\n\n\n\n
Her best advice for nailing auditions, landing jokes and trusting your instincts as an actor.
Jackie Hoffman: I’m honored that a theater kid would look up to me. I was at a convention yesterday, or, this was actually two days ago, and this sweet, musical theater kid was like, “My favorite show is ‘Charlie and The Chocolate Factory,’ and I’m going to go to college and study the arts.” And, you know, as much as I can choke get mired in my own bitterness and disgust, and hopelessness…You hear something like that, and it’s everything.
\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "Jackie Hoffman is best known for her Emmy-nominated role as Mamacita in FX\u2019s Feud: Betty and Joan. She has appeared in acclaimed series including Only Murders in the Building (Actor Award Nomination) and The Marvelous Mrs. Maisel, and in films such as Glass Onion, Birdman, and Kissing Jessica Stein. \n\n\n\nAlongside host and actor Robert Peterpaul, Jackie reveals how to build a lasting career by trusting your instincts, protecting your comic timing, and showing up with the kind of energy people want on set and in the room. \n\n\n\nThis episode is a treasure trove of creative wisdom, covering:\n\n\n\n\nFrom Only Murders in the Building alongside Steve Martin, Martin Short and Selena Gomez to Feud with Jessica Lange and Susan Sarandon, she shares what it’s like to work in top tier ensembles.\n\n\n\nWhat it really means to be a character actor and how to find the fun in the process.\n\n\n\nHer best advice for nailing auditions, landing jokes and trusting your instincts as an actor.\n\n\n\nWhy she calls herself a “gut actor” + much more.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\n\n\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\nJackie Hoffman: I’m honored that a theater kid would look up to me. I was at a convention yesterday, or, this was actually two days ago, and this sweet, musical theater kid was like, “My favorite show is ‘Charlie and The Chocolate Factory,’ and I’m going to go to college and study the arts.” And, you know, as much as I can choke get mired in my own bitterness and disgust, and hopelessness…You hear something like that, and it’s everything.\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post How To Be A Scene-Stealing Character Actor with Jackie Hoffman (Only Murders in the Building) | How We Role appeared first on Casting Networks.",
"date_published": "2026-04-28T09:22:00-07:00",
"date_modified": "2026-04-28T09:46:11-07:00",
"authors": [
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{
"id": "https://www.castingnetworks.com/?p=316645",
"url": "https://www.castingnetworks.com/news/director-dave-solomon-interview-movie-musicals-how-we-role/",
"title": "How to Perform in Movie Musicals with Director Dave Solomon (Disney\u2019s \u2018Beauty & The Beast\u2019) | \u2018How We Role\u2019",
"content_html": "\n
Dave Solomon is a New York City-based writer and director for theatre and film. He\u2019s been Associate Director to Scott Ellis, Joe Mantello, and Bill Condon on sixteen Broadway productions, including Elf, Side Show, Tootsie, The Mystery of Edwin Drood, 9 to 5, Curtains, and Assassins.
\n\n\n\n
In film, he worked as assistant to Oscar-winner Bill Condon on Mr. Holmes and Disney\u2019s Beauty and the Beast, and as Associate Director to Scott Ellis on A Christmas Story Live.
\n\n\n\n
Solomon recently directed and contributed additional book material for the new musical Already Perfect in London and staged a concert reading of The Rink for Classic Stage Company with John Kander, Jessie Mueller, Beth Leavel, and Santino Fontana. He\u2019s directed national tours of Elf and Tootsie, the Japanese premiere of Tootsie, and is developing the new musical Pump Up the Volume.
\n\n\n\n
This episode is a treasure trove of creative wisdom, covering:
\n\n\n\n
\n
How to carve out your own path and trust where it leads
\n\n\n\n
Shifting performances for the stage versus the screen
\n\n\n\n
Locking into tone without forcing \u201cbig\u201d choices
\n\n\n\n
Choosing an audition song that fits the project and fits you
\n\n\n\n
What directors look for in collaborators
\n\n\n\n
Technical skills for movie musicals from lip syncing to CGI
\n\n\n\n
Working with legends like Dolly Parton and on the new Crazy Rich Asians musical
\n\n\n\n
Creating original work in an oversaturated content landscape
Dave Solomon: You know what, I was thinking about this last night because I knew you were going to ask me questions like this, Robert Peterpaul.
