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{
"id": "https://www.castingnetworks.com/?p=335333",
"url": "https://www.castingnetworks.com/news/how-to-prepare-cold-read-audition-actor-advice/",
"title": "How to Prepare for a Cold Read Audition in 90 Seconds or Less",
"content_html": "\n
A cold read (or sight reading) is used to test an actor’s natural ability to follow their instincts, and take direction in the moment.
\n\n\n\n
In most auditions, being familiar with the sides is a key component for preparation. During a cold read, you don\u2019t have that opportunity, and that\u2019s the point.
\n\n\n\n
While it is possible to practice in anticipation of a cold read, it\u2019s important to allow your process to unfold in the moment. It\u2019s not about connecting to the script as fast as possible or reciting a perfect read. Casting directors want to see you come in, act on impulse, stay present and respond naturally to the material.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Casting directors use cold reads to evaluate how an actor responds under pressure, and what their process looks like. It\u2019s not about giving a polished performance on the first take.
\n\n\n\n
The 90-second preparation window before a cold read has a learnable structure, and actors who use it strategically are more likely to do well during a cold read.
\n\n\n\n
Cold-reading mistakes that actors make include mishandling the material, overthinking and misunderstanding the purpose of a cold-read audition.
What Casting Directors Are Actually Evaluating During a Cold Read
\n\n\n\n
Casting directors are usually evaluating instinct, specificity of choice and coachability under pressure. It\u2019s not about being line-accurate or perfectly polished in record time. Even reaching this stage of an audition means you\u2019ve cleared a shortlist and they want to test a different skill.
\n\n\n\n
They want to see if you can take direction on the fly. A safe cold read means an actor has recited the lines well and completed the task. But a truly good cold read, done well, means an actor has listened, trusted in their own ability and made something of the lines, even under pressure.
\n\n\n\n
Casting director Kim Williams advises to make strong, confident choices: \u201cIf you go a little bigger than necessary, it\u2019s okay. We can pull you back from that, but at least we know there\u2019s something there that can be worked with.\u201d
\n\n\n\n
Once you understand what a cold read is, and what it is being used for, you can prepare for them ahead of time. Planning strategically will help exercise the muscle and show off the skills that are being evaluated at the audition.
\n\n\n\n
How to Prepare for a Cold Read: A Step-by-Step Framework
\n\n\n\n
While it isn\u2019t possible to learn a character’s entire backstory, or memorize a Shakespearean monologue in 90 seconds or less, you can prepare for a cold read by applying this framework, splitting the time evenly across three steps:
\n\n\n\n
Step 1 – Once you’re handed the material, read through it and identify the scene’s dramatic event, plus any drastic changes between the first and last line. This way, you can plot your emotional journey.
\n\n\n\n
Step 2 – Identify what your character wants and the obstacle for the scene. Don\u2019t worry about backstory or context you don\u2019t have.
\n\n\n\n
Step 3 – Mark two or three specific words or phrases to commit to. Highlight these with physical or vocal anchors, so that you can have performance moments where you articulate your choices.
\n\n\n\n
Reading out loud as many times as you can in one minute might seem like a good use of time, but it\u2019s actually hindering your progress. Repetition is a memorization technique, and is not helpful for a cold-read exercise.
\n\n\n\n
Theater Cold Reads and TV Cold Reads
\n\n\n\n
For theater auditions, directors expect fuller commitment and page independence when it comes to cold reads. You should be able to read from the sides with confidence, while owning the space. The ability to make choices under pressure is being evaluated here as it translates to what performing on stage can feel like.
\n\n\n\n
A cold read for a TV production requires a different approach. Although it’s essentially the same type of task, what’s actually being looked at is not just about you. Casting will look at how you fit within an existing ensemble dynamic. They might have you read for a different role, or read a new scene, so they can gauge your responsiveness. Or maybe they need to hear you read a few more times before they make their choice.
\n\n\n\n
Casting director Jessica Sherman says a lack of knowledge when it comes to the casting process is a common mistake actors make before they come in: \u201cThere have been approximately 30 people who have had to sign off to say you were the right person. The best person may not always be the one who gets the role. The person that everyone can agree on gets the role. Having that background information is a huge asset to actors, because it takes the pressure off a little bit, as far as their experience in the room.\u201d
\n\n\n\n
Five Cold Reading Mistakes
\n\n\n\n\n
Over Apologizing Before or After the Read – It\u2019s not about \u201cgetting it right,\u201d so apologizing for a pre-conceived notion of \u201cgetting it wrong\u201d signals low self trust and a lack of understanding for what is being asked of you.
\n\n\n\n
Keeping your Eyes on the Page – A cold read is an audition task, not a reading assessment, so you need to engage with your audience. Even imperfect eye contact during key beats is better than delivering to the paper.
\n\n\n\n
Making a Non-Committal Choice – Making a neutral choice because you feel like you need more time to understand the backstory or context, shows casting that you don\u2019t understand what is being asked of you. Even strong and wrong is better than a careful nothing.
\n\n\n\n
Over Selling It – Trying to impress casting with your quick memorization skills is also a common mistake actors make. The confidence is great, but it\u2019s not a memorization test. Apply the confidence to the choices you’re making.
\n\n\n\n
Rushing or Panicking – Actors who dislike this part of an audition might try to get through it as fast as possible. Panic can also be brought on by pressure \u2014 casting directors know you haven’t had long with the material so they\u2019ll apply some grace. Take a breath.
\n\n\n\n\n
How to Practice Cold Reading
\n\n\n\n
To practice cold reading, you can use published scripts from TV episodes or short monologues from classic plays. For scenes, you can work with a reader, or use an app to help give you a condition-matched practice system. Apps like ActOnCue don\u2019t replace the human element of working with an actor or partner, but they will help you develop the mechanical skills you need to be prepared for future auditions.
