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"id": "https://www.castingnetworks.com/?p=338990",
"url": "https://www.castingnetworks.com/news/truth-or-drink-youtube-series-soft-drink-ad-casting-alert/",
"title": "Casting Alert: YouTube Series \u2018Truth Or Drink,\u2019 A Soft Drink Social Media Ad, and More Seek Talent!",
"content_html": "\n
Current opportunities include the YouTube series Truth Or Drink, a Soft Drink Social Media Ad, and an E-commerce Campaign seeking male models. If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
This fun vertical short for the popular YouTube channel CUT is casting real people ready to play Truth or Drink and confess something \u2014 big or small \u2014 to a friend, family member, partner, coworker, or ex on camera.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
ARE YOU GAY AND WANT TO TELL YOUR PARENTS/FRIEND? Ages 18\u201334, any gender. Looking for individuals ready to come out to a parent or friend in a safe, supportive studio shoot while playing Truth or Drink on CUT.
WANT TO COME OUT TO SOMEONE? Ages 18\u201335, any gender. Play Truth or Drink with a friend, family member, coworker, or teammate on the popular YouTube channel CUT in a safe and supportive environment. Include in your submission note who you’d like to come out to.
\n\n\n\n
CONFESS TO SOMEONE YOU KNOW Ages 21\u201334, open to men, women, non-binary, trans men, and trans women. Confess something to a friend, family member, partner, coworker, or ex during a fun Truth or Drink segment. Please share your secret in your submission notes.
An upcoming e-commerce clothing campaign is seeking male models of any size, body type, and skin tone, available to shoot in New York City during the month of July.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
MODEL Ages 18\u201340, male. Any size, body type, and skin tone welcome. Must be available in July. Please include your email, Instagram or portfolio link, and phone number in your submission note.
\n",
"content_text": "Current opportunities include the YouTube series Truth Or Drink, a Soft Drink Social Media Ad, and an E-commerce Campaign seeking male models. If you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘Truth Or Drink’ Seeks Real People!\n\n\n\nThis fun vertical short for the popular YouTube channel CUT is casting real people ready to play Truth or Drink and confess something \u2014 big or small \u2014 to a friend, family member, partner, coworker, or ex on camera.\n\n\n\nRoles being cast:\n\n\n\n\nARE YOU GAY AND WANT TO TELL YOUR PARENTS/FRIEND?Ages 18\u201334, any gender. Looking for individuals ready to come out to a parent or friend in a safe, supportive studio shoot while playing Truth or Drink on CUT.\n\n\n\nWANT TO TELL YOUR PARENTS OR IN-LAWS SOMETHING THEY DON’T KNOW?Ages 18\u201335, any gender. Come play Truth or Drink on CUT on YouTube and get whatever you have to say off your chest \u2014 all secrets accepted.\n\n\n\nWANT TO COME OUT TO SOMEONE?Ages 18\u201335, any gender. Play Truth or Drink with a friend, family member, coworker, or teammate on the popular YouTube channel CUT in a safe and supportive environment. Include in your submission note who you’d like to come out to.\n\n\n\nCONFESS TO SOMEONE YOU KNOWAges 21\u201334, open to men, women, non-binary, trans men, and trans women. Confess something to a friend, family member, partner, coworker, or ex during a fun Truth or Drink segment. Please share your secret in your submission notes.\n\n\n\n\nRates: \n\n\n\n\n$800 per person\n\n\n\n\nWork Location: Multiple Locations\n\n\n\nDeadline: June 24, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nSoft Drink Social Media Ad Seeks Talent!\n\n\n\nA social media ad for a soft drink brand is casting attractive men and women ages 25\u201335 for a golf-themed shoot in New York City.\n\n\n\nRoles being cast:\n\n\n\n\nATTRACTIVE WOMEN WITH GOLF EXPERIENCE 25\u201335Ages 25\u201335, women. Golf experience is not required, but please indicate in your submission if you have any.\n\n\n\nATTRACTIVE MEN WITH GOLF EXPERIENCE 25\u201335Ages 25\u201335, men. Does not need to be a golfer, but golf experience is a plus \u2014 please note it in your submission.\n\n\n\n\nRates: \n\n\n\n\n$500 per day\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: June 22, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nE-commerce Campaign Seeks Male Models!\n\n\n\nAn upcoming e-commerce clothing campaign is seeking male models of any size, body type, and skin tone, available to shoot in New York City during the month of July.\n\n\n\nRoles being cast:\n\n\n\n\nMODELAges 18\u201340, male. Any size, body type, and skin tone welcome. Must be available in July. Please include your email, Instagram or portfolio link, and phone number in your submission note.\n\n\n\n\nRates: \n\n\n\n\n$350 flat buyout per model\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: June 30, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: YouTube Series ‘Truth Or Drink,’ A Soft Drink Social Media Ad, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-06-17T09:44:52-07:00",
"date_modified": "2026-06-17T09:51:26-07:00",
"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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"tags": [
"Casting Alert"
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{
"id": "https://www.castingnetworks.com/?p=336957",
"url": "https://www.castingnetworks.com/news/table-reads-explained-what-they-are-why-they-matter-and-how-to-get-in-the-room/",
"title": "Table Reads Explained: What They Are, Why They Matter, and How to Get in the Room",
"content_html": "\n
A table read is when you meet the actors and production team, read the script out loud together, and engage with the work for the first time.
\n\n\n\n
The challenge of a table read is understanding what level of preparation might be expected from you.
\n\n\n\n
Arianna Wellmoney is an Italian actor, playwright and producer based in New York City. A graduate of Campo Teatrale in Milan and The American Academy of Dramatic Arts, she co-wrote the original play Extraordinary Aliens, which premiered in Manhattan before being selected for the Hollywood Fringe Festival in Los Angeles.
\n\n\n\n
In this interview, Arianna discusses how to prepare for a table read, why they are important to the production process, and how they can help you develop as an actor.
\n\n\n\n
Key Insights
\n\n\n\n
\n
A table read is a collaborative first step where actors, writers, and directors discover what works in the script before rehearsals begin.
\n\n\n\n
Hearing a script aloud reveals pacing issues, character insights, and story problems that are often missed on the page.
A table read is the first day of production, usually taking place in a room with assigned seating. You\u2019ll be seated around a table, with a script in front of you, which you\u2019ll read out loud from beginning to end. The format for a theater production is exploratory, marking the start of the process. For film and TV it\u2019s more rapid, and executive focus is used to refine the script.
\n\n\n\n
In Arianna\u2019s 2024 production of the original play He\u2019s Different, the table read was the first time she heard the script come to life through the actors’ voices. Everyone came in prepared, eager to play, and as both the playwright and an actor, she got to hear what was working and what wasn’t.
\n\n\n\n
\u201cSome jokes landed even better than I had imagined, thanks to the incredibly talented cast and our director, while other moments felt a little awkward and clearly needed more work.\u201d
\n\n\n\n
Typically for established works, table reads will welcome discussion, where actors can talk about what they think is going on and what discoveries they\u2019ve made from hearing the work out loud. With developing new work, she entered into a much more collaborative process.
\n\n\n\n
Some feedback and ideas were welcomed by her and the director, with some making it into the final script. \u201cIt\u2019s a great opportunity to hear how a script breathes, what it wants to become and where the words stop living on the page and start becoming a shared story.\u201d
\n\n\n\n
Why Productions Hold Table Reads
\n\n\n\n
\u201cA table read gives everyone a shared starting point before rehearsals begin. It allows everyone in production to hear the script as an audience would for the first time, and to begin building the world of the play together.\u201d
\n\n\n\n
As the writer, Arianna is often identifying what works and what still needs attention. She discovers where the comedic moments landed, where pacing needed improvement, or where the relationships between characters needed more clarity. Identifying script problems during the He\u2019s Different table read allowed for rewrites, particularly when actor James Nash spotted a continuity issue.
\n\n\n\n
\u201cThat is one of the biggest advantages of a table read: a room full of talented people examining the story from different perspectives and catching things the writer may have missed.\u201d Hearing the script also taught her patterns about her own writing that she couldn’t have discovered by reading it silently on the page.
\n\n\n\n
What’s Expected of You as an Actor
\n\n\n\n
Memorization isn\u2019t required at the table read, but a level of engagement and enthusiasm is. It\u2019s important to read the script at least once before the table read so you can gauge the level of performance needed and so you aren\u2019t surprised by the events unfolding in the story.
\n\n\n\n
Active listening, and an honest read is preferred over showcasing. You should try to look at who you are talking to, to get a feeling for the connection between characters. At this stage you are just building, so a fully formed character or idea isn\u2019t what a writer or director is expecting. \u201cThe biggest thing I look for is curiosity. I do not expect actors to have all the answers on day one.\u201d
\n\n\n\n
Arianna continues with the expectation for actors to engage with the material, ask questions, and bring their own instincts to the character. \u201cSome of the best moments in my productions have come from actors noticing something in the script that I hadn’t considered. A table read should feel collaborative, rather than performative.\u201d
\n\n\n\n
The Different Kinds of Table Reads You’ll Encounter
\n\n\n\n
There are distinct contexts for when and where you\u2019ll encounter a table read. A theater production will mark the start of a long rehearsal process with one, because the script is typically explored in stages across a number of dedicated weeks.
\n\n\n\n
Independent films (and student films) might also hold a table read at the start of pre-production. For projects with a lower budget, there might be more rigidity in this context to enable a smoother and well-organized shoot, with concern for reducing costs.
\n\n\n\n
A table read for a film or TV production will take place with the entire cast and crew, along with the network executives. The stakes tend to be higher on studio productions at this early stage because there is capital at risk. Before principal photography begins, studios are more inclined to make big changes if something isn\u2019t working in order to reduce these risks.
\n\n\n\n
How to Find and Get Invited to Table Reads
\n\n\n\n
Casting platforms will list staged readings or workshops mainly from theater companies, film schools or writers groups. Building relationships with writers who need actors is a great starting point in getting invited to table reads.
\n\n\n\n
Arianna has found that being active in the theater community and building genuine relationships has led to a number of lucrative opportunities. \u201cThese projects may not always be the most profitable, but it is often where some of the most valuable learning happens.\u201d
\n\n\n\n
Table reads are essential to help you develop your skills, and as a playwright, Arianna likes to work with actors that are curious and eager to collaborate. She also tells me that they\u2019ve made her a better actor and a better listener through focus on the text.
\n\n\n\n
The necessity to develop skills goes in both directions, for actors and writers. Reach out by submitting for breakdowns, even low-paying staged readings, or get together with friends and do a table read of your favorite play or film.
\n\n\n\n
What to Do Before and After the Table Read
\n\n\n\n
Even though the table read is the first official read of the script with the other actors, you should be reading the script beforehand, and not just your scenes. Arianna recommends multiple reads, with a second pass focusing on research, highlighting anything you need to look up, such as unfamiliar words.