\n\n\n\n
Robert Peterpaul: [Laughs] I’ve got a lot!
\n\n\n\n
Dave Solomon: I was listening to other people who had like, quotes, and other guests you’ve had on like…what am I gonna say? But, no, actually…I think it’s two things. Like, you have to make your own path, but then you sometimes also have to follow and trust where it’s going. Like sometimes you’re laying the path, and sometimes you just have to follow it. Because I think it’s kind of like being in the right place at the right time, but also being ready for when the right place and the right time happens. And, I think we also make that happen.
\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "Dave Solomon is a New York City-based writer and director for theatre and film. He\u2019s been Associate Director to Scott Ellis, Joe Mantello, and Bill Condon on sixteen Broadway productions, including Elf, Side Show, Tootsie, The Mystery of Edwin Drood, 9 to 5, Curtains, and Assassins. \n\n\n\nIn film, he worked as assistant to Oscar-winner Bill Condon on Mr. Holmes and Disney\u2019s Beauty and the Beast, and as Associate Director to Scott Ellis on A Christmas Story Live.\n\n\n\nSolomon recently directed and contributed additional book material for the new musical Already Perfect in London and staged a concert reading of The Rink for Classic Stage Company with John Kander, Jessie Mueller, Beth Leavel, and Santino Fontana. He\u2019s directed national tours of Elf and Tootsie, the Japanese premiere of Tootsie, and is developing the new musical Pump Up the Volume.\n\n\n\nThis episode is a treasure trove of creative wisdom, covering:\n\n\n\n\nHow to carve out your own path and trust where it leads\n\n\n\nShifting performances for the stage versus the screen\n\n\n\nLocking into tone without forcing \u201cbig\u201d choices\n\n\n\nChoosing an audition song that fits the project and fits you\n\n\n\nWhat directors look for in collaborators\n\n\n\nTechnical skills for movie musicals from lip syncing to CGI\n\n\n\nWorking with legends like Dolly Parton and on the new Crazy Rich Asians musical\n\n\n\nCreating original work in an oversaturated content landscape\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\nDave Solomon: You know what, I was thinking about this last night because I knew you were going to ask me questions like this, Robert Peterpaul.\n\n\n\nRobert Peterpaul: [Laughs] I’ve got a lot!\n\n\n\nDave Solomon: I was listening to other people who had like, quotes, and other guests you’ve had on like…what am I gonna say? But, no, actually…I think it’s two things. Like, you have to make your own path, but then you sometimes also have to follow and trust where it’s going. Like sometimes you’re laying the path, and sometimes you just have to follow it. Because I think it’s kind of like being in the right place at the right time, but also being ready for when the right place and the right time happens. And, I think we also make that happen.\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\nThe post How to Perform in Movie Musicals with Director Dave Solomon (Disney’s ‘Beauty & The Beast’) | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-04-14T08:51:41-07:00",
"date_modified": "2026-04-23T09:48:26-07:00",
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"id": "https://www.castingnetworks.com/?p=314580",
"url": "https://www.castingnetworks.com/news/how-to-take-acting-notes-thea-mcleod-how-we-role/",
"title": "How to Take an Acting Note & Make it Soar with Casting Director & CGA President Thea McLeod | \u2018How We Role\u2019",
"content_html": "\n
What’s the best way for actors to work with casting? Casting Director and CGA President Thea McLeod joins How We Role to share practical advice on enhancing this collaboration in a digital age.
\n\n\n\n
Thea McLeod is one of Australia\u2019s most respected casting directors, widely recognised for her extraordinary eye for talent across mediums.
\n\n\n\n
For more than fourteen years, Thea served as casting director of the long-running and beloved soap opera Neighbours, helping to launch and nurture generations of performers from Margot Robbie to Liam Hemsworth.
\n\n\n\n
In recent years, Thea has expanded her creative reach into producing, working on the Netflix original Measure For Measure, starring Hugo Weaving, which received multiple AACTA recognitions and widespread critical praise. Thea is currently casting Guy Pearce’s highly anticipated supernatural thriller Poor Boy in addition to other ventures.
\n\n\n\n
A tireless advocate for her profession, Thea is in her fourth year as President of the Casting Guild of Australia. She is also the founder of the AACTA Young Stars initiative, helping create real pathways between emerging talent and world-leading casting directors.