\n\n\n\n
Georgy, founder of, ActOnCue, recommends his app to help with self taping, learning lines and picking up cues: \u201cTo build your cold-reading muscle through regular practice, you can load any scene or play, break it down, and analyze how characters are constructed, training your own instincts for making interesting choices quickly. The more scenes you work through, the sharper your ability to pick up a new piece of material and make strong choices on the spot.\u201d
\n\n\n\n
What Happens After the Cold Read
\n\n\n\n
After a cold read, you are usually given directorial notes and then asked to reread or apply the same style and approach to reading the sides. Try not to focus too much on the aftermath of a cold read, it\u2019s usually so the casting team can see if you take the note, and not because you\u2019ve done anything wrong.
\n\n\n\n
Casting directors will report to directors and showrunners with notes on an actor’s coachability, instinct and technical execution. You want positive feedback that you made bold choices, and adjusted immediately when redirected.
\n\n\n\n
Most actors don\u2019t get specific feedback after an audition, so you can expect much of the same after a cold read. Think about auditioning as always auditioning for the next job, echoing what casting director Lyndsey Baldasare says here: \u201cKeep doing consistent work, and keep being a team player. It all factors in. I know some actors feel like they\u2019re putting these tapes out and nobody\u2019s watching them, but we are. You\u2019re not gonna get 100% of the jobs you go out for, but if you\u2019re good at what you do, people will find you.\u201d
\n\n\n\n
Conclusion
\n\n\n\n
Cold reads might feel like an obstacle in the middle of the audition process you have to overcome. But they\u2019re not there to catch you or throw you off. They\u2019re used to evaluate you as an actor, to see how you operate in your process, without the time to overthink.
\n\n\n\n
Casting directors are often the ones that want the actor to succeed in the audition, and David Rapaport is a key example of that: \u201cTo me, the opportunity to find people, to dig, to go through that process, that’s what keeps me hungry and motivated. I think I\u2019m afraid I\u2019m going to miss that one person who has that one thing that\u2019s going to break out, and I\u2019m not gonna be able to talk about them in an interview one day.\u201d
\n\n\n\n
When you understand the format of a cold read and how it works in the overall casting process, you focus less on the wrong thing. An actor that is better prepared for a cold read will generally do better in the room. Use skills that are unique to you, trust your instincts, and show casting what makes you the right actor for the role.
\n\n\n\n
*More on ActOnCue:
\n\n\n\n
ActOnCue is not designed to replace the magic of working with a human actor/partner. Real acting is about connection and authentic reaction, and nothing will ever change that. Our focus is on a different part of the process: the audition grind. The world of casting is a numbers game. It’s a funnel designed to quickly find a \u201crole fit,” and so much of it is out of your control. Casting directors aren’t measuring how many hours you rehearsed; they’re looking for a match, often in the first few seconds of your self tape. That’s where ActOnCue comes in.
\n",
"content_text": "A cold read (or sight reading) is used to test an actor’s natural ability to follow their instincts, and take direction in the moment. \n\n\n\nIn most auditions, being familiar with the sides is a key component for preparation. During a cold read, you don\u2019t have that opportunity, and that\u2019s the point.\n\n\n\nWhile it is possible to practice in anticipation of a cold read, it\u2019s important to allow your process to unfold in the moment. It\u2019s not about connecting to the script as fast as possible or reciting a perfect read. Casting directors want to see you come in, act on impulse, stay present and respond naturally to the material.\n\n\n\nKey Insights\n\n\n\n\nCasting directors use cold reads to evaluate how an actor responds under pressure, and what their process looks like. It\u2019s not about giving a polished performance on the first take.\n\n\n\nThe 90-second preparation window before a cold read has a learnable structure, and actors who use it strategically are more likely to do well during a cold read.\n\n\n\nCold-reading mistakes that actors make include mishandling the material, overthinking and misunderstanding the purpose of a cold-read audition.\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 Casting Directors Are Actually Evaluating During a Cold Read\n\n\n\nCasting directors are usually evaluating instinct, specificity of choice and coachability under pressure. It\u2019s not about being line-accurate or perfectly polished in record time. Even reaching this stage of an audition means you\u2019ve cleared a shortlist and they want to test a different skill.\n\n\n\nThey want to see if you can take direction on the fly. A safe cold read means an actor has recited the lines well and completed the task. But a truly good cold read, done well, means an actor has listened, trusted in their own ability and made something of the lines, even under pressure.\n\n\n\nCasting director Kim Williams advises to make strong, confident choices: \u201cIf you go a little bigger than necessary, it\u2019s okay. We can pull you back from that, but at least we know there\u2019s something there that can be worked with.\u201d \n\n\n\nOnce you understand what a cold read is, and what it is being used for, you can prepare for them ahead of time. Planning strategically will help exercise the muscle and show off the skills that are being evaluated at the audition.\n\n\n\nHow to Prepare for a Cold Read: A Step-by-Step Framework \n\n\n\nWhile it isn\u2019t possible to learn a character’s entire backstory, or memorize a Shakespearean monologue in 90 seconds or less, you can prepare for a cold read by applying this framework, splitting the time evenly across three steps:\n\n\n\nStep 1 – Once you’re handed the material, read through it and identify the scene’s dramatic event, plus any drastic changes between the first and last line. This way, you can plot your emotional journey. \n\n\n\nStep 2 – Identify what your character wants and the obstacle for the scene. Don\u2019t worry about backstory or context you don\u2019t have.\n\n\n\nStep 3 – Mark two or three specific words or phrases to commit to. Highlight these with physical or vocal anchors, so that you can have performance moments where you articulate your choices.\n\n\n\nReading out loud as many times as you can in one minute might seem like a good use of time, but it\u2019s actually hindering your progress. Repetition is a memorization technique, and is not helpful for a cold-read exercise. \n\n\n\nTheater Cold Reads and TV Cold Reads\n\n\n\nFor theater auditions, directors expect fuller commitment and page independence when it comes to cold reads. You should be able to read from the sides with confidence, while owning the space. The ability to make choices under pressure is being evaluated here as it translates to what performing on stage can feel like.