\n\n\n\n
She tells me that part of her preparation includes determining the story\u2019s 5 W\u2019s: Who, What, When, Where, and Why. If you feel inclined to read through a third time before the table read, then this is where your character\u2019s point of view can be looked at.\u00a0
\n\n\n\n
“You do not need to have every line memorized, but you should be ready to answer any general question about the story or where your character is headed in their journey. I also think it’s important to stay flexible.\u201d
\n\n\n\n
Being prepared to enter the space with your script, lines highlighted, energized and ready to work is essential. The table read is the first time you and the other actors will hear each other, and make those early discoveries. After the table read, if you have questions or notes, you can take these to the director during rehearsals to show your professionalism and eagerness to engage with the work.
\n\n\n\n
Conclusion
\n\n\n\n
The environment for a table read is the beginning of the process, where everything is new, it\u2019s collaborative and exciting. If you’re unsure about its purpose, it can seem like revisiting a daunting first day at school. The difference between your individual read-through and a table read is a springboard for discovery, where the characters lift off the page.
\n\n\n\n
At the table read, everyone is starting from scratch. Even the writer, despite knowing what is going to happen in the story, is nervous. If you go into your first table read, unsure, curious, an open vessel, that\u2019s okay, because everyone else is right there with you.
\n",
"content_text": "A table read is when you meet the actors and production team, read the script out loud together, and engage with the work for the first time. \n\n\n\nThe challenge of a table read is understanding what level of preparation might be expected from you.\n\n\n\nArianna Wellmoney is an Italian actor, playwright and producer based in New York City. A graduate of Campo Teatrale in Milan and The American Academy of Dramatic Arts, she co-wrote the original play Extraordinary Aliens, which premiered in Manhattan before being selected for the Hollywood Fringe Festival in Los Angeles.\n\n\n\nIn this interview, Arianna discusses how to prepare for a table read, why they are important to the production process, and how they can help you develop as an actor.\n\n\n\nKey Insights\n\n\n\n\nA table read is a collaborative first step where actors, writers, and directors discover what works in the script before rehearsals begin.\n\n\n\nHearing a script aloud reveals pacing issues, character insights, and story problems that are often missed on the page.\n\n\n\nActors don\u2019t need to memorize lines for a table read, but they should arrive prepared, engaged, and ready to contribute.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nWhat Actually Happens at a Table Read\n\n\n\nA table read is the first day of production, usually taking place in a room with assigned seating. You\u2019ll be seated around a table, with a script in front of you, which you\u2019ll read out loud from beginning to end. The format for a theater production is exploratory, marking the start of the process. For film and TV it\u2019s more rapid, and executive focus is used to refine the script. \n\n\n\nIn Arianna\u2019s 2024 production of the original play He\u2019s Different, the table read was the first time she heard the script come to life through the actors’ voices. Everyone came in prepared, eager to play, and as both the playwright and an actor, she got to hear what was working and what wasn’t. \n\n\n\n\u201cSome jokes landed even better than I had imagined, thanks to the incredibly talented cast and our director, while other moments felt a little awkward and clearly needed more work.\u201d\n\n\n\nTypically for established works, table reads will welcome discussion, where actors can talk about what they think is going on and what discoveries they\u2019ve made from hearing the work out loud. With developing new work, she entered into a much more collaborative process. \n\n\n\nSome feedback and ideas were welcomed by her and the director, with some making it into the final script. \u201cIt\u2019s a great opportunity to hear how a script breathes, what it wants to become and where the words stop living on the page and start becoming a shared story.\u201d\n\n\n\nWhy Productions Hold Table Reads\n\n\n\n\u201cA table read gives everyone a shared starting point before rehearsals begin. It allows everyone in production to hear the script as an audience would for the first time, and to begin building the world of the play together.\u201d \n\n\n\nAs the writer, Arianna is often identifying what works and what still needs attention. She discovers where the comedic moments landed, where pacing needed improvement, or where the relationships between characters needed more clarity. Identifying script problems during the He\u2019s Different table read allowed for rewrites, particularly when actor James Nash spotted a continuity issue. \n\n\n\n\u201cThat is one of the biggest advantages of a table read: a room full of talented people examining the story from different perspectives and catching things the writer may have missed.\u201d Hearing the script also taught her patterns about her own writing that she couldn’t have discovered by reading it silently on the page.\n\n\n\nWhat’s Expected of You as an Actor\n\n\n\nMemorization isn\u2019t required at the table read, but a level of engagement and enthusiasm is. It\u2019s important to read the script at least once before the table read so you can gauge the level of performance needed and so you aren\u2019t surprised by the events unfolding in the story.\n\n\n\nActive listening, and an honest read is preferred over showcasing. You should try to look at who you are talking to, to get a feeling for the connection between characters. At this stage you are just building, so a fully formed character or idea isn\u2019t what a writer or director is expecting. \u201cThe biggest thing I look for is curiosity. I do not expect actors to have all the answers on day one.\u201d \n\n\n\nArianna continues with the expectation for actors to engage with the material, ask questions, and bring their own instincts to the character. \u201cSome of the best moments in my productions have come from actors noticing something in the script that I hadn’t considered. A table read should feel collaborative, rather than performative.\u201d \n\n\n\nThe Different Kinds of Table Reads You’ll Encounter\n\n\n\nThere are distinct contexts for when and where you\u2019ll encounter a table read. A theater production will mark the start of a long rehearsal process with one, because the script is typically explored in stages across a number of dedicated weeks. \n\n\n\nIndependent films (and student films) might also hold a table read at the start of pre-production. For projects with a lower budget, there might be more rigidity in this context to enable a smoother and well-organized shoot, with concern for reducing costs. \n\n\n\nA table read for a film or TV production will take place with the entire cast and crew, along with the network executives. The stakes tend to be higher on studio productions at this early stage because there is capital at risk. Before principal photography begins, studios are more inclined to make big changes if something isn\u2019t working in order to reduce these risks.\n\n\n\nHow to Find and Get Invited to Table Reads\n\n\n\nCasting platforms will list staged readings or workshops mainly from theater companies, film schools or writers groups. Building relationships with writers who need actors is a great starting point in getting invited to table reads. \n\n\n\nArianna has found that being active in the theater community and building genuine relationships has led to a number of lucrative opportunities. \u201cThese projects may not always be the most profitable, but it is often where some of the most valuable learning happens.\u201d \n\n\n\nTable reads are essential to help you develop your skills, and as a playwright, Arianna likes to work with actors that are curious and eager to collaborate. She also tells me that they\u2019ve made her a better actor and a better listener through focus on the text.\n\n\n\nThe necessity to develop skills goes in both directions, for actors and writers. Reach out by submitting for breakdowns, even low-paying staged readings, or get together with friends and do a table read of your favorite play or film. \n\n\n\nWhat to Do Before and After the Table Read\n\n\n\nEven though the table read is the first official read of the script with the other actors, you should be reading the script beforehand, and not just your scenes. Arianna recommends multiple reads, with a second pass focusing on research, highlighting anything you need to look up, such as unfamiliar words. \n\n\n\nShe tells me that part of her preparation includes determining the story\u2019s 5 W\u2019s: Who, What, When, Where, and Why. If you feel inclined to read through a third time before the table read, then this is where your character\u2019s point of view can be looked at.\u00a0\n\n\n\n“You do not need to have every line memorized, but you should be ready to answer any general question about the story or where your character is headed in their journey. I also think it’s important to stay flexible.\u201d \n\n\n\nBeing prepared to enter the space with your script, lines highlighted, energized and ready to work is essential. The table read is the first time you and the other actors will hear each other, and make those early discoveries. After the table read, if you have questions or notes, you can take these to the director during rehearsals to show your professionalism and eagerness to engage with the work.\n\n\n\nConclusion\n\n\n\nThe environment for a table read is the beginning of the process, where everything is new, it\u2019s collaborative and exciting. If you’re unsure about its purpose, it can seem like revisiting a daunting first day at school. The difference between your individual read-through and a table read is a springboard for discovery, where the characters lift off the page.\n\n\n\nAt the table read, everyone is starting from scratch. Even the writer, despite knowing what is going to happen in the story, is nervous. If you go into your first table read, unsure, curious, an open vessel, that\u2019s okay, because everyone else is right there with you.\n\n\n\n\n\n\n\nInterested in table read opportunities?\n\n\n\nStart browsing the latest casting calls:\n\n\n\n\nFeature Film Casting Calls\n\n\n\nTheatre Auditions\n\n\n\nTV Series Acting Jobs\n\n\n\nStudent Film Casting Calls\n\nThe post Table Reads Explained: What They Are, Why They Matter, and How to Get in the Room appeared first on Casting Networks.",
"date_published": "2026-06-17T09:32:00-07:00",
"date_modified": "2026-06-17T09:20:18-07:00",
"authors": [
{
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
}
],
"author": {
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/06/iStock-909089964.jpg",
"tags": [
"Acting 101",
"Acting Advice",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=338558",
"url": "https://www.castingnetworks.com/news/fox-fear-factor-house-of-fear-short-film-casting-alert/",
"title": "Casting Alert: Fox\u2019s \u2018Fear Factor \u2013 House of Fear,\u2019 \u2018Dick Tracy,\u2019 and More Seek Talent!",
"content_html": "\n
Current opportunities include a brand-new competition game show seeking real dancers in Los Angeles, Fox’s Fear Factor reboot looking for bold contestants nationwide, and a Dick Tracy short film casting its leads.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
A brand new competition game show for a major network is casting teams of three in the Greater Los Angeles area for a one-day shoot with the chance to win real money.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
REAL DANCERS Ages 18\u201365, all genders. Casting real dancers for an episode. Teams of 3 \u2014 friends, coworkers, family, or any dynamic trio with genuine chemistry.
The iconic Fear Factor is back, and casting is now open nationwide for fearless individuals ready to live together, face mind-blowing stunts and harrowing challenges, and compete for a grand prize.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
BOLD & DYNAMIC CONTESTANTS Ages 18\u201360, open to men, women, non-binary, trans men, and trans women. Must be ready to face fears, live with competitors, and take on extreme stunts and challenges for the chance to walk away with the grand prize.
This short film follows Dick Tracy after he guns down the murderous son of Big Boy Caprice and finds himself with a hit put out on his head, and is now casting its two leads.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
DICK TRACY Ages 40\u201345, man. Square-jawed, handsome, with a muscular physique and jet-black hair. A deep voice is preferred, and familiarity with the character is a plus.
\n\n\n\n
TESS TRUEHEART Ages 25\u201335, woman. Tess Trueheart is a statuesque woman reminiscent of the “Hitchcock Blonde.”