\n\n\n\n
Together, Thea and I explore the ins and outs of the the actor-casting director dynamic. She graces us with a treasure trove of wisdom from specific self tape tips to how to really take an acting note. Be sure to share this one with an actor friend!
\n\n\n\n
This episode is a treasure trove of creative wisdom, covering:
\n\n\n\n
\n
How creatives can thrive with a community-driven mindset.
\n\n\n\n
Tips for protecting your mental health in an unstable business.
\n\n\n\n
How to make strong acting choices while staying true to the script and tone.
\n\n\n\n
Little self-tape upgrades that make a big difference
\n\n\n\n
Why receiving notes is a good thing and how you can really take them in.
\n\n\n\n
Understanding talent negotiations and timelines.
\n\n\n\n
On-set etiquette: punctuality, preparation, and respect for every department
\n\n\n\n
When social media matters and how it can function as a marketing tool, plus much more.
\n
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Robert Peterpaul: Guerrilla casting: I know some projects still call for that, right? Going to certain regions and walking around?
\n\n\n\n
Thea McLeod: We have to. Especially when you’re looking, I mean obviously there’s so many different projects, and different briefs. I think that makes it really exciting. Like you know, you might be trying to find young kids, or people with different backgrounds. Or you know, different experiences. I love that challenge. I think it’s really exciting. Particularly when you get those people in the room and they’ve never done anything. Or maybe they’re a bit raw, and you know, getting that performance out of them, that’s really fun.
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "What’s the best way for actors to work with casting? Casting Director and CGA President Thea McLeod joins How We Role to share practical advice on enhancing this collaboration in a digital age. \n\n\n\nThea McLeod is one of Australia\u2019s most respected casting directors, widely recognised for her extraordinary eye for talent across mediums. \n\n\n\nFor more than fourteen years, Thea served as casting director of the long-running and beloved soap opera Neighbours, helping to launch and nurture generations of performers from Margot Robbie to Liam Hemsworth.\n\n\n\nIn recent years, Thea has expanded her creative reach into producing, working on the Netflix original Measure For Measure, starring Hugo Weaving, which received multiple AACTA recognitions and widespread critical praise. Thea is currently casting Guy Pearce’s highly anticipated supernatural thriller Poor Boy in addition to other ventures.\n\n\n\nA tireless advocate for her profession, Thea is in her fourth year as President of the Casting Guild of Australia. She is also the founder of the AACTA Young Stars initiative, helping create real pathways between emerging talent and world-leading casting directors.\n\n\n\nTogether, Thea and I explore the ins and outs of the the actor-casting director dynamic. She graces us with a treasure trove of wisdom from specific self tape tips to how to really take an acting note. Be sure to share this one with an actor friend!\n\n\n\nThis episode is a treasure trove of creative wisdom, covering:\n\n\n\n\nHow creatives can thrive with a community-driven mindset.\n\n\n\nTips for protecting your mental health in an unstable business.\n\n\n\nHow to make strong acting choices while staying true to the script and tone.\n\n\n\nLittle self-tape upgrades that make a big difference\n\n\n\nWhy receiving notes is a good thing and how you can really take them in.\n\n\n\nUnderstanding talent negotiations and timelines.\n\n\n\nOn-set etiquette: punctuality, preparation, and respect for every department\n\n\n\nWhen social media matters and how it can function as a marketing tool, plus much more.\n\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRobert Peterpaul: Guerrilla casting: I know some projects still call for that, right? Going to certain regions and walking around?\n\n\n\nThea McLeod: We have to. Especially when you’re looking, I mean obviously there’s so many different projects, and different briefs. I think that makes it really exciting. Like you know, you might be trying to find young kids, or people with different backgrounds. Or you know, different experiences. I love that challenge. I think it’s really exciting. Particularly when you get those people in the room and they’ve never done anything. Or maybe they’re a bit raw, and you know, getting that performance out of them, that’s really fun.\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nOscar-Nominee Malgosia Turzanska (\u2018Hamnet\u2019): What Actors Can Learn from Costume Design | \u2018How We Role\u2019\n\n\n\nWhat \u2018Dark Winds\u2019 Teaches Actors About Preparation and Building the Right Relationships\n\n\n\nProfessional Favors: Successful Approaches for Making Valuable Industry Connections\n\n\n\n\n\nThe post How to Take an Acting Note & Make it Soar with Casting Director & CGA President Thea McLeod | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-04-01T09:12:25-07:00",
"date_modified": "2026-04-23T09:48:26-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
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{
"id": "https://www.castingnetworks.com/?p=309408",
"url": "https://www.castingnetworks.com/news/how-to-be-1-on-the-call-sheet-with-stumbles-jenn-lyon-how-we-role/",
"title": "How to Be #1 on the Call Sheet with \u2018Stumble\u2019s Jenn Lyon | \u2018How We Role\u2019",
"content_html": "\n
How do you become a lead on a major network series? And how do you become an actor who leads with joy? In the second episode of How We Role‘s sophomore season, Stumble star Jenn Lyon joins host Robert Peterpaul to unpack what being number one on the call sheet really means.