\n\n\n\nA cold read for a TV production requires a different approach. Although it’s essentially the same type of task, what’s actually being looked at is not just about you. Casting will look at how you fit within an existing ensemble dynamic. They might have you read for a different role, or read a new scene, so they can gauge your responsiveness. Or maybe they need to hear you read a few more times before they make their choice. \n\n\n\nCasting director Jessica Sherman says a lack of knowledge when it comes to the casting process is a common mistake actors make before they come in: \u201cThere have been approximately 30 people who have had to sign off to say you were the right person. The best person may not always be the one who gets the role. The person that everyone can agree on gets the role. Having that background information is a huge asset to actors, because it takes the pressure off a little bit, as far as their experience in the room.\u201d\n\n\n\nFive Cold Reading Mistakes\n\n\n\n\nOver Apologizing Before or After the Read – It\u2019s not about \u201cgetting it right,\u201d so apologizing for a pre-conceived notion of \u201cgetting it wrong\u201d signals low self trust and a lack of understanding for what is being asked of you. \n\n\n\nKeeping your Eyes on the Page – A cold read is an audition task, not a reading assessment, so you need to engage with your audience. Even imperfect eye contact during key beats is better than delivering to the paper.\n\n\n\nMaking a Non-Committal Choice – Making a neutral choice because you feel like you need more time to understand the backstory or context, shows casting that you don\u2019t understand what is being asked of you. Even strong and wrong is better than a careful nothing.\n\n\n\nOver Selling It – Trying to impress casting with your quick memorization skills is also a common mistake actors make. The confidence is great, but it\u2019s not a memorization test. Apply the confidence to the choices you’re making.\n\n\n\nRushing or Panicking – Actors who dislike this part of an audition might try to get through it as fast as possible. Panic can also be brought on by pressure \u2014 casting directors know you haven’t had long with the material so they\u2019ll apply some grace. Take a breath.\n\n\n\n\nHow to Practice Cold Reading\n\n\n\nTo practice cold reading, you can use published scripts from TV episodes or short monologues from classic plays. For scenes, you can work with a reader, or use an app to help give you a condition-matched practice system. Apps like ActOnCue don\u2019t replace the human element of working with an actor or partner, but they will help you develop the mechanical skills you need to be prepared for future auditions. \n\n\n\nGeorgy, founder of, ActOnCue, recommends his app to help with self taping, learning lines and picking up cues: \u201cTo build your cold-reading muscle through regular practice, you can load any scene or play, break it down, and analyze how characters are constructed, training your own instincts for making interesting choices quickly. The more scenes you work through, the sharper your ability to pick up a new piece of material and make strong choices on the spot.\u201d\n\n\n\nWhat Happens After the Cold Read\n\n\n\nAfter a cold read, you are usually given directorial notes and then asked to reread or apply the same style and approach to reading the sides. Try not to focus too much on the aftermath of a cold read, it\u2019s usually so the casting team can see if you take the note, and not because you\u2019ve done anything wrong.\n\n\n\nCasting directors will report to directors and showrunners with notes on an actor’s coachability, instinct and technical execution. You want positive feedback that you made bold choices, and adjusted immediately when redirected. \n\n\n\nMost actors don\u2019t get specific feedback after an audition, so you can expect much of the same after a cold read. Think about auditioning as always auditioning for the next job, echoing what casting director Lyndsey Baldasare says here: \u201cKeep doing consistent work, and keep being a team player. It all factors in. I know some actors feel like they\u2019re putting these tapes out and nobody\u2019s watching them, but we are. You\u2019re not gonna get 100% of the jobs you go out for, but if you\u2019re good at what you do, people will find you.\u201d\n\n\n\nConclusion\n\n\n\nCold reads might feel like an obstacle in the middle of the audition process you have to overcome. But they\u2019re not there to catch you or throw you off. They\u2019re used to evaluate you as an actor, to see how you operate in your process, without the time to overthink.\n\n\n\nCasting directors are often the ones that want the actor to succeed in the audition, and David Rapaport is a key example of that: \u201cTo me, the opportunity to find people, to dig, to go through that process, that’s what keeps me hungry and motivated. I think I\u2019m afraid I\u2019m going to miss that one person who has that one thing that\u2019s going to break out, and I\u2019m not gonna be able to talk about them in an interview one day.\u201d\n\n\n\nWhen you understand the format of a cold read and how it works in the overall casting process, you focus less on the wrong thing. An actor that is better prepared for a cold read will generally do better in the room. Use skills that are unique to you, trust your instincts, and show casting what makes you the right actor for the role.\n\n\n\n*More on ActOnCue:\n\n\n\nActOnCue is not designed to replace the magic of working with a human actor/partner. Real acting is about connection and authentic reaction, and nothing will ever change that. Our focus is on a different part of the process: the audition grind. The world of casting is a numbers game. It’s a funnel designed to quickly find a \u201crole fit,” and so much of it is out of your control. Casting directors aren’t measuring how many hours you rehearsed; they’re looking for a match, often in the first few seconds of your self tape. That’s where ActOnCue comes in.\n\n\n\n\n\n\n\nReady to put these audition tips into practice?\n\n\n\nExplore:\n\n\n\n\nTheatre Casting Calls\n\n\n\nTV Show Audition Opportunities\n\n\n\nVertical Short Acting Jobs\n\n\n\n\n\nThe post How to Prepare for a Cold Read Audition in 90 Seconds or Less appeared first on Casting Networks.",
"date_published": "2026-06-05T09:05:00-07:00",
"date_modified": "2026-06-05T10:36:03-07:00",
"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-1210331584.jpg",
"tags": [
"Acting Advice",
"Auditions",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=332542",
"url": "https://www.castingnetworks.com/news/how-amy-lyndon-technique-helps-actors-book-auditions/",
"title": "How The Amy Lyndon Technique Helps Actors Book More Auditions",
"content_html": "\n
The Lyndon Technique takes actors from all disciplines and helps them use their training, or lack thereof, to nail their auditions.