\n",
"content_text": "Current opportunities include a brand-new competition game show seeking real dancers in Los Angeles, Fox’s Fear Factor reboot looking for bold contestants nationwide, and a Dick Tracy short film casting its leads. \n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\nA New Competition Show Seeks Real Dancers!\n\n\n\nA brand new competition game show for a major network is casting teams of three in the Greater Los Angeles area for a one-day shoot with the chance to win real money.\n\n\n\nRoles being cast:\n\n\n\n\nREAL DANCERSAges 18\u201365, all genders. Casting real dancers for an episode. Teams of 3 \u2014 friends, coworkers, family, or any dynamic trio with genuine chemistry.\n\n\n\n\nRates: \n\n\n\n\nCompete to win money\n\n\n\n\nWork Location: Los Angeles, San Diego\n\n\n\nDeadline: June 23, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nFox’s ‘Fear Factor – House of Fear’ Seeks Bold & Dynamic Contestants!\n\n\n\nThe iconic Fear Factor is back, and casting is now open nationwide for fearless individuals ready to live together, face mind-blowing stunts and harrowing challenges, and compete for a grand prize.\n\n\n\nRoles being cast:\n\n\n\n\nBOLD & DYNAMIC CONTESTANTSAges 18\u201360, open to men, women, non-binary, trans men, and trans women. Must be ready to face fears, live with competitors, and take on extreme stunts and challenges for the chance to walk away with the grand prize.\n\n\n\n\nRates: \n\n\n\n\nSee listing for rate details\n\n\n\n\nWork Location: Multiple Locations\n\n\n\nDeadline: June 27, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Dick Tracy’ Seeks Actors!\n\n\n\nThis short film follows Dick Tracy after he guns down the murderous son of Big Boy Caprice and finds himself with a hit put out on his head, and is now casting its two leads.\n\n\n\nRoles being cast:\n\n\n\n\nDICK TRACYAges 40\u201345, man. Square-jawed, handsome, with a muscular physique and jet-black hair. A deep voice is preferred, and familiarity with the character is a plus.\n\n\n\nTESS TRUEHEARTAges 25\u201335, woman. Tess Trueheart is a statuesque woman reminiscent of the “Hitchcock Blonde.”\n\n\n\n\nRates: \n\n\n\n\nSee listing for rate details\n\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: July 31, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: Fox’s ‘Fear Factor – House of Fear,’ ‘Dick Tracy,’ and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-06-16T09:47:02-07:00",
"date_modified": "2026-06-16T10:48:08-07:00",
"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/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"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=338149",
"url": "https://www.castingnetworks.com/news/netflix-13-going-on-30-chase-commercial-casting-alert/",
"title": "Casting Alert: Chase Sapphire, Netflix\u2019s \u201813 Going on 30,\u2019 and More Seek Talent!",
"content_html": "\n
Current opportunities include the feature film 13 Going on 30, the television series Evil Lives Here, and a commercial for Chase Sapphire. If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
A Chase Sapphire commercial is casting airport lounge guests for an overnight shoot in Philadelphia.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
AIRPORT LOUNGE GUESTS – SELF-REPORTS TO PHILADELPHIA – OVERNIGHT SHOOT Ages 18\u201370, all genders. Talent will portray airport lounge guests during an overnight shoot on 6/23 at Philadelphia/PHL Airport. Must be able to self-drive to Philadelphia and note it in your submission; parking is provided.
\n
\n\n\n\n
Rates:
\n\n\n\n
\n
$400/10 hours
\n
\n\n\n\n
Work Location: Baltimore, Philadelphia, New York City
Netflix’s feature film reboot is seeking a photo double for the role of Young Grace, with filming beginning as early as June 24.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
YOUNG GRACE PHOTO DOUBLE Ages 18\u201330, women. Seeking Caucasian female brunettes approximately 5’2″ tall who can fit in kids size 14 and XS in shirts and shoe size 6. No tattoos. Must be available to work June 24 with additional dates to follow.
This television series is casting several young actors in supporting roles for an upcoming episode that depicts the family at the center of this true-crime story, filming across multiple Northeast cities.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
RUBY’S YOUNGEST SON Ages 5\u20138, boys. Ruby’s young son who appears in family scenes illustrating the changing household atmosphere after Cliff (stepdad) becomes part of the family. A sensitive child who looks to his older siblings.
\n\n\n\n
TEEN CLIFF Ages 14\u201318, boys. A quiet, soft-spoken teenager who appears polite, friendly, and well-liked. Thoughtful and reserved, he often keeps to himself and carries a calm, mature presence.
\n\n\n\n
RUBY’S 2ND DAUGHTER Ages 6\u20138, girls. Part of a close-knit family that initially welcomes Cliff (stepdad) into their lives and enjoys the stability he appears to bring.
\n\n\n\n
RUBY’S 3RD DAUGHTER Ages 5\u20137, girls. One of Ruby’s younger daughters who appears in family scenes during key moments in the story. Initially carefree and playful, she becomes increasingly aware of the tension in the home.
\n\n\n\n
YOUNG JACKIE Ages 8\u201311, girls. Ruby’s oldest daughter and Cliff’s stepdaughter. She initially believes Cliff is the best thing that ever happened to her family, enjoying the attention, gifts, and sense of security he appears to provide.
\n
\n\n\n\n
Rates:
\n\n\n\n
\n
$211/day + agency fee
\n
\n\n\n\n
Work Location: Multiple Locations (Philadelphia, Boston, New York City, Buffalo)
\n",
"content_text": "Current opportunities include the feature film 13 Going on 30, the television series Evil Lives Here, and a commercial for Chase Sapphire. If you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\nChase Sapphire Seeks Commercial Talent!\n\n\n\nA Chase Sapphire commercial is casting airport lounge guests for an overnight shoot in Philadelphia.\n\n\n\nRoles being cast:\n\n\n\n\nAIRPORT LOUNGE GUESTS – SELF-REPORTS TO PHILADELPHIA – OVERNIGHT SHOOTAges 18\u201370, all genders. Talent will portray airport lounge guests during an overnight shoot on 6/23 at Philadelphia/PHL Airport. Must be able to self-drive to Philadelphia and note it in your submission; parking is provided.\n\n\n\n\nRates: \n\n\n\n\n$400/10 hours\n\n\n\n\nWork Location: Baltimore, Philadelphia, New York City\n\n\n\nDeadline: June 22, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n\u201813 Going on 30\u2019 Seeks a Photo Double!\n\n\n\nNetflix’s feature film reboot is seeking a photo double for the role of Young Grace, with filming beginning as early as June 24.\n\n\n\nRoles being cast:\n\n\n\n\nYOUNG GRACE PHOTO DOUBLEAges 18\u201330, women. Seeking Caucasian female brunettes approximately 5’2″ tall who can fit in kids size 14 and XS in shirts and shoe size 6. No tattoos. Must be available to work June 24 with additional dates to follow.\n\n\n\n\nRates: \n\n\n\n\n$262/8 hours\n\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: June 23, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Evil Lives Here’ Seeks Young Supporting Talent!\n\n\n\nThis television series is casting several young actors in supporting roles for an upcoming episode that depicts the family at the center of this true-crime story, filming across multiple Northeast cities.\n\n\n\nRoles being cast:\n\n\n\n\nRUBY’S YOUNGEST SONAges 5\u20138, boys. Ruby’s young son who appears in family scenes illustrating the changing household atmosphere after Cliff (stepdad) becomes part of the family. A sensitive child who looks to his older siblings.\n\n\n\nTEEN CLIFFAges 14\u201318, boys. A quiet, soft-spoken teenager who appears polite, friendly, and well-liked. Thoughtful and reserved, he often keeps to himself and carries a calm, mature presence.\n\n\n\nRUBY’S 2ND DAUGHTERAges 6\u20138, girls. Part of a close-knit family that initially welcomes Cliff (stepdad) into their lives and enjoys the stability he appears to bring.\n\n\n\nRUBY’S 3RD DAUGHTERAges 5\u20137, girls. One of Ruby’s younger daughters who appears in family scenes during key moments in the story. Initially carefree and playful, she becomes increasingly aware of the tension in the home.\n\n\n\nYOUNG JACKIEAges 8\u201311, girls. Ruby’s oldest daughter and Cliff’s stepdaughter. She initially believes Cliff is the best thing that ever happened to her family, enjoying the attention, gifts, and sense of security he appears to provide.\n\n\n\n\nRates: \n\n\n\n\n$211/day + agency fee\n\n\n\n\nWork Location: Multiple Locations (Philadelphia, Boston, New York City, Buffalo)\n\n\n\nDeadline: June 22, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: Chase Sapphire, Netflix’s \u201813 Going on 30,\u2019 and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-06-15T09:24:23-07:00",
"date_modified": "2026-06-15T10:21:00-07:00",
"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/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"id": "https://www.castingnetworks.com/?p=337343",
"url": "https://www.castingnetworks.com/news/how-to-use-casting-networks-new-members-guide-first-month/",
"title": "What to Expect in Your First Month on Casting Networks: A Realistic Guide to Success For New Members",
"content_html": "\n
Welcome to Casting Networks. We’re thrilled you’ve made the leap to a paid membership.
\n\n\n\n
Now, let’s talk about something crucial: what success actually looks like in your first month. Because we know from experience that new members often have wildly different expectations about how quickly callbacks come, and we want to be straight with you.
\n\n\n\n
When callbacks don’t land in week two, it’s tempting to think the platform is broken. It’s not. But we’ve found that the real difference between members who stick around and those who cancel comes down to one thing: knowing what normal looks like.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Success in your first month on Casting Networks is measured by consistent activity and learning what fits your type, not by immediate bookings or callbacks.
\n\n\n\n
A complete, professional profile with strong materials will improve your results far more than submitting to a high volume of roles.
\n\n\n\n
Thoughtful, targeted submissions and realistic expectations help build the momentum that often leads to callbacks in weeks three and four.
Here’s the reality: this platform works, but it takes more submissions than you might think. Most working actors see callbacks on 2-5% of submissions, sometimes lower depending on role availability and your type. That means if you submit for 20 roles in your first week, expect maybe one callback. Or zero. Both are completely normal.
\n\n\n\n
This isn’t a platform problem. It’s the industry. Casting directors review dozens, sometimes hundreds, of submissions per role. The odds are inherently long. But here’s what matters: they improve dramatically once you build momentum.
\n\n\n\n
The numbers might feel discouraging at first. You submit, you wait, nothing happens. Then you submit again. And again. Somewhere around submission 50 or 60, something shifts. Then you’ll get a callback. Then two callbacks in the same week. That’s not luck. That’s the compounding effect of consistent activity and a refined submission strategy.
\n\n\n\n
Think of your first month as an information-gathering phase rather than an immediate-results phase. You’re learning which types of roles respond to your submission, which genres align with how casting directors perceive you, and what kind of feedback the platform gives you through interest.
\n\n\n\n
The Mindset Shift
\n\n\n\n
You’re not playing a game with low odds. You’re building a body of work that compounds. Every submission, every callback is a data point that shows what’s working. After four weeks of consistent, targeted submissions, you’ll have real information and momentum.
\n\n\n\n
Members who see success aren’t the ones who submit 100 times in week one and then disappear. They’re the ones who show up week after week, refine their approach based on what they’re learning, and treat the platform as a long-term tool rather than a quick fix.
\n\n\n\n
The actors who stick with Casting Networks and book real work understand that this is a numbers game, but it’s a numbers game you can influence. You influence it through smart targeting, professional presentation, and consistent visibility.
\n\n\n\n
Your Profile Is Your Resume
\n\n\n\n
Here’s what actually moves the needle: a complete, professional profile.
\n\n\n\n
Casting directors scan submissions in seconds. A missing headshot, incomplete resume, or vague description? They move on. Spend your first week making sure your profile is locked in: professional photo, clear resume sections, a genuine summary of your type and experience.
\n\n\n\n
Your profile photo should be a current headshot that looks like you. This isn’t the place for artistic photos or shots from five years ago. Casting directors need to see who you are right now. If your headshot isn’t professional, investing in one is the single best thing you can do before you start submitting heavily.