\n\n\n\n
Jenn Lyon is an award-winning actress who stars in the leading role of Courteney Potter in the hit NBC comedy series Stumble, opposite Taran Killam. Best known for the role of Jennifer Husser in the hit TNT series Claws (opposite Niecy Nash), her other credits include the role of Chloe (opposite Julianne Moore) in Netflix\u2019s limited series Sirens, the villainous (and fan favorite) witch, Esther Finch, in Netflix\u2019s Dead Boy Detectives, Paramount+ series Happy Face (starring Dennis Quaid and Annaleigh Ashford), Elsbeth (starring Carrie Preston) as well as Linda on Hulu\u2019s English Teacher, for which she garnered critical acclaim and Emmy buzz. You also may recognize her as Lindsey from Justified.
\n\n\n\n
As a classically trained theatre actress, Jenn has worked extensively on and off-Broadway. Broadway credits include Tom Stoppard\u2019s 11-time Tony award-winning The Coast of Utopia as well as Larry David\u2019s Fish in the Dark.
\n\n\n\n
This episode focuses on how actors can work their way up, covering:
\n\n\n\n
\n
How making bold \u2014 and often odd \u2014 audition choices can lead to booking.
\n\n\n\n
Learning from incredible #1’s like Julianne Moore (on Sirens), Timothy Olyphant (on Justified), and Niecy Nash (on Claws).
\n\n\n\n
Technical aspects of shooting a mockumentary-style show like Stumble.
\n\n\n\n
How to create a warm and inviting environment for guest stars and the crew on set.
\n\n\n\n
Tangible tips on the craft of acting from self tapes to comedic beats and more!
\n
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Robert: We love a good audition story here. So, how was that process for Stumble? And were you aware of anything you did along the way that you think booked you the job?
\n\n\n\n
Jenn Lyon: Okay. So yes. My managers had sent this script to me and they were like, “We don’t even think we can get you in for an audition because they only want names for this. But just be ready. Because if we can get you in, this is a great role for you.”
\n\n\n\n
I read it. I molted on my skin, I grew feathers. I was like \u2014 it appeared to me like John Nash’s mathematics appeared to him in A Beautiful Mind. You know what I mean? It was just like, I know this backwards and forwards, man.
\n\n\n\n
And also, there was so much room for discovery. So I really worked on it, really hard, for like a week. And I even made, because the audition scene was the whiteboard scene you see in the pilot where she’s talking about cheer camp and everything she needs to happen, or that needs to happen, that she needs to do. And then also another scene in the bedroom with Boone.
\n\n\n\n
But I made my own poster board whiteboard. I was like, I’m gonna think of funny shit to do if I get to do this. And so then it came up that I was gonna get to audition because, and this is how \u2014 this is so good for actors to know. You never know what’s gonna get you the ability to get your foot in the door.
\n\n\n\n
I wasn’t getting an appointment. The director, Jeff Blitz, went to dinner with two people that I don’t know. I know them now because I sent them gifts. But he was lamenting the fact that they couldn’t really find the right girl. And they said, Have you seen English Teacher? Do you know who Jenn Lyon is? And he was like, “No.” They showed him clips at dinner of English Teacher, and then he was, like, “Oh, we should see her.”
\n\n\n\n
So, like, thank you, Connor, thank you, Barrett. And then, by the time he called and said, “We’d like to see her,” I was prepared.