\n\n\n\n
Acting coach Amy Lydon is a classically trained performer who still acts. Lyndon\u2019s technique is broken down into 15 guidelines, all of which are covered in her book, first published in 2009.
\n\n\n\n
With actors having a natural angst around the audition process, Lyndon\u2019s entire focus is not just on alleviating that anxiety, but also on helping actors create their own atmosphere to maximize their own potential in that audition.
\n\n\n\n
She spoke to us from Los Angeles.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Great acting alone is not enough to book television work. Actors must also understand tone, genre, pacing, and how to audition specifically for camera.
\n\n\n\n
The Lyndon Technique teaches actors to create an emotional \u201cbubble\u201d that blocks out outside energy and keeps them fully connected to the scene.
\n\n\n\n
Active listening, emotional discipline, and script breakdown skills help performers stay present frame-by-frame instead of relying on traditional rehearsal-heavy methods.
What\u2019s the story behind the Lyndon Technique?
\n\n\n\n
There are two parts to it. One is the philosophy of booking. Not a lot of people talk about the philosophy because they’re too busy working on you, the actor.
\n\n\n\n
There’s the business aspect of it, understanding that you have to hold on to who you are as person, what are you contributing, and how to infuse that in your work.
\n\n\n\n
Part of the reason that actors have a problem booking when they used to primarily go in the room was picking up the energy of everybody around them. Actors are sensitive, they sometimes pick it up as judgment. So rather than viewing this as being attentive and listening, they were seeing it as, I’m sitting here, judging you, and it cost people jobs.
\n\n\n\n
So what you teach has nothing to do with craft?
\n\n\n\n
Correct. You want to train in Meisner and all that stuff, that’s great. Then go do theater, but then train properly. If you want to book television, we’re not afforded the opportunity to sit around and rehearse or discuss. A lot of the times, the audition time is 48 hours, 24 hours turnaround. So these people that have been working on creating a character development over three months, they’re SOL.
\n\n\n\n
What is the core of your technique?
\n\n\n\n
This technique teaches you how to break down a script, how to create the world around you. One of the guidelines is the environment, but it’s not just the environment. It’s where are you in this environment? How do I hear?
\n\n\n\n
The technique is all about staying in your lane, doing your point of view, which is life. When you have a fight, you don’t sit around going, \u201cOh, we’re having a conflict.\u201d You try to beat the other person. It\u2019s all about creating this world that you live in and having people come to you.
\n\n\n\n
Where are you emotionally when the camera finds you, and where are you in the next frame, in the next frame, in the next frame, in the next frame? The more you can create the world where you are, it’s not moment to moment. It really is frame by frame.
\n\n\n\n
A big part of this is getting yourself to a place as a performer where it doesn’t matter what is happening in the room around you. You are creating a bubble, let’s say, a three-foot radius around you, and anything outside of that should not affect in any way the thing that you\u2019re doing?
\n\n\n\n
Correct. And it’s all about your homework. So if you’re not marinating on where things are for you in a deep, emotional way, you’re not going to be fully invested, and you’re going to feel the energy of everybody else, right? That’s why one of the guidelines is, what am I feeling in the beginning, middle and end?
\n\n\n\n
An actor is a walking, talking, emotional vehicle for the writer. How are you going to be that channel if you’re worried about all this other stuff that has nothing to do with the character? If you reconstruct a fight that you had with somebody, you will be clear on that.
\n\n\n\n
You’re going to be actively listening so you could come back and and win that argument.
\n\n\n\n
The secret to good acting is actively listening.
\n\n\n\n
There you go, and that’s the construction of life. So this thing with beats and intention? I don’t deal with that at all. You have to understand, I trained with Stella Adler. I jumped on a train at 16 to study at the neighborhood playhouses in New York City.
\n\n\n\n
I have a Bachelor of Fine Arts from Syracuse University. I studied Shakespeare in London. But none of that matters if you do not know how to book a job. It doesn’t matter where you’ve trained.
\n\n\n\n
It matters how you can access your emotional vehicle and place it in the right place, in the script, and let go.
\n\n\n\n
Are there exercises or drills you can give to people to work on these things? Or is it just as simple as \u201cbecome a more active listener\u201d?
\n\n\n\n
I think you just need to practice it in your real life. Actors are so busy going after the prize, that they’ve missed the whole love of the process. One of the biggest compliments that I get from my students is them thanking me for bringing the love of acting and being an artist back to them.
\n\n\n\n
Part of that is understanding behavior, starting with your own. That’s why I have people writing down next to the other person’s dialogue, \u201cHow am I hearing what this other person is saying?\u201d It keeps you in the scene. It also helps you get off book, because your next line is absolutely going to be exactly what it is based on what you just heard.
\n\n\n\n
I do have this great exercise. I call it the Walgreen\u2019s Exercise. You start out in your car with a heavy, heavy emotion, you’re about to cry, but you have to hold it because you want to go to Walgreens and buy two things and talk to the cashier while you’re holding it the whole time.
\n\n\n\n
You’re actively doing something, talking to somebody, buying something, and then you get to your car, close the door and break down. Now that is discipline, and you have to be disciplined enough to know how to hold on to your emotions.
\n\n\n\n
Is that how an actor books work?
\n\n\n\n
No, that\u2019s how people take notice [of] you. You book work by understanding the genre and the tone of the show. You can’t expect to book television if you’re not watching television.
\n\n\n\n
After a while you’ll understand, Okay, well, is this Mayor of Kingstown or is it Tracker? People don’t understand that so much of booking has nothing to do with acting. There’s tone and style and genre and network, there’s a pace and a formula.
\n\n\n\n
There\u2019s also the question you have to ask yourself: \u201cWhy am I there?\u201d
\n\n\n\n
Being a great actor is not good enough. Are you a great actor for that? It\u2019s harder now because of self tapes and streaming and all that, but that just means you work harder, and get even more specific.