\n\n\n\n
Your resume should be complete and honest. List your credits, training, and special skills. If you’re early in your career and don’t have much to list, that’s fine. Be truthful about where you are. Casting directors respect honesty, and they can tell when someone’s padded their resume.
\n\n\n\n
Your summary matters too. Write something genuine that explains your type, your strengths, and what kinds of roles suit you. This isn’t the place for flowery language or attempts to seem like something you’re not. Be specific. “Character actor interested in comedy and drama” is better than “versatile performer seeking all opportunities.”
\n\n\n\n
This matters more than submitting 50 times with an incomplete profile. A polished presence that shows who you are beats volume every time.
\n\n\n\n
Quality Over Speed
\n\n\n\n
Don’t submit for everything. Submit for what makes sense for you.
\n\n\n\n
Targeting the right roles, ones that actually fit your type, experience level, and availability, gets you noticed. Casting directors can tell when someone read the breakdown versus when they’re spray-and-praying. Quality submissions convert higher. Period.
\n\n\n\n
Before you hit submit, ask yourself three questions: Does this role fit my type? Can I actually make this date? Will I regret passing on it? If the answer to all three is yes, submit. If not, move on.
\n\n\n\n
This restraint actually serves you better than blanket submissions. When you submit for roles that make sense, your submission rate looks intentional. Casting directors see your name and think “Oh, this person actually fits what I’m looking for.” When you submit for everything, your name gets lost in the volume, and it signals that you don’t know who you are as an actor.
\n\n\n\n
Month 1 Activity Benchmark
\n\n\n\n
What does “active” look like? Here’s a realistic target:
\n\n\n\n
\n
5 to 10 thoughtful submissions per week (not 50)
\n\n\n\n
A fully completed profile (photo, resume, summary)
\n\n\n\n
Consistent activity across the full month (not a burst, then silence)
\n
\n\n\n\n
You don’t need to submit 50 times a week. Consistency and accuracy beat volume. Show up every few days, submit for roles that make sense, and let the system work.
\n\n\n\n
If you can commit to this level of activity throughout your first month, you’re setting yourself up for success in month two and beyond. The platform rewards consistency. New members who show steady activity month after month build track records that casting directors recognize.
\n\n\n\n
One More Thing
\n\n\n\n
Success on Casting Networks isn’t overnight. It’s about showing up consistently, targeting smart, and letting the numbers work in your favor. Most of our most active members don’t see real traction until weeks 3 or 4, sometimes later.
\n\n\n\n
This is normal. You’re not doing anything wrong.
\n\n\n\n
Your first month is an investment. You’re building a professional presence, learning how the platform works, and accumulating data about what resonates. By month two, you’ll have real information to work with. By month three, you should be seeing measurable results.
\n\n\n\n
If you have questions about optimizing your profile or submission strategy, our member guides are here. You can also reach out directly to our support team. We’re rooting for you.
\n",
"content_text": "Welcome to Casting Networks. We’re thrilled you’ve made the leap to a paid membership.\n\n\n\nNow, let’s talk about something crucial: what success actually looks like in your first month. Because we know from experience that new members often have wildly different expectations about how quickly callbacks come, and we want to be straight with you.\n\n\n\nWhen callbacks don’t land in week two, it’s tempting to think the platform is broken. It’s not. But we’ve found that the real difference between members who stick around and those who cancel comes down to one thing: knowing what normal looks like.\n\n\n\nKey Insights\n\n\n\n\nSuccess in your first month on Casting Networks is measured by consistent activity and learning what fits your type, not by immediate bookings or callbacks.\n\n\n\nA complete, professional profile with strong materials will improve your results far more than submitting to a high volume of roles.\n\n\n\nThoughtful, targeted submissions and realistic expectations help build the momentum that often leads to callbacks in weeks three and four.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nVolume Before Results\n\n\n\nHere’s the reality: this platform works, but it takes more submissions than you might think. Most working actors see callbacks on 2-5% of submissions, sometimes lower depending on role availability and your type. That means if you submit for 20 roles in your first week, expect maybe one callback. Or zero. Both are completely normal.\n\n\n\nThis isn’t a platform problem. It’s the industry. Casting directors review dozens, sometimes hundreds, of submissions per role. The odds are inherently long. But here’s what matters: they improve dramatically once you build momentum.\n\n\n\nThe numbers might feel discouraging at first. You submit, you wait, nothing happens. Then you submit again. And again. Somewhere around submission 50 or 60, something shifts. Then you’ll get a callback. Then two callbacks in the same week. That’s not luck. That’s the compounding effect of consistent activity and a refined submission strategy.\n\n\n\nThink of your first month as an information-gathering phase rather than an immediate-results phase. You’re learning which types of roles respond to your submission, which genres align with how casting directors perceive you, and what kind of feedback the platform gives you through interest.\n\n\n\nThe Mindset Shift\n\n\n\nYou’re not playing a game with low odds. You’re building a body of work that compounds. Every submission, every callback is a data point that shows what’s working. After four weeks of consistent, targeted submissions, you’ll have real information and momentum.\n\n\n\nMembers who see success aren’t the ones who submit 100 times in week one and then disappear. They’re the ones who show up week after week, refine their approach based on what they’re learning, and treat the platform as a long-term tool rather than a quick fix.\n\n\n\nThe actors who stick with Casting Networks and book real work understand that this is a numbers game, but it’s a numbers game you can influence. You influence it through smart targeting, professional presentation, and consistent visibility.\n\n\n\nYour Profile Is Your Resume\n\n\n\nHere’s what actually moves the needle: a complete, professional profile.\n\n\n\nCasting directors scan submissions in seconds. A missing headshot, incomplete resume, or vague description? They move on. Spend your first week making sure your profile is locked in: professional photo, clear resume sections, a genuine summary of your type and experience.\n\n\n\nYour profile photo should be a current headshot that looks like you. This isn’t the place for artistic photos or shots from five years ago. Casting directors need to see who you are right now. If your headshot isn’t professional, investing in one is the single best thing you can do before you start submitting heavily.\n\n\n\nYour resume should be complete and honest. List your credits, training, and special skills. If you’re early in your career and don’t have much to list, that’s fine. Be truthful about where you are. Casting directors respect honesty, and they can tell when someone’s padded their resume.\n\n\n\nYour summary matters too. Write something genuine that explains your type, your strengths, and what kinds of roles suit you. This isn’t the place for flowery language or attempts to seem like something you’re not. Be specific. “Character actor interested in comedy and drama” is better than “versatile performer seeking all opportunities.”\n\n\n\nThis matters more than submitting 50 times with an incomplete profile. A polished presence that shows who you are beats volume every time.\n\n\n\nQuality Over Speed\n\n\n\nDon’t submit for everything. Submit for what makes sense for you.\n\n\n\nTargeting the right roles, ones that actually fit your type, experience level, and availability, gets you noticed. Casting directors can tell when someone read the breakdown versus when they’re spray-and-praying. Quality submissions convert higher. Period.\n\n\n\nBefore you hit submit, ask yourself three questions: Does this role fit my type? Can I actually make this date? Will I regret passing on it? If the answer to all three is yes, submit. If not, move on.\n\n\n\nThis restraint actually serves you better than blanket submissions. When you submit for roles that make sense, your submission rate looks intentional. Casting directors see your name and think “Oh, this person actually fits what I’m looking for.” When you submit for everything, your name gets lost in the volume, and it signals that you don’t know who you are as an actor.\n\n\n\nMonth 1 Activity Benchmark\n\n\n\nWhat does “active” look like? Here’s a realistic target:\n\n\n\n\n5 to 10 thoughtful submissions per week (not 50)\n\n\n\nA fully completed profile (photo, resume, summary)\n\n\n\nConsistent activity across the full month (not a burst, then silence)\n\n\n\n\nYou don’t need to submit 50 times a week. Consistency and accuracy beat volume. Show up every few days, submit for roles that make sense, and let the system work.\n\n\n\nIf you can commit to this level of activity throughout your first month, you’re setting yourself up for success in month two and beyond. The platform rewards consistency. New members who show steady activity month after month build track records that casting directors recognize.\n\n\n\nOne More Thing\n\n\n\nSuccess on Casting Networks isn’t overnight. It’s about showing up consistently, targeting smart, and letting the numbers work in your favor. Most of our most active members don’t see real traction until weeks 3 or 4, sometimes later.\n\n\n\nThis is normal. You’re not doing anything wrong.\n\n\n\nYour first month is an investment. You’re building a professional presence, learning how the platform works, and accumulating data about what resonates. By month two, you’ll have real information to work with. By month three, you should be seeing measurable results.\n\n\n\nIf you have questions about optimizing your profile or submission strategy, our member guides are here. You can also reach out directly to our support team. We’re rooting for you.\n\n\n\n\nThe post What to Expect in Your First Month on Casting Networks: A Realistic Guide to Success For New Members appeared first on Casting Networks.",
"date_published": "2026-06-15T08:49:00-07:00",
"date_modified": "2026-06-15T09:40:46-07:00",
"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/iStock-1434250730.jpg",
"tags": [
"Acting Advice",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=337731",
"url": "https://www.castingnetworks.com/news/tyrant-film-ugc-commercial-tv-pilot-casting-alert/",
"title": "Casting Alert: \u2018Tyrant\u2019 Feature Film, Major Clothing Brand, and More Seek Talent!",
"content_html": "\n
Current opportunities include a rush call stand-in for the feature film\u00a0Tyrant, a top clothing brand commercial, and a TV pilot,\u00a0Pastor Kid Story.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
A paid UGC commercial campaign for a top clothing brand is seeking couples with natural on-camera chemistry to create authentic, premium-looking smartphone lifestyle content featuring the brand’s clothing.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
REAL COUPLES Ages 35\u201345, open to men, women, non-binary, trans men, and trans women. Couples who can appear together in a natural lifestyle setting, showcasing the brand’s clothing through talking-to-camera moments, outfit try-ons, and effortless, social-first content.
This Atlanta-based TV pilot is casting African American youth and an adult woman for several key roles in a comedic family drama set in a church community.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
JEANETTE “REDD” HENRY Ages 13\u201315, woman. African American teen (14) \u2014 no-nonsense, sarcastic, theatrical, and lovably petty. A social butterfly and neighborhood favorite with a big personality and expressive comedic timing.
\n\n\n\n
ADOLPH “JUNIOR” LUDD Ages 9\u201310, man. African American boy (9\u201310) \u2014 quick-thinking, impulsive, full of 90s kid logic. A budding businessman and self-appointed “man of the house” with charisma and natural comic timing.
\n\n\n\n
ADRIANA “RITA” LUDD Ages 11\u201312, woman. African American girl (11\u201312) \u2014 shy with strangers but a tomboy powerhouse among her siblings. The “muscle” of the family; dramatic, anxious, and unintentionally hilarious with strong physical presence.
\n\n\n\n
FELICIA “RENEE” HENRY Ages 14\u201316, woman. African American teen (15) \u2014 a model and Seafair princess type; polished and prissy but intelligent. Bessie’s right hand and second in command on the church usher board with strong comedic instincts.