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "How do you become a lead on a major network series? And how do you become an actor who leads with joy? In the second episode of How We Role‘s sophomore season, Stumble star Jenn Lyon joins host Robert Peterpaul to unpack what being number one on the call sheet really means.\n\n\n\nJenn Lyon is an award-winning actress who stars in the leading role of Courteney Potter in the hit NBC comedy series Stumble, opposite Taran Killam. Best known for the role of Jennifer Husser in the hit TNT series Claws (opposite Niecy Nash), her other credits include the role of Chloe (opposite Julianne Moore) in Netflix\u2019s limited series Sirens, the villainous (and fan favorite) witch, Esther Finch, in Netflix\u2019s Dead Boy Detectives, Paramount+ series Happy Face (starring Dennis Quaid and Annaleigh Ashford), Elsbeth (starring Carrie Preston) as well as Linda on Hulu\u2019s English Teacher, for which she garnered critical acclaim and Emmy buzz. You also may recognize her as Lindsey from Justified. \n\n\n\nAs a classically trained theatre actress, Jenn has worked extensively on and off-Broadway. Broadway credits include Tom Stoppard\u2019s 11-time Tony award-winning The Coast of Utopia as well as Larry David\u2019s Fish in the Dark. \n\n\n\nThis episode focuses on how actors can work their way up, covering:\n\n\n\n\nHow making bold \u2014 and often odd \u2014 audition choices can lead to booking.\n\n\n\nLearning from incredible #1’s like Julianne Moore (on Sirens), Timothy Olyphant (on Justified), and Niecy Nash (on Claws).\n\n\n\nTechnical aspects of shooting a mockumentary-style show like Stumble.\n\n\n\nHow to create a warm and inviting environment for guest stars and the crew on set.\n\n\n\nTangible tips on the craft of acting from self tapes to comedic beats and more!\n\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRobert:We love a good audition story here. So, how was that process for Stumble? And were you aware of anything you did along the way that you think booked you the job?\n\n\n\nJenn Lyon:Okay. So yes. My managers had sent this script to me and they were like, “We don’t even think we can get you in for an audition because they only want names for this. But just be ready. Because if we can get you in, this is a great role for you.” \n\n\n\nI read it. I molted on my skin, I grew feathers. I was like \u2014 it appeared to me like John Nash’s mathematics appeared to him in A Beautiful Mind. You know what I mean? It was just like, I know this backwards and forwards, man.\n\n\n\nAnd also, there was so much room for discovery. So I really worked on it, really hard, for like a week. And I even made, because the audition scene was the whiteboard scene you see in the pilot where she’s talking about cheer camp and everything she needs to happen, or that needs to happen, that she needs to do. And then also another scene in the bedroom with Boone. \n\n\n\nBut I made my own poster board whiteboard. I was like, I’m gonna think of funny shit to do if I get to do this. And so then it came up that I was gonna get to audition because, and this is how \u2014 this is so good for actors to know. You never know what’s gonna get you the ability to get your foot in the door. \n\n\n\nI wasn’t getting an appointment. The director, Jeff Blitz, went to dinner with two people that I don’t know. I know them now because I sent them gifts. But he was lamenting the fact that they couldn’t really find the right girl. And they said, Have you seen English Teacher? Do you know who Jenn Lyon is? And he was like, “No.” They showed him clips at dinner of English Teacher, and then he was, like, “Oh, we should see her.” \n\n\n\nSo, like, thank you, Connor, thank you, Barrett. And then, by the time he called and said, “We’d like to see her,” I was prepared.\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nOscar-Nominee Malgosia Turzanska (\u2018Hamnet\u2019): What Actors Can Learn from Costume Design | \u2018How We Role\u2019\n\n\n\nWhat \u2018Dark Winds\u2019 Teaches Actors About Preparation and Building the Right Relationships\n\n\n\nProfessional Favors: Successful Approaches for Making Valuable Industry Connections\n\n\n\n\n\nThe post How to Be #1 on the Call Sheet with ‘Stumble’s Jenn Lyon | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-03-17T09:29:22-07:00",
"date_modified": "2026-04-23T09:48:26-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/03/EP24-Jenn-Lyon.jpg",
"tags": [
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},
{
"id": "https://www.castingnetworks.com/?p=230353",
"url": "https://www.castingnetworks.com/news/how-to-choose-the-best-city-for-your-acting-career-with-talent-manager-natasha-matallana-marken-how-we-role/",
"title": "How to Choose the Best City for Your Acting Career with Talent Manager Natasha Matallana Marken | \u2018How We Role\u2019",
"content_html": "\n
Where is the best place to live as an actor? Join talent manager Natasha Matallana Marken (Rebel Creative) as she sits down with host Robert Peterpaul to unpack how actors can choose the right home base for them in a self-tape world. From knowing when you’re ready to weighing the positives and negatives of cities around the world, we got you covered.