\n\n\n\n
I would think that your technique would work for self tapes, because there’s nobody around, and you have to focus on the same space that you would if you were on television.
\n\n\n\n
Absolutely. There’s this square, okay? I talk a lot about what you can do in this square. Before COVID, I was teaching in the theater for 25 years, and the last six years I’ve been on Zoom, and it’s been the best thing.
\n\n\n\n
People are booking from Zoom, but also, as you say, this is the same square as your self tape. You can study Stella Adler, you can study Stanislavski, but it’s not necessarily going to help you book if you don’t understand this box right here.
\n\n\n\n
I’m here to help you book and understand this square and what you can do with it, and how it’s going to get you hired.
\n",
"content_text": "The Lyndon Technique takes actors from all disciplines and helps them use their training, or lack thereof, to nail their auditions. \n\n\n\nActing coach Amy Lydon is a classically trained performer who still acts. Lyndon\u2019s technique is broken down into 15 guidelines, all of which are covered in her book, first published in 2009. \n\n\n\nWith actors having a natural angst around the audition process, Lyndon\u2019s entire focus is not just on alleviating that anxiety, but also on helping actors create their own atmosphere to maximize their own potential in that audition. \n\n\n\nShe spoke to us from Los Angeles.\n\n\n\nKey Insights\n\n\n\n\nGreat acting alone is not enough to book television work. Actors must also understand tone, genre, pacing, and how to audition specifically for camera.\n\n\n\nThe Lyndon Technique teaches actors to create an emotional \u201cbubble\u201d that blocks out outside energy and keeps them fully connected to the scene.\n\n\n\nActive listening, emotional discipline, and script breakdown skills help performers stay present frame-by-frame instead of relying on traditional rehearsal-heavy methods.\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\u2019s the story behind the Lyndon Technique?\n\n\n\nThere are two parts to it. One is the philosophy of booking. Not a lot of people talk about the philosophy because they’re too busy working on you, the actor. \n\n\n\nThere’s the business aspect of it, understanding that you have to hold on to who you are as person, what are you contributing, and how to infuse that in your work. \n\n\n\nPart of the reason that actors have a problem booking when they used to primarily go in the room was picking up the energy of everybody around them. Actors are sensitive, they sometimes pick it up as judgment. So rather than viewing this as being attentive and listening, they were seeing it as, I’m sitting here, judging you, and it cost people jobs.\n\n\n\nSo what you teach has nothing to do with craft?\n\n\n\nCorrect. You want to train in Meisner and all that stuff, that’s great. Then go do theater, but then train properly. If you want to book television, we’re not afforded the opportunity to sit around and rehearse or discuss. A lot of the times, the audition time is 48 hours, 24 hours turnaround. So these people that have been working on creating a character development over three months, they’re SOL.\n\n\n\nWhat is the core of your technique?\n\n\n\nThis technique teaches you how to break down a script, how to create the world around you. One of the guidelines is the environment, but it’s not just the environment. It’s where are you in this environment? How do I hear? \n\n\n\nThe technique is all about staying in your lane, doing your point of view, which is life. When you have a fight, you don’t sit around going, \u201cOh, we’re having a conflict.\u201d You try to beat the other person. It\u2019s all about creating this world that you live in and having people come to you. \n\n\n\nWhere are you emotionally when the camera finds you, and where are you in the next frame, in the next frame, in the next frame, in the next frame? The more you can create the world where you are, it’s not moment to moment. It really is frame by frame.\n\n\n\nA big part of this is getting yourself to a place as a performer where it doesn’t matter what is happening in the room around you. You are creating a bubble, let’s say, a three-foot radius around you, and anything outside of that should not affect in any way the thing that you\u2019re doing?\n\n\n\nCorrect. And it’s all about your homework. So if you’re not marinating on where things are for you in a deep, emotional way, you’re not going to be fully invested, and you’re going to feel the energy of everybody else, right? That’s why one of the guidelines is, what am I feeling in the beginning, middle and end? \n\n\n\nAn actor is a walking, talking, emotional vehicle for the writer. How are you going to be that channel if you’re worried about all this other stuff that has nothing to do with the character? If you reconstruct a fight that you had with somebody, you will be clear on that. \n\n\n\nYou’re going to be actively listening so you could come back and and win that argument.\n\n\n\nThe secret to good acting is actively listening.\n\n\n\nThere you go, and that’s the construction of life. So this thing with beats and intention? I don’t deal with that at all. You have to understand, I trained with Stella Adler. I jumped on a train at 16 to study at the neighborhood playhouses in New York City. \n\n\n\nI have a Bachelor of Fine Arts from Syracuse University. I studied Shakespeare in London. But none of that matters if you do not know how to book a job. It doesn’t matter where you’ve trained. \n\n\n\nIt matters how you can access your emotional vehicle and place it in the right place, in the script, and let go.\n\n\n\nAre there exercises or drills you can give to people to work on these things? Or is it just as simple as \u201cbecome a more active listener\u201d? \n\n\n\nI think you just need to practice it in your real life. Actors are so busy going after the prize, that they’ve missed the whole love of the process. One of the biggest compliments that I get from my students is them thanking me for bringing the love of acting and being an artist back to them. \n\n\n\nPart of that is understanding behavior, starting with your own. That’s why I have people writing down next to the other person’s dialogue, \u201cHow am I hearing what this other person is saying?\u201d It keeps you in the scene. It also helps you get off book, because your next line is absolutely going to be exactly what it is based on what you just heard.