\n\n\n\n
BESSIE LUDD Ages 26\u201328, woman. African American woman (27) \u2014 very attractive with Claire Huxtable\u2013level elegance. A clever executive and First Lady of the church; intuitive with a prophetic edge, warm authority, and sharp presence.
\n",
"content_text": "Current opportunities include a rush call stand-in for the feature film\u00a0Tyrant, a top clothing brand commercial, and a TV pilot,\u00a0Pastor Kid Story.\n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘Tyrant’ Seeks a Union Female Stand-In!\n\n\n\nThis feature film is issuing a rush call for a union female stand-in needed immediately on set in Hollywood.\n\n\n\nRoles being cast:\n\n\n\n\nRUSH CALL STAND IN \u2013 9 AM – HOLLYWOOD – BLONDE – 5’4″ OR 5’5″Ages 25\u201345, woman. Union female stand-in with blonde hair and a height of 5’4″\u20135’5″, needed for a same-day call at 9:00 AM in Hollywood. Submit as soon as possible.\n\n\n\n\nRates: \n\n\n\n\n$262/8 (union)\n\n\n\n\nWork Location: Los Angeles, CA\n\n\n\nDeadline: August 21, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nTop Clothing Brand Seeks Real Couples!\n\n\n\nA paid UGC commercial campaign for a top clothing brand is seeking couples with natural on-camera chemistry to create authentic, premium-looking smartphone lifestyle content featuring the brand’s clothing.\n\n\n\nRoles being cast:\n\n\n\n\nREAL COUPLESAges 35\u201345, open to men, women, non-binary, trans men, and trans women. Couples who can appear together in a natural lifestyle setting, showcasing the brand’s clothing through talking-to-camera moments, outfit try-ons, and effortless, social-first content.\n\n\n\n\nRates: \n\n\n\n\n$300\u2013$500\n\n\n\n\nWork Location: Multiple Locations\n\n\n\nDeadline: July 9, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Pastor Kid Story’ Seeks Young and Adult Talent!\n\n\n\nThis Atlanta-based TV pilot is casting African American youth and an adult woman for several key roles in a comedic family drama set in a church community.\n\n\n\nRoles being cast:\n\n\n\n\nJEANETTE “REDD” HENRYAges 13\u201315, woman. African American teen (14) \u2014 no-nonsense, sarcastic, theatrical, and lovably petty. A social butterfly and neighborhood favorite with a big personality and expressive comedic timing.\n\n\n\nADOLPH “JUNIOR” LUDDAges 9\u201310, man. African American boy (9\u201310) \u2014 quick-thinking, impulsive, full of 90s kid logic. A budding businessman and self-appointed “man of the house” with charisma and natural comic timing.\n\n\n\nADRIANA “RITA” LUDDAges 11\u201312, woman. African American girl (11\u201312) \u2014 shy with strangers but a tomboy powerhouse among her siblings. The “muscle” of the family; dramatic, anxious, and unintentionally hilarious with strong physical presence.\n\n\n\nFELICIA “RENEE” HENRYAges 14\u201316, woman. African American teen (15) \u2014 a model and Seafair princess type; polished and prissy but intelligent. Bessie’s right hand and second in command on the church usher board with strong comedic instincts.\n\n\n\nBESSIE LUDDAges 26\u201328, woman. African American woman (27) \u2014 very attractive with Claire Huxtable\u2013level elegance. A clever executive and First Lady of the church; intuitive with a prophetic edge, warm authority, and sharp presence.\n\n\n\n\nRates: \n\n\n\n\n$750 plus 10% per day (works several days)\n\n\n\n\nWork Location: Atlanta, GA\n\n\n\nDeadline: June 17, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: ‘Tyrant’ Feature Film, Major Clothing Brand, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-06-12T09:39:21-07:00",
"date_modified": "2026-06-12T09:44:36-07:00",
"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/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"id": "https://www.castingnetworks.com/?p=336072",
"url": "https://www.castingnetworks.com/news/apple-tv-stick-casting-director-rachel-tenner-interview/",
"title": "Apple TV\u2019s \u2018Stick\u2019: Rachel Tenner on Authentic Casting and Surprising Choices",
"content_html": "\n
Emmy-winning casting director Rachel Tenner\u2019s latest project is Apple TV\u2019s ‘Stick,’ the sports comedy starring Owen Wilson as a former golf prodigy searching for a second chance.
\n\n\n\n
The show follows an over-the-hill ex-golfer who, after his wife leaves him, sees hope in coaching a troubled teen prodigy named Santiago \u201cSanti\u201d Wheeler, staking his future on the youth’s success.
\n\n\n\n
She talked to us from Los Angeles.
\n\n\n\n
Key Insights
\n\n\n\n
\n
The strongest auditions don\u2019t simply match what\u2019s written on the page\u2014they help casting directors discover new possibilities for the character.
\n\n\n\n
Expanding casting searches globally creates opportunities to find authentic performers who might otherwise never enter the conversation.
\n\n\n\n
When evaluating actors, specific choices, vulnerability, and authenticity often matter far more than technical skills that can be learned later.
Owen was attached to the show before casting began. What about Marc Maron?
\n\n\n\n
I’m a huge, huge fan of [Marc Maron]. Every time I get to see him in something where he’s doing something outside of how we normally know him, doing stand-up or his podcast, I love him. I think he’s so much fun to watch.
\n\n\n\n
I think all his choices are always so interesting, and I love the way he approaches his characters. He was a very obvious person for that part from the beginning, when we were just creatively discussing it.
\n\n\n\n
I\u2019m interested in the casting of Mariana Trevi\u00f1o as Elena. I\u2019d seen her in the Tom Hanks movie A Man Called Otto, but otherwise she was new to me. Her chemistry with Marc was impressive.
\n\n\n\n
The key for that role was we needed to find Santi first. By the time we landed on Peter, we knew what we wanted to do for the mom, and we wanted to make sure it was someone who spoke Spanish, and the way they interacted with each other was authentic.
\n\n\n\n
So that opened up the opportunity to go a little bit more global for that role. Mariana is so exciting to me. She’s a huge star in Mexico, so it’s a big get to have her in this.
\n\n\n\n
Did she do a chemistry read with Marc?
\n\n\n\n
She actually flew in and did a chemistry read with Peter, so we got to see her in person, and she’s so charming and so adorable and funny, with so much heart. [She\u2019s] really such a special person that we knew [she] would match with Marc.
\n\n\n\n
Digital outreach is so much more available than it was, even four, five, six years ago. Has the ability to go global made your life easier?
\n\n\n\n
Oh yeah, I love it. I’ve completely embraced the opportunity to be able to open up things. There’s obvious limitations with budgets and visas and things like that, so everything can’t be bringing in people from all over the world, but it’s fun when you have the opportunity to be able to do that kind of outreach.
\n\n\n\n
I really welcome that opportunity to get to expand that way.
\n\n\n\n
It must open you up to all kinds of talent that you would not have otherwise considered.
\n\n\n\n
Absolutely. There’s just so much you can access, so much stuff now, it’s amazing. Rick Messina is my associate, my right-hand man. We always talk about how we act sometimes, maybe we shouldn’t be setting up this many people, but at the end of the day, you can’t help it.
\n\n\n\n
Sometimes at midnight when I’m watching everything, I want to punch myself in the face, because I did this, but it does have its own reward. (Laughs)
\n\n\n\n
I had definitely never seen Peter before. How did you find him? Were you looking for guys who could play golf? Or, did you figure, \u201cLet’s get an actor first, and if we have to, we\u2019ll teach them how to play golf?\u201d
\n\n\n\n
It was the latter. If they knew how to play golf, that was a bonus, but we were trying to do it with enough time that they would have training and be able to do what was necessary to at least make it look legit. I think over time, he’s actually really gotten into golf, but obviously this was a big search.
\n\n\n\n
I think it was a very interesting process, because when we read it, we were thinking real, hard-core comedy. As we started doing the scenes, we were seeing what was working and what was not, and then really also settling on the tone, because the tone was a little mysterious as you started getting into it.
\n\n\n\n
It started feeling they weren’t matching up 100%, so we kept shifting the idea of who this guy was.
\n\n\n\n
What set Peter apart?
\n\n\n\n
What I really loved about Peter is he had this Patrick Dempsey in the 1980s feel about him. There was just something very nostalgic about him, his humor, and the way he approached everything.
\n\n\n\n
That made him feel a little different than other people. We just loved the way he approached this character and his choices and his humor, but then also his heart, and his vulnerability, and he just seemed very lovable.
\n\n\n\n
Do you find that actors who audition for you can help shape what this project is going to be if they’re making interesting choices? That they can actually make a difference in the creation of the show and the execution of it?
\n\n\n\n
Oh, that’s interesting. I think actors, in general, they’re always bringing themselves into something, so I think they’re always helping shape a character, because they’re coming in with their own choices and all the quirks and things that make up their own person.
\n\n\n\n
I think the process helped me understand what was successful with this character, and I think it helped me hone in specifically about how to get what I need from people. It helped me get specific that way, and it helped me see what works and what really brings out the parts of this character that I wanted to see more than others.
\n\n\n\n
So it wasn\u2019t just Peter, but other people coming in, showing you different things, that allowed you to understand, \u201cOh, this is not what we had envisioned. I have to reconsider exactly how we’re judging who this guy is.\u201d
\n\n\n\n
I think so. Honestly, I think it’s great because when you’re sending them to your showrunner, you can say, \u201cNeil did it this way, this is one version. Peter did it this way. This is a different version.\u201d I think it’s important for everyone to get to see the different versions of it, because they’re all successful in their own way.
\n\n\n\n
They all make sense in the world, it\u2019s just, what’s the version where we ultimately land? Because you read it and you have something in your head, you talk to everybody, and then when you start seeing it, it finds a new home in your brain.
\n\n\n\n
What was the process then with Lilli? Because that character is very specific. Androgynous, gender queer, but who falls in love with a guy and all the internal conflict that goes it.
\n\n\n\n
That was a very specific process. It was very important to everyone to make sure that it was authentic, and we were dealing with people who identify in certain ways and felt comfortable with the storyline and the narrative. I loved [Lilli] from Your Honor, and I remember my friend [casting director] Lauren Grey sending me a video and saying, \u201cThis woman, isn’t she great?\u201d
\n\n\n\n
Watching her read this, and then talking to her more about how she identifies, and the journey, and the story, and going through all of that with her was very meaningful and exciting. I thought we had a good opportunity to do some good representation there.
\n\n\n\n
I feel there are a lot more opportunities for actors who fall into that category than there ever used to be.
\n\n\n\n
Absolutely. This is the biggest generalization you’ll ever hear, but there is so much more openness for people to be anything and identify any way. There’s just room for everybody in these shows now, and it’s just great.
\n\n\n\n
You\u2019ve finished season 2. Were there any specific challenges for season 2 that you didn’t have in season 1? Or was it easier because it\u2019s an established show?
\n\n\n\n
It makes it easier, definitely, for people to have seen it and know what they’re participating in. If they love it, then they were game, and if they weren’t a fan, then we didn’t have to worry about it.
\n\n\n\n
There are a couple really meaningful roles that we had to get settled for season 2, but I’m not going to say anything about it.
\n\n\n\n
Oh, come on!