\n\n\n\n
This episode explores:
\n\n\n\n
\u2022 The age old question: NY or LA? \u2022 Up and coming productions hubs to consider moving to. \u2022 The honest truth about being a \u201clocal hire.” \u2022 Building community and representation before relocating. \u2022 A practical checklist of questions to ask yourself before you decide. \u2022 Rapid-fire acting advice from landing an agent to co-star auditions and more.
\n\n\n\n
Natasha Matallana Marken has been working in the entertainment arena for nearly 20 years. Formerly the founder & President of Take 3 Talent agency, Now, a manager, She comes to Rebel Creative Group with ample experience working with and representing artists in all mediums. Prior to Launching Rebel alongside her partner Sherry Kayne, Natasha spent some time in various positions working in the music industry at MTV, Radio Disney, WPLJ, and then eventually found herself in the modeling and later talent agency world.
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Episode Preview: How to Choose the Best City for Your Acting Career with Talent Manager Natasha Matallana Marken
\n\n\n\n\n\n\n\n
Natasha Matallana Marken: What is most important to me when I do have conversations with these clients is, where ever you are in the world, do you have the capacity, the means, the ability to get yourself to one of these major cities for potential callbacks? Or the next steps in the process? But the initial step, with self-tapes being the norm, it no longer really matters. I prefer, actually, to meet an actor whose very happy where they are, where ever that is, and where their lives are being fulfilled. That there’s more options for them than strictly focusing on acting.
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "Where is the best place to live as an actor? Join talent manager Natasha Matallana Marken (Rebel Creative) as she sits down with host Robert Peterpaul to unpack how actors can choose the right home base for them in a self-tape world. From knowing when you’re ready to weighing the positives and negatives of cities around the world, we got you covered.\n\n\n\nThis episode explores:\n\n\n\n\u2022 The age old question: NY or LA?\u2022 Up and coming productions hubs to consider moving to.\u2022 The honest truth about being a \u201clocal hire.”\u2022 Building community and representation before relocating.\u2022 A practical checklist of questions to ask yourself before you decide.\u2022 Rapid-fire acting advice from landing an agent to co-star auditions and more.\n\n\n\nNatasha Matallana Marken has been working in the entertainment arena for nearly 20 years. Formerly the founder & President of Take 3 Talent agency, Now, a manager, She comes to Rebel Creative Group with ample experience working with and representing artists in all mediums. Prior to Launching Rebel alongside her partner Sherry Kayne, Natasha spent some time in various positions working in the music industry at MTV, Radio Disney, WPLJ, and then eventually found herself in the modeling and later talent agency world.\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\n\n\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\nEpisode Preview: How to Choose the Best City for Your Acting Career with Talent Manager Natasha Matallana Marken\n\n\n\n\n\n\n\nNatasha Matallana Marken: What is most important to me when I do have conversations with these clients is, where ever you are in the world, do you have the capacity, the means, the ability to get yourself to one of these major cities for potential callbacks? Or the next steps in the process? But the initial step, with self-tapes being the norm, it no longer really matters. I prefer, actually, to meet an actor whose very happy where they are, where ever that is, and where their lives are being fulfilled. That there’s more options for them than strictly focusing on acting.\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nHow to Break the Mold & Get Cast with Emmy-Nominee Shaheen Baig (\u2018Adolescence\u2019) | \u2018How We Role\u2019\n\n\n\nHow to Handle Rejection & Stay Motivated with Casting Director Stephanie Klapper | \u2018How We Role\u2019\n\n\n\nEmbracing Cold Reads & Releasing Self Tape Perfection with Lena Hall (\u2018Your Friends & Neighbors\u2019) | \u2018How We Role\u2019\n\nThe post How to Choose the Best City for Your Acting Career with Talent Manager Natasha Matallana Marken | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2025-10-07T09:19:00-07:00",
"date_modified": "2026-04-23T09:48:26-07:00",
"authors": [
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