\n\n\n\nI do have this great exercise. I call it the Walgreen\u2019s Exercise. You start out in your car with a heavy, heavy emotion, you’re about to cry, but you have to hold it because you want to go to Walgreens and buy two things and talk to the cashier while you’re holding it the whole time. \n\n\n\nYou’re actively doing something, talking to somebody, buying something, and then you get to your car, close the door and break down. Now that is discipline, and you have to be disciplined enough to know how to hold on to your emotions.\n\n\n\nIs that how an actor books work?\n\n\n\nNo, that\u2019s how people take notice [of] you. You book work by understanding the genre and the tone of the show. You can’t expect to book television if you’re not watching television. \n\n\n\nAfter a while you’ll understand, Okay, well, is this Mayor of Kingstown or is it Tracker? People don’t understand that so much of booking has nothing to do with acting. There’s tone and style and genre and network, there’s a pace and a formula. \n\n\n\nThere\u2019s also the question you have to ask yourself: \u201cWhy am I there?\u201d\n\n\n\nBeing a great actor is not good enough. Are you a great actor for that? It\u2019s harder now because of self tapes and streaming and all that, but that just means you work harder, and get even more specific.\n\n\n\nI would think that your technique would work for self tapes, because there’s nobody around, and you have to focus on the same space that you would if you were on television.\n\n\n\nAbsolutely. There’s this square, okay? I talk a lot about what you can do in this square. Before COVID, I was teaching in the theater for 25 years, and the last six years I’ve been on Zoom, and it’s been the best thing. \n\n\n\nPeople are booking from Zoom, but also, as you say, this is the same square as your self tape. You can study Stella Adler, you can study Stanislavski, but it’s not necessarily going to help you book if you don’t understand this box right here. \n\n\n\nI’m here to help you book and understand this square and what you can do with it, and how it’s going to get you hired.\n\n\n\n\n\n\n\nReady to put these audition tips into practice?\n\n\n\nExplore:\n\n\n\n\nTV Show Casting Calls\n\n\n\nLos Angeles Theatre Auditions\n\n\n\nJob Opportunities for Vertical Shorts\n\n\n\nA Practical Guide to Learning Lines Quickly\n\nThe post How The Amy Lyndon Technique Helps Actors Book More Auditions appeared first on Casting Networks.",
"date_published": "2026-05-27T09:38:51-07:00",
"date_modified": "2026-05-27T11:13:47-07:00",
"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/2026/05/AMY-LYNDON-BLOG.jpg",
"tags": [
"Acting Advice",
"Auditions",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=320155",
"url": "https://www.castingnetworks.com/news/big-mistakes-casting-advice-dan-levy-cast-interview/",
"title": "What Dan Levy Looked For When Casting His New Netflix Series \u2018Big Mistakes\u2019",
"content_html": "\n
Emmy Award-winning creator Dan Levy (Schitt\u2019s Creek) returns to streaming with Big Mistakes, a comedic family saga wrapped in a high-stakes crime thriller.
\n\n\n\n
The Netflix series centers on gay pastor Nicky (Levy) and his failed actress sister Morgan (Taylor Ortega), whose attempt to pull off a small theft for their ailing grandmother goes sideways, landing them in the orbit of organized crime. As they try to dig themselves out, they only sink deeper into chaos.
\n\n\n\n
Ahead of the show\u2019s release, Levy, Ortega and Laurie Metcalf, who plays their mother, spoke at a press conference attended by Casting Networks, where the conversation turned to building the ensemble.
\n\n\n\n
After six seasons of what he called a \u201cwarm, fuzzy, cuddly show\u201d like Schitt\u2019s Creek, Levy said he was interested in exploring similar family dynamics through a very different lens. \u201cI thought about myself in relation to the world of crime, and I realized that I would not fare well if tasked with any kind of criminal [activity].\u201d
\n\n\n\n
To bring that world to life, Levy worked with casting director Gayle Keller and her team, whose credits include What We Do in the Shadows, The Big Door Prize, Bros and The King of Staten Island.
\n\n\n\n
Key Insights
\n\n\n\n
\n
The right actor doesn\u2019t just fit the role, they expand and completely reshape what the character can be.
\n\n\n\n
Standout auditions often reveal unexpected depth that even the creators hadn\u2019t imagined.
\n\n\n\n
Casting directors look beyond obvious choices, prioritizing originality, specificity, and actors who bring something surprising to the table.
\u201cThis ensemble [we have on the show] is so spectacular that it made me feel instantly at home just being around unbelievable actors who are bringing everything to the table,\u201d said Levy.
\n\n\n\n
When it came to casting his on-screen sister, Morgan, Levy described the character as someone with a lot to prove, someone whose pride and ambition can blur the line between right and wrong.
\n\n\n\n
\u201cAnd then you hire Taylor Ortega to come in and take that character, throw it against the wall, break it open, and rediscover all the parts of it that were most exciting to all of us,\u201d he said. \u201cTo find Taylor in this moment in her career and watch her step into this role, it felt like the clouds kind of parted, and everything was right in the world a little bit.\u201d
\n\n\n\n
For Levy, that transformation gets at the heart of casting itself. \u201cWhen you write a character, you have an idea of what that character is. Then an actor comes in and shows you a side of that character that you had no idea could exist. If you do the casting process right and you find the right person, that actor will revolutionize your own idea of what the potential for a character could be.\u201d
\n\n\n\n
He credits Keller and her New York-based team with a number of discoveries across the show, including Canadian actor Jack Innanen, who plays Morgan\u2019s boyfriend Max. Levy called him a \u201cfun discovery,\u201d adding that as a Canadian, he loves hiring his fellow countrymen. He also singled out Abby Quinn, who plays his younger sister Natalie, the more put-together and favored sibling, calling her \u201can amazing find.\u201d
\n\n\n\n
\u201cAbby’s read of this monologue that happens at the end of the season was so jaw-dropping, I knew as soon as I watched it, that we had to hire her,\u201d Levy said.
\n\n\n\n
Ortega agreed.
\n\n\n\n
\u201cI would not have read that character the way Abby read it,\u201d she said. \u201cWhen you saw Abby do it, you went, \u2018Oh my God, I guess that’s probably who this [character] is!\u2019\u201d
\n\n\n\n
Levy also highlighted Turkish actor Boran Kuzum, who plays Yusuf, the gangster the siblings become entangled with.