\n\n\n\n
I don’t see anything on the internet about it. So I’m gonna wait. I’m not gonna be that person. (Laughs)
\n",
"content_text": "Emmy-winning casting director Rachel Tenner\u2019s latest project is Apple TV\u2019s ‘Stick,’ the sports comedy starring Owen Wilson as a former golf prodigy searching for a second chance.\n\n\n\nThe show follows an over-the-hill ex-golfer who, after his wife leaves him, sees hope in coaching a troubled teen prodigy named Santiago \u201cSanti\u201d Wheeler, staking his future on the youth’s success.\n\n\n\nShe talked to us from Los Angeles. \n\n\n\nKey Insights\n\n\n\n\nThe strongest auditions don\u2019t simply match what\u2019s written on the page\u2014they help casting directors discover new possibilities for the character.\n\n\n\nExpanding casting searches globally creates opportunities to find authentic performers who might otherwise never enter the conversation.\n\n\n\nWhen evaluating actors, specific choices, vulnerability, and authenticity often matter far more than technical skills that can be learned later.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nOwen was attached to the show before casting began. What about Marc Maron?\n\n\n\nI’m a huge, huge fan of [Marc Maron]. Every time I get to see him in something where he’s doing something outside of how we normally know him, doing stand-up or his podcast, I love him. I think he’s so much fun to watch. \n\n\n\nI think all his choices are always so interesting, and I love the way he approaches his characters. He was a very obvious person for that part from the beginning, when we were just creatively discussing it.\n\n\n\nI\u2019m interested in the casting of Mariana Trevi\u00f1o as Elena. I\u2019d seen her in the Tom Hanks movie A Man Called Otto, but otherwise she was new to me. Her chemistry with Marc was impressive. \n\n\n\nThe key for that role was we needed to find Santi first. By the time we landed on Peter, we knew what we wanted to do for the mom, and we wanted to make sure it was someone who spoke Spanish, and the way they interacted with each other was authentic.\n\n\n\nSo that opened up the opportunity to go a little bit more global for that role. Mariana is so exciting to me. She’s a huge star in Mexico, so it’s a big get to have her in this. \n\n\n\nDid she do a chemistry read with Marc?\n\n\n\nShe actually flew in and did a chemistry read with Peter, so we got to see her in person, and she’s so charming and so adorable and funny, with so much heart. [She\u2019s] really such a special person that we knew [she] would match with Marc.\n\n\n\nDigital outreach is so much more available than it was, even four, five, six years ago. Has the ability to go global made your life easier?\n\n\n\nOh yeah, I love it. I’ve completely embraced the opportunity to be able to open up things. There’s obvious limitations with budgets and visas and things like that, so everything can’t be bringing in people from all over the world, but it’s fun when you have the opportunity to be able to do that kind of outreach. \n\n\n\nI really welcome that opportunity to get to expand that way.\n\n\n\nIt must open you up to all kinds of talent that you would not have otherwise considered. \n\n\n\nAbsolutely. There’s just so much you can access, so much stuff now, it’s amazing. Rick Messina is my associate, my right-hand man. We always talk about how we act sometimes, maybe we shouldn’t be setting up this many people, but at the end of the day, you can’t help it. \n\n\n\nSometimes at midnight when I’m watching everything, I want to punch myself in the face, because I did this, but it does have its own reward. (Laughs)\n\n\n\nI had definitely never seen Peter before. How did you find him? Were you looking for guys who could play golf? Or, did you figure, \u201cLet’s get an actor first, and if we have to, we\u2019ll teach them how to play golf?\u201d\n\n\n\nIt was the latter. If they knew how to play golf, that was a bonus, but we were trying to do it with enough time that they would have training and be able to do what was necessary to at least make it look legit. I think over time, he’s actually really gotten into golf, but obviously this was a big search. \n\n\n\nI think it was a very interesting process, because when we read it, we were thinking real, hard-core comedy. As we started doing the scenes, we were seeing what was working and what was not, and then really also settling on the tone, because the tone was a little mysterious as you started getting into it. \n\n\n\nIt started feeling they weren’t matching up 100%, so we kept shifting the idea of who this guy was. \n\n\n\nWhat set Peter apart?\n\n\n\nWhat I really loved about Peter is he had this Patrick Dempsey in the 1980s feel about him. There was just something very nostalgic about him, his humor, and the way he approached everything. \n\n\n\nThat made him feel a little different than other people. We just loved the way he approached this character and his choices and his humor, but then also his heart, and his vulnerability, and he just seemed very lovable.\n\n\n\nDo you find that actors who audition for you can help shape what this project is going to be if they’re making interesting choices? That they can actually make a difference in the creation of the show and the execution of it?\n\n\n\nOh, that’s interesting. I think actors, in general, they’re always bringing themselves into something, so I think they’re always helping shape a character, because they’re coming in with their own choices and all the quirks and things that make up their own person. \n\n\n\nI think the process helped me understand what was successful with this character, and I think it helped me hone in specifically about how to get what I need from people. It helped me get specific that way, and it helped me see what works and what really brings out the parts of this character that I wanted to see more than others.\n\n\n\nSo it wasn\u2019t just Peter, but other people coming in, showing you different things, that allowed you to understand, \u201cOh, this is not what we had envisioned. I have to reconsider exactly how we’re judging who this guy is.\u201d\n\n\n\nI think so. Honestly, I think it’s great because when you’re sending them to your showrunner, you can say, \u201cNeil did it this way, this is one version. Peter did it this way. This is a different version.\u201d I think it’s important for everyone to get to see the different versions of it, because they’re all successful in their own way. \n\n\n\nThey all make sense in the world, it\u2019s just, what’s the version where we ultimately land? Because you read it and you have something in your head, you talk to everybody, and then when you start seeing it, it finds a new home in your brain.\n\n\n\nWhat was the process then with Lilli? Because that character is very specific. Androgynous, gender queer, but who falls in love with a guy and all the internal conflict that goes it. \n\n\n\nThat was a very specific process. It was very important to everyone to make sure that it was authentic, and we were dealing with people who identify in certain ways and felt comfortable with the storyline and the narrative. I loved [Lilli] from Your Honor, and I remember my friend [casting director] Lauren Grey sending me a video and saying, \u201cThis woman, isn’t she great?\u201d \n\n\n\nWatching her read this, and then talking to her more about how she identifies, and the journey, and the story, and going through all of that with her was very meaningful and exciting. I thought we had a good opportunity to do some good representation there.\n\n\n\nI feel there are a lot more opportunities for actors who fall into that category than there ever used to be.\n\n\n\nAbsolutely. This is the biggest generalization you’ll ever hear, but there is so much more openness for people to be anything and identify any way. There’s just room for everybody in these shows now, and it’s just great.\n\n\n\nYou\u2019ve finished season 2. Were there any specific challenges for season 2 that you didn’t have in season 1? Or was it easier because it\u2019s an established show?\n\n\n\nIt makes it easier, definitely, for people to have seen it and know what they’re participating in. If they love it, then they were game, and if they weren’t a fan, then we didn’t have to worry about it. \n\n\n\nThere are a couple really meaningful roles that we had to get settled for season 2, but I’m not going to say anything about it.\n\n\n\nOh, come on!\n\n\n\nI don’t see anything on the internet about it. So I’m gonna wait. I’m not gonna be that person. (Laughs)\n\n\n\n\nThe post Apple TV’s \u2018Stick\u2019: Rachel Tenner on Authentic Casting and Surprising Choices appeared first on Casting Networks.",
"date_published": "2026-06-12T09:30:00-07:00",
"date_modified": "2026-06-12T09:27:36-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/06/p29561036_b_h8_af.jpg",
"tags": [
"Casting Directors",
"Interviews"
]
},
{
"id": "https://www.castingnetworks.com/?p=337316",
"url": "https://www.castingnetworks.com/news/save-karen-short-film-music-video-talk-show-casting-alert/",
"title": "Casting Alert: Major Male Pop Artist Music Video, Short Film, and More Seek Talent!",
"content_html": "\n
Current opportunities include a major male pop artist music video, a network interview talk show series, and the short film Save Karen.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
A major male pop artist is casting talent for a music video set at a Summer BBQ pool party with 4th of July energy, taking place on a property filled with eccentric art structures and a diverse, cool crowd.
A digital media network is casting on-camera hosts for a series of virtual interview programs featuring conversations with artists, filmmakers, authors, entrepreneurs, and community leaders across multiple major U.S. cities.
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Roles being cast:
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\n
NETWORK HOST #2 Ages 21\u201340, male. See listing for role-specific details.
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NETWORK HOST #1 Ages 41\u201360, male. See listing for role-specific details.
\n\n\n\n
NETWORK HOST #3 Ages 41\u201360, female. See listing for role-specific details.
\n\n\n\n
NETWORK HOST #4 Ages 22\u201340, female. See listing for role-specific details.
\n
\n\n\n\n
Rates:
\n\n\n\n
\n
See listing for rate details
\n
\n\n\n\n
Work Location: Multiple Locations (Los Angeles, Washington DC, Baltimore, Richmond, Chicago, Atlanta, Nashville, Dallas, Austin, New York City)
The short film Save Karen is seeking background talent and specialty performers for multiple shooting days across New Jersey, portraying patrons and staff at a variety of real-world locations.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
SERIOUS BOWLERS Ages 18\u201399, all genders. Seeking serious bowlers to portray clients at a bowling alley. Shooting 6/23 in Jersey City, NJ. Must be fully available and able to self-report to Jersey City.
\n\n\n\n
BOWLING BG Ages 18\u201365, all genders. General background talent to portray bowling alley patrons. Shooting 6/23 in Jersey City, NJ. Must be fully available and able to self-report to Jersey City.
\n\n\n\n
OLIVE GARDEN BG Ages 18\u201365, all genders. General background talent to portray restaurant patrons at an Olive Garden. Shooting 6/22 in Wayne, NJ. Must be fully available and able to self-report to Wayne.
\n\n\n\n
7/11 BG Ages 18\u201375, all genders. Seeking well-weathered, experienced talent with alternative looks to portray 7-Eleven patrons. Shooting 6/22 in Park Ridge, NJ. Must be fully available and able to self-report to Park Ridge.
\n\n\n\n
HAIR DRESSER BG Ages 20\u201350, female. Seeking fit and well-put-together women to portray clients and staff at a hair salon. Shooting 6/21 in Bayonne, NJ. Must be fully available and able to self-report to Bayonne.