\n\n\n\n
\u201cThis is his first American role. I believe he’s one of the first actors from Turkey to ever make the leap to American television. There’s a lot of pride for Boran.\u201d
\n\n\n\n
More broadly, Levy pointed to the scope of the casting search, which extended beyond New York City to New Jersey and Miami, with an emphasis on finding actors from a wide range of backgrounds, including Russian and Brazilian performers.
\n\n\n\n
\u201cIt was a big ask,\u201d he said of Keller\u2019s team. \u201cI feel very lucky that we found the people that we did. You get these moments when you think, everything is happening exactly as it should, and the casting process is the first indicator of [that]. Even the small characters. There’s not a false note in the entire season, casting-wise.\u201d
\n\n\n\n
Still, Levy considers landing Laurie Metcalf as the show\u2019s mother his biggest casting win. The character is an erratic, overcritical woman who pits her children against each other while running a local campaign for mayor.
\n\n\n\n
A longtime admirer of Metcalf\u2019s work, particularly her portrayal of Jackie Harris on Roseanne and The Conners, Levy said that character shaped his own sense of comedy. He also cited Metcalf\u2019s Oscar-nominated performance in Greta Gerwig\u2019s Lady Bird as another standout. He decided to reach out to her directly for Big Mistakes.
\n\n\n\n
\u201cI wrote her a letter, I sent a script, I said a little prayer, and I hoped for the best,\u201d Levy said. \u201cWhen you send something out to somebody that you revere so fondly, you have to let it go. But I remember sending the script, and within 48 hours, we had heard that she was interested. I screamed.\u201d
\n\n\n\n
Metcalf was equally enthusiastic about joining the project.
\n\n\n\n
\u201cI can’t believe I was on Dan’s radar,\u201d she said. \u201cI am such a fan, as is everybody in the world, of Schitt’s Creek and of Dan specifically. The fact that I got asked to be a part of this ensemble, it has been one of the best experiences I’ve ever had.\u201d
\n\n\n\n
Levy said the role called for someone who understood the character enough to instinctively be the gravitational force that the siblings would be orbiting around.
\n\n\n\n
\u201cSo the minute she said yes, I knew that we had the chance of making a really, really great television show.\u201d
\n",
"content_text": "Emmy Award-winning creator Dan Levy (Schitt\u2019s Creek) returns to streaming with Big Mistakes, a comedic family saga wrapped in a high-stakes crime thriller. \n\n\n\nThe Netflix series centers on gay pastor Nicky (Levy) and his failed actress sister Morgan (Taylor Ortega), whose attempt to pull off a small theft for their ailing grandmother goes sideways, landing them in the orbit of organized crime. As they try to dig themselves out, they only sink deeper into chaos. \n\n\n\nAhead of the show\u2019s release, Levy, Ortega and Laurie Metcalf, who plays their mother, spoke at a press conference attended by Casting Networks, where the conversation turned to building the ensemble.\n\n\n\nAfter six seasons of what he called a \u201cwarm, fuzzy, cuddly show\u201d like Schitt\u2019s Creek, Levy said he was interested in exploring similar family dynamics through a very different lens. \u201cI thought about myself in relation to the world of crime, and I realized that I would not fare well if tasked with any kind of criminal [activity].\u201d\n\n\n\nTo bring that world to life, Levy worked with casting director Gayle Keller and her team, whose credits include What We Do in the Shadows, The Big Door Prize, Bros and The King of Staten Island.\n\n\n\nKey Insights\n\n\n\n\nThe right actor doesn\u2019t just fit the role, they expand and completely reshape what the character can be.\n\n\n\nStandout auditions often reveal unexpected depth that even the creators hadn\u2019t imagined.\n\n\n\nCasting directors look beyond obvious choices, prioritizing originality, specificity, and actors who bring something surprising to the table.\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\n\u201cThis ensemble [we have on the show] is so spectacular that it made me feel instantly at home just being around unbelievable actors who are bringing everything to the table,\u201d said Levy. \n\n\n\nWhen it came to casting his on-screen sister, Morgan, Levy described the character as someone with a lot to prove, someone whose pride and ambition can blur the line between right and wrong. \n\n\n\n\u201cAnd then you hire Taylor Ortega to come in and take that character, throw it against the wall, break it open, and rediscover all the parts of it that were most exciting to all of us,\u201d he said. \u201cTo find Taylor in this moment in her career and watch her step into this role, it felt like the clouds kind of parted, and everything was right in the world a little bit.\u201d \n\n\n\nFor Levy, that transformation gets at the heart of casting itself. \u201cWhen you write a character, you have an idea of what that character is. Then an actor comes in and shows you a side of that character that you had no idea could exist. If you do the casting process right and you find the right person, that actor will revolutionize your own idea of what the potential for a character could be.\u201d\n\n\n\nHe credits Keller and her New York-based team with a number of discoveries across the show, including Canadian actor Jack Innanen, who plays Morgan\u2019s boyfriend Max. Levy called him a \u201cfun discovery,\u201d adding that as a Canadian, he loves hiring his fellow countrymen. He also singled out Abby Quinn, who plays his younger sister Natalie, the more put-together and favored sibling, calling her \u201can amazing find.\u201d \n\n\n\n\u201cAbby’s read of this monologue that happens at the end of the season was so jaw-dropping, I knew as soon as I watched it, that we had to hire her,\u201d Levy said. \n\n\n\nOrtega agreed. \n\n\n\n\u201cI would not have read that character the way Abby read it,\u201d she said. \u201cWhen you saw Abby do it, you went, \u2018Oh my God, I guess that’s probably who this [character] is!\u2019\u201d \n\n\n\nLevy also highlighted Turkish actor Boran Kuzum, who plays Yusuf, the gangster the siblings become entangled with. \n\n\n\n\u201cThis is his first American role. I believe he’s one of the first actors from Turkey to ever make the leap to American television. There’s a lot of pride for Boran.