\n",
"content_text": "Current opportunities include a major male pop artist music video, a network interview talk show series, and the short film Save Karen. \n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\nMajor Male Pop Artist Music Video Seeks Dancers, Models, and More!\n\n\n\nA major male pop artist is casting talent for a music video set at a Summer BBQ pool party with 4th of July energy, taking place on a property filled with eccentric art structures and a diverse, cool crowd.\n\n\n\nRoles being cast:\n\n\n\n\nPROFESSIONAL MALE BURLESQUE DANCER *MUST HAVE DANCE CLIPS*Ages 21\u201335, male. Real burlesque dancers sought for a Summer party scene. Dance clips are required to apply.\n\n\n\nYOUNG FEMALE MODELSAges 18\u201328, female. Seeking young models with eccentric style and unique features to be featured in the party scene.\n\n\n\nPRIESTAges 55\u201380, male. Seeking someone to portray a priest in the project.\n\n\n\nOLDER MALE MODELSAges 30\u201360, male. Seeking older models with eccentric style and unique features to be featured in the party scene.\n\n\n\nOLDER FEMALE MODELSAges 30\u201360, female. Seeking older models with eccentric style and unique features to be featured in the party scene.\n\n\n\n\nRates: \n\n\n\n\n$1,100 for 10 hours (Professional Male Burlesque Dancer)\n\n\n\n$800 for 10 hours (Priest)\n\n\n\n$300 for 10 hours (Young Female Models, Older Male Models, Older Female Models)\n\n\n\n\nWork Location: Los Angeles, San Diego\n\n\n\nDeadline: June 16, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nDigital Media Network Seeks On-Camera Hosts!\n\n\n\nA digital media network is casting on-camera hosts for a series of virtual interview programs featuring conversations with artists, filmmakers, authors, entrepreneurs, and community leaders across multiple major U.S. cities.\n\n\n\nRoles being cast:\n\n\n\n\nNETWORK HOST #2Ages 21\u201340, male. See listing for role-specific details.\n\n\n\nNETWORK HOST #1Ages 41\u201360, male. See listing for role-specific details.\n\n\n\nNETWORK HOST #3Ages 41\u201360, female. See listing for role-specific details.\n\n\n\nNETWORK HOST #4Ages 22\u201340, female. See listing for role-specific details.\n\n\n\n\nRates: \n\n\n\n\nSee listing for rate details\n\n\n\n\nWork Location: Multiple Locations (Los Angeles, Washington DC, Baltimore, Richmond, Chicago, Atlanta, Nashville, Dallas, Austin, New York City)\n\n\n\nDeadline: June 29, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Save Karen’ Seeks Background Talent!\n\n\n\nThe short film Save Karen is seeking background talent and specialty performers for multiple shooting days across New Jersey, portraying patrons and staff at a variety of real-world locations.\n\n\n\nRoles being cast:\n\n\n\n\nSERIOUS BOWLERSAges 18\u201399, all genders. Seeking serious bowlers to portray clients at a bowling alley. Shooting 6/23 in Jersey City, NJ. Must be fully available and able to self-report to Jersey City.\n\n\n\nBOWLING BGAges 18\u201365, all genders. General background talent to portray bowling alley patrons. Shooting 6/23 in Jersey City, NJ. Must be fully available and able to self-report to Jersey City.\n\n\n\nOLIVE GARDEN BGAges 18\u201365, all genders. General background talent to portray restaurant patrons at an Olive Garden. Shooting 6/22 in Wayne, NJ. Must be fully available and able to self-report to Wayne.\n\n\n\n7/11 BGAges 18\u201375, all genders. Seeking well-weathered, experienced talent with alternative looks to portray 7-Eleven patrons. Shooting 6/22 in Park Ridge, NJ. Must be fully available and able to self-report to Park Ridge.\n\n\n\nHAIR DRESSER BGAges 20\u201350, female. Seeking fit and well-put-together women to portray clients and staff at a hair salon. Shooting 6/21 in Bayonne, NJ. Must be fully available and able to self-report to Bayonne.\n\n\n\n\nRates: \n\n\n\n\n$300 for 10 hours (Serious Bowlers)\n\n\n\n$250 for 10 hours (Bowling BG, Olive Garden BG, 7/11 BG, Hair Dresser BG)\n\n\n\n\nWork Location: New York City / New Jersey (Jersey City, Wayne, Park Ridge, Bayonne)\n\n\n\nDeadline: June 20, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: Major Male Pop Artist Music Video, Short Film, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-06-11T09:36:03-07:00",
"date_modified": "2026-06-11T09:52:44-07:00",
"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/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"id": "https://www.castingnetworks.com/?p=336065",
"url": "https://www.castingnetworks.com/news/what-makes-a-great-headshot-actor-advice/",
"title": "What Makes a Great Headshot with YellowBelly Photography",
"content_html": "\n
A headshot is often your first audition before you ever step into the room.
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Casting directors may scroll through hundreds\u2014or even thousands\u2014of submissions for a single role, and one image can determine whether they click on your profile or keep moving.
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So what makes a great headshot? It should feel authentic, look like you on your best day, and capture the qualities that make you uniquely castable without trying too hard to sell them.
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YellowBelly Photo, founded in 2018 by best friends Ross McLaren and Jackson Bews, is a portrait photography company specializing in honest, cinematic headshots for actors and creatives. With studios across London, New York City and Los Angeles, YellowBelly has become known for creating natural, authentic portraits that genuinely reflect the person in front of the camera.
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Built by actors for actors, the company focuses just as much on the experience of the session as the final image itself, creating relaxed, supportive environments where clients can feel comfortable enough to truly be themselves.
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We sat down with YellowBelly to talk about everything from what to wear and how to pose, to overcoming nerves and why it’s imperative to trust the process.
\n\n\n\n
Key Insights
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A great headshot doesn\u2019t create a character\u2014it presents an authentic version of you that helps casting directors immediately understand where you fit.
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The most effective headshots look like you on your best day, not an overly polished version of yourself that won\u2019t match the person who walks into the audition room.
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Feeling nervous during a headshot session is completely normal; the goal isn\u2019t to perform for the camera but to feel comfortable enough to let your personality come through.
A headshot is so much more than just a good photo of you, and YellowBelly\u2019s aim has never been to create an overly polished or unrealistic version of someone. Headshots should simply look like you on a really good day.
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\u201cThe job of the photograph is to get you in the room for roles you genuinely have a chance of getting, and then it\u2019s the casting director\u2019s job to imagine you in the part.\u201d
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Authenticity is also a key component, and YellowBelly\u2019s vision has always been to create honest, authentic portraits that genuinely capture the person in front of the camera. A headshot should show who you are, not who you think the industry wants you to be.
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Why Does Your Headshot Matter So Much in the Casting Process?
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\u201cHeadshots are one of the most important tools an actor has. They\u2019re often the very first thing a casting director, and sometimes even a director or producer, will see. Instantly, people begin imagining whether they can see you as the character on the page, so first impressions really do matter.\u201d
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A headshot that creates a strong impression means connecting to casting with a photo that actually looks like you, and brings something more that makes you stand out among a large number of submissions.
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\u201cA strong headshot helps someone immediately connect you to the world of the script and the kinds of roles you genuinely suit. That\u2019s why we always say your headshots should reflect how you actually look day to day.\u201d
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If your headshot looks vastly different from you, the disconnect can appear at the audition stage. If you\u2019ve changed significantly, YellowBelly recommends getting them updated at least every two to three years.
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What Should You Wear to Your Session?
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What you are wearing in your headshot can feel like a permanent choice that affects your castability for the next few years. While you might feel pressure to wear your nicest, fanciest outfit, a common mistake is going out and buying brand-new clothes.
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\u201cWhile you obviously want to look your best, often those aren\u2019t clothes you naturally wear or feel comfortable in day to day. Even if you love the item, you\u2019re not used to moving, sitting or relaxing in it yet, and that can subtly affect how natural you feel in front of the camera.\u201d
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Bring lots of options so they can see what colors, textures and tones work best with your skin tone and different backdrops. Avoid busy patterns, and distracting jewelry or logos, but make sure to reflect your personality, as that is how you will show up for an audition. \u201cUltimately wear clothes that make you feel like yourself.\u201d
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How Should You Prepare Your Hair, Makeup, and Grooming for a Headshot Session?
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Headshots should ultimately look like you, so your hair and makeup should be prepared in a way that models after your daily look. While using a makeup artist is completely subjective, it\u2019s important to trial your look before your session.
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\u201cGenerally, we don\u2019t tend to recommend using a makeup artist for headshots, not because they aren\u2019t incredibly talented, but because they naturally won\u2019t do your makeup exactly how you\u2019d normally wear it day to day. In the UK, it\u2019s relatively uncommon, whereas in the States we\u2019ve found around 40% of clients choose to bring one to their session.\u201d
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Whether you choose to use one or not, you can restyle and touch up your look at your session, and clean-shaven looks [are best] for versatility. Concerns about temporary blemishes, or tired eyes can be edited during the retouching process. [Avoid] heavier makeup or intense looks, which can compromise the honest, authentic look that YellowBelly does so well.
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What Expressions and Poses Work Best?
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\u201cFor us, this process is all about making somebody feel comfortable and relaxed as quickly as possible. Once you\u2019re in the session, the photographer\u2019s job is to put you at ease, whether that\u2019s putting music on, chatting about life, or simply creating an environment that doesn\u2019t feel overly intense or performative.\u201d
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While there are specific styles of headshots, it’s important to connect to the camera overall. For a commercial look: warm, approachable with a slight smile. For a theatrical look: direct, serious and emotionally grounded. The best expressions come naturally through conversation, rather than from overthinking style.
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\u201cPeople sometimes connect being uncomfortable in front of the camera with somehow being a bad actor, but the two things really aren\u2019t related at all. Headshots aren\u2019t about performing, and the less somebody feels like they\u2019re performing, the more authentic the photographs become.\u201d
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It\u2019s also important to think about what you want out of your session and to express that. \u201cAll of our photographers are highly experienced at recognizing what works well on camera, and naturally we\u2019ll always adjust things throughout the session if a client wants to explore a certain look or feeling.\u201d
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How Many Headshots Do You Need, and How Often Should You Update Them?
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Headshots are an investment, and each time you get headshots done you\u2019ll gain confidence, experience and assurance in what you want or don\u2019t want.
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The standard number is typically between 2-4. More can overwhelm, and less doesn’t show enough range. They should be updated at least every 2-3 years, factoring age and any drastic changes, including hair or physical appearance.
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The cost of headshots on average is between $200-$500, but they can reach upwards of $1,000 per session, depending on location, photographer and package type.
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What Are the Most Common Mistakes to Avoid?
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Casting directors want to see an authentic image that represents the person who is going to walk into the audition room. Common mistakes to avoid are headshots that are overly airbrushed or edited strangely by leaving watermarks behind, or by not using the industry standard 8×10.
\n\n\n\n
Avoid clothes that lean too heavily toward character or type, or wearing glasses or using props that not only obstruct your face, but hide your personality. Another major red flag is using group shots, full body shots or selfies instead of a professional headshot photo.
\n\n\n\n
\u201cI think one of the most common misconceptions is that if you feel nervous during a headshot session, it means you\u2019re going to do a \u201cbad\u201d job in your photos, and that really isn\u2019t the case. As long as the images look and feel like you, then you\u2019ve achieved what a good headshot is supposed to do.\u201d
\n\n\n\n
How Do You Upload and Optimize Your Headshots on Casting Platforms?
\n\n\n\n
Selecting the right headshot to use can be an overwhelming experience. Once you get your gallery, you spend an unusual amount of time looking at images of yourself, trying to pick your retouched images and eventually choosing which of these will be your primary headshot.
\n\n\n\n
The selection should look like you and represent the roles you\u2019ll be put up for, while showcasing a range so that you can use the right one for specific castings. The photographer will have a selection if you\u2019ve requested this add-on, and you can make your choices from here. It\u2019s ideal to go through the images at first glance and pick your favorites.