\u201d\n\n\n\nMore broadly, Levy pointed to the scope of the casting search, which extended beyond New York City to New Jersey and Miami, with an emphasis on finding actors from a wide range of backgrounds, including Russian and Brazilian performers. \n\n\n\n\u201cIt was a big ask,\u201d he said of Keller\u2019s team. \u201cI feel very lucky that we found the people that we did. You get these moments when you think, everything is happening exactly as it should, and the casting process is the first indicator of [that]. Even the small characters. There’s not a false note in the entire season, casting-wise.\u201d\n\n\n\nStill, Levy considers landing Laurie Metcalf as the show\u2019s mother his biggest casting win. The character is an erratic, overcritical woman who pits her children against each other while running a local campaign for mayor.\n\n\n\nA longtime admirer of Metcalf\u2019s work, particularly her portrayal of Jackie Harris on Roseanne and The Conners, Levy said that character shaped his own sense of comedy. He also cited Metcalf\u2019s Oscar-nominated performance in Greta Gerwig\u2019s Lady Bird as another standout. He decided to reach out to her directly for Big Mistakes.\n\n\n\n\u201cI wrote her a letter, I sent a script, I said a little prayer, and I hoped for the best,\u201d Levy said. \u201cWhen you send something out to somebody that you revere so fondly, you have to let it go. But I remember sending the script, and within 48 hours, we had heard that she was interested. I screamed.\u201d\n\n\n\nMetcalf was equally enthusiastic about joining the project.\n\n\n\n\u201cI can’t believe I was on Dan’s radar,\u201d she said. \u201cI am such a fan, as is everybody in the world, of Schitt’s Creek and of Dan specifically. The fact that I got asked to be a part of this ensemble, it has been one of the best experiences I’ve ever had.\u201d\n\n\n\nLevy said the role called for someone who understood the character enough to instinctively be the gravitational force that the siblings would be orbiting around.\n\n\n\n\u201cSo the minute she said yes, I knew that we had the chance of making a really, really great television show.\u201d\nThe post What Dan Levy Looked For When Casting His New Netflix Series ‘Big Mistakes’ appeared first on Casting Networks.",
"date_published": "2026-04-23T09:03:47-07:00",
"date_modified": "2026-05-22T11:14:26-07:00",
"authors": [
{
"name": "Zorianna Kit",
"url": "https://www.castingnetworks.com/news/author/zorianna-kit/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/beb/beb229407b4d16d50760c4f6dbf3273cx512.jpg"
}
],
"author": {
"name": "Zorianna Kit",
"url": "https://www.castingnetworks.com/news/author/zorianna-kit/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/beb/beb229407b4d16d50760c4f6dbf3273cx512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/dan-levy-big-mistake-premiere-041426-c14162934e9a4d8986dc3a6a963f305c.webp",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=320131",
"url": "https://www.castingnetworks.com/news/10-smart-questions-actors-should-ask-after-every-audition/",
"title": "10 Smart Questions Actors Should Ask After Every Audition",
"content_html": "\n
Auditions can feel like tiny earthquakes. You walk in grounded, deliver your work, and then the aftershocks begin. Did I nail it? Did I blow it? Why did I do this instead of that? Then you go home and cry.
\n\n\n\n
For many actors, the post-audition window becomes a spiral. But the most consistently working actors treat it differently. They turn auditions into data. Not cold, clinical data that strips away artistry, but usable insight that sharpens instincts and builds consistency over time.
\n\n\n\n
Instead of replaying your audition over and over in your head, ask yourself questions that shift you from outcome obsession to process mastery. Booking is not fully in your control, but growth is.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Letting go after reflection is just as important as preparation, because it protects your energy for the next opportunity.
\n\n\n\n
Strong auditions aren\u2019t about being \u201cright,\u201d they\u2019re about making clear, intentional choices you can learn from.
\n\n\n\n
The fastest-growing actors treat every audition as usable data, not a pass/fail judgment.
Every strong audition is built on clear, playable choices. Did you decide who you were in the scene? What did you want? What were you willing to do to get it?
Or did you lean on \u201cfeeling it out\u201d and hope something interesting would happen? This question isn\u2019t about judging whether your choices were \u201cright.\u201d It\u2019s about whether they were yours. Casting directors aren\u2019t looking for neutral. They\u2019re looking for actors who can commit to a perspective.
If your choices felt fuzzy, that\u2019s valuable information. It tells you where to dig deeper next time. If your choices were clear and grounded, that\u2019s a win, regardless of the outcome.
\n\n\n\n
2. Was I responding truthfully, or demonstrating?
\n\n\n\n
There\u2019s a critical difference between being affected and showing that you\u2019re affected. Did you actually listen and allow your acting partner\u2019s words to land on you? Or were you indicating reactions to make sure the moment \u201cread\u201d?
\n\n\n\n
What picks up thought faster than effort? The camera. If you catch yourself \u201cadding\u201d reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work. An example that comes to mind is when your scene partner has a long speech. Do you nod \u201con purpose\u201d to show that you\u2019re still listening, or do you subtly move your eyes to acknowledge what they\u2019re saying?
\n\n\n\n
If you catch yourself \u201cadding\u201d reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work.
\n\n\n\n
3. Did my interpretation align with my type and brand?
\n\n\n\n
Every audition is a branding exercise, whether you think of it that way or not. Did your take on the character feel aligned with how you’re usually cast? Or did you push yourself into a version that felt slightly off from your natural casting? This doesn’t mean you should play it safe. It means understanding your lane so you can stretch it with intention.
When your choices align with your casting presence, casting directors don’t have to work to “place” you. They see where you fit immediately. If your audition felt disconnected from your usual brand, ask why. Were you experimenting? Trying to be what you thought they wanted? That awareness is gold.
\n\n\n\n
4. Did I understand the tone and world of the project?
\n\n\n\n
You want to deliver a grounded performance in a grounded world. Your aim should be not to have any mismatches. Did you match the project’s rhythm and style? Whether it’s network