\n\n\n\n
Send this list to your agent/manager and friends and family (especially industry related). Note any overlap between selections, and try to avoid choosing photos that are too simple, or ones that just \u201clook nice.\u201d Try not to spend long agonizing over the choices: you can always select more to be retouched later.
\n\n\n\n
When the time comes to upload your selections to casting platforms, make sure to use the correct file format and resolution. Most sites use JPEG images, under 2MB at around 2000×1500 pixels. If you\u2019re unsure, you can ask your photographer for copies in the correct format.
\n\n\n\n
What Should You Look for When Choosing a Photographer?
\n\n\n\n
Choose a photographer whose work you connect to. Do your research, peruse their portfolio, ask friends about their experience and if they\u2019re happy with the outcome. For actors of color, you want to identify whether they\u2019ve worked with a client who has a similar skin tone to you, see what light they use and what color backdrops they work with.
\n\n\n\n
What sets YellowBelly apart (and makes the choice that much easier) is their collaborative and supportive approach. They get inundated with emails from actors with concerns about being \u201cbad at headshots,\u201d and they understand that there\u2019s a vulnerable quality to having your headshots taken.
\n\n\n\n
\u201cThat\u2019s why such a huge part of our job is simply making people feel comfortable. Every photographer works differently, but the thing we pride ourselves on most is creating sessions that feel relaxed, calm, and genuinely enjoyable.”
\n",
"content_text": "A headshot is often your first audition before you ever step into the room.\n\n\n\nCasting directors may scroll through hundreds\u2014or even thousands\u2014of submissions for a single role, and one image can determine whether they click on your profile or keep moving.\n\n\n\nSo what makes a great headshot? It should feel authentic, look like you on your best day, and capture the qualities that make you uniquely castable without trying too hard to sell them.\n\n\n\nYellowBelly Photo, founded in 2018 by best friends Ross McLaren and Jackson Bews, is a portrait photography company specializing in honest, cinematic headshots for actors and creatives. With studios across London, New York City and Los Angeles, YellowBelly has become known for creating natural, authentic portraits that genuinely reflect the person in front of the camera. \n\n\n\nBuilt by actors for actors, the company focuses just as much on the experience of the session as the final image itself, creating relaxed, supportive environments where clients can feel comfortable enough to truly be themselves.\n\n\n\nWe sat down with YellowBelly to talk about everything from what to wear and how to pose, to overcoming nerves and why it’s imperative to trust the process.\n\n\n\nKey Insights\n\n\n\n\nA great headshot doesn\u2019t create a character\u2014it presents an authentic version of you that helps casting directors immediately understand where you fit.\n\n\n\nThe most effective headshots look like you on your best day, not an overly polished version of yourself that won\u2019t match the person who walks into the audition room.\n\n\n\nFeeling nervous during a headshot session is completely normal; the goal isn\u2019t to perform for the camera but to feel comfortable enough to let your personality come through.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\nWhat Makes a Great Headshot?\n\n\n\nA headshot is so much more than just a good photo of you, and YellowBelly\u2019s aim has never been to create an overly polished or unrealistic version of someone. Headshots should simply look like you on a really good day. \n\n\n\n\u201cThe job of the photograph is to get you in the room for roles you genuinely have a chance of getting, and then it\u2019s the casting director\u2019s job to imagine you in the part.\u201d\n\n\n\nAuthenticity is also a key component, and YellowBelly\u2019s vision has always been to create honest, authentic portraits that genuinely capture the person in front of the camera. A headshot should show who you are, not who you think the industry wants you to be.\n\n\n\nWhy Does Your Headshot Matter So Much in the Casting Process?\n\n\n\n\u201cHeadshots are one of the most important tools an actor has. They\u2019re often the very first thing a casting director, and sometimes even a director or producer, will see. Instantly, people begin imagining whether they can see you as the character on the page, so first impressions really do matter.\u201d\n\n\n\nA headshot that creates a strong impression means connecting to casting with a photo that actually looks like you, and brings something more that makes you stand out among a large number of submissions.\n\n\n\n\u201cA strong headshot helps someone immediately connect you to the world of the script and the kinds of roles you genuinely suit. That\u2019s why we always say your headshots should reflect how you actually look day to day.\u201d \n\n\n\nIf your headshot looks vastly different from you, the disconnect can appear at the audition stage. If you\u2019ve changed significantly, YellowBelly recommends getting them updated at least every two to three years.\n\n\n\nWhat Should You Wear to Your Session?\n\n\n\nWhat you are wearing in your headshot can feel like a permanent choice that affects your castability for the next few years. While you might feel pressure to wear your nicest, fanciest outfit, a common mistake is going out and buying brand-new clothes. \n\n\n\n\u201cWhile you obviously want to look your best, often those aren\u2019t clothes you naturally wear or feel comfortable in day to day. Even if you love the item, you\u2019re not used to moving, sitting or relaxing in it yet, and that can subtly affect how natural you feel in front of the camera.\u201d\n\n\n\nBring lots of options so they can see what colors, textures and tones work best with your skin tone and different backdrops. Avoid busy patterns, and distracting jewelry or logos, but make sure to reflect your personality, as that is how you will show up for an audition. \u201cUltimately wear clothes that make you feel like yourself.\u201d\n\n\n\nHow Should You Prepare Your Hair, Makeup, and Grooming for a Headshot Session?\n\n\n\nHeadshots should ultimately look like you, so your hair and makeup should be prepared in a way that models after your daily look. While using a makeup artist is completely subjective, it\u2019s important to trial your look before your session. \n\n\n\n\u201cGenerally, we don\u2019t tend to recommend using a makeup artist for headshots, not because they aren\u2019t incredibly talented, but because they naturally won\u2019t do your makeup exactly how you\u2019d normally wear it day to day. In the UK, it\u2019s relatively uncommon, whereas in the States we\u2019ve found around 40% of clients choose to bring one to their session.\u201d\n\n\n\nWhether you choose to use one or not, you can restyle and touch up your look at your session, and clean-shaven looks [are best] for versatility. Concerns about temporary blemishes, or tired eyes can be edited during the retouching process. [Avoid] heavier makeup or intense looks, which can compromise the honest, authentic look that YellowBelly does so well. \n\n\n\nWhat Expressions and Poses Work Best?\n\n\n\n\u201cFor us, this process is all about making somebody feel comfortable and relaxed as quickly as possible. Once you\u2019re in the session, the photographer\u2019s job is to put you at ease, whether that\u2019s putting music on, chatting about life, or simply creating an environment that doesn\u2019t feel overly intense or performative.\u201d\n\n\n\nWhile there are specific styles of headshots, it’s important to connect to the camera overall. For a commercial look: warm, approachable with a slight smile. For a theatrical look: direct, serious and emotionally grounded. The best expressions come naturally through conversation, rather than from overthinking style. \n\n\n\n\u201cPeople sometimes connect being uncomfortable in front of the camera with somehow being a bad actor, but the two things really aren\u2019t related at all. Headshots aren\u2019t about performing, and the less somebody feels like they\u2019re performing, the more authentic the photographs become.\u201d \n\n\n\nIt\u2019s also important to think about what you want out of your session and to express that. \u201cAll of our photographers are highly experienced at recognizing what works well on camera, and naturally we\u2019ll always adjust things throughout the session if a client wants to explore a certain look or feeling.\u201d\n\n\n\nHow Many Headshots Do You Need, and How Often Should You Update Them?\n\n\n\nHeadshots are an investment, and each time you get headshots done you\u2019ll gain confidence, experience and assurance in what you want or don\u2019t want.\n\n\n\nThe standard number is typically between 2-4. More can overwhelm, and less doesn’t show enough range. They should be updated at least every 2-3 years, factoring age and any drastic changes, including hair or physical appearance. \n\n\n\nThe cost of headshots on average is between $200-$500, but they can reach upwards of $1,000 per session, depending on location, photographer and package type. \n\n\n\nWhat Are the Most Common Mistakes to Avoid?\n\n\n\nCasting directors want to see an authentic image that represents the person who is going to walk into the audition room. Common mistakes to avoid are headshots that are overly airbrushed or edited strangely by leaving watermarks behind, or by not using the industry standard 8×10. \n\n\n\nAvoid clothes that lean too heavily toward character or type, or wearing glasses or using props that not only obstruct your face, but hide your personality. Another major red flag is using group shots, full body shots or selfies instead of a professional headshot photo. \n\n\n\n\u201cI think one of the most common misconceptions is that if you feel nervous during a headshot session, it means you\u2019re going to do a \u201cbad\u201d job in your photos, and that really isn\u2019t the case. As long as the images look and feel like you, then you\u2019ve achieved what a good headshot is supposed to do.\u201d\n\n\n\nHow Do You Upload and Optimize Your Headshots on Casting Platforms?\n\n\n\nSelecting the right headshot to use can be an overwhelming experience. Once you get your gallery, you spend an unusual amount of time looking at images of yourself, trying to pick your retouched images and eventually choosing which of these will be your primary headshot. \n\n\n\nThe selection should look like you and represent the roles you\u2019ll be put up for, while showcasing a range so that you can use the right one for specific castings. The photographer will have a selection if you\u2019ve requested this add-on, and you can make your choices from here. It\u2019s ideal to go through the images at first glance and pick your favorites. \n\n\n\nSend this list to your agent/manager and friends and family (especially industry related). Note any overlap between selections, and try to avoid choosing photos that are too simple, or ones that just \u201clook nice.\u201d Try not to spend long agonizing over the choices: you can always select more to be retouched later.\n\n\n\nWhen the time comes to upload your selections to casting platforms, make sure to use the correct file format and resolution. Most sites use JPEG images, under 2MB at around 2000×1500 pixels. If you\u2019re unsure, you can ask your photographer for copies in the correct format.\n\n\n\nWhat Should You Look for When Choosing a Photographer?\n\n\n\nChoose a photographer whose work you connect to. Do your research, peruse their portfolio, ask friends about their experience and if they\u2019re happy with the outcome. For actors of color, you want to identify whether they\u2019ve worked with a client who has a similar skin tone to you, see what light they use and what color backdrops they work with. \n\n\n\nWhat sets YellowBelly apart (and makes the choice that much easier) is their collaborative and supportive approach. They get inundated with emails from actors with concerns about being \u201cbad at headshots,\u201d and they understand that there\u2019s a vulnerable quality to having your headshots taken. \n\n\n\n\u201cThat\u2019s why such a huge part of our job is simply making people feel comfortable. Every photographer works differently, but the thing we pride ourselves on most is creating sessions that feel relaxed, calm, and genuinely enjoyable.” \n\n\n\nYou can find out more about YellowBelly Photography here: https://www.yellowbellyphoto.com/\n\n\n\n\nThe post What Makes a Great Headshot with YellowBelly Photography appeared first on Casting Networks.",
"date_published": "2026-06-11T09:30:00-07:00",
"date_modified": "2026-06-11T09:27:57-07:00",
"authors": [
{
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
}
],
"author": {
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/06/YELLOWBELLY-BLOG.jpg",
"tags": [
"Acting Advice",
"Career and Craft"
]
}
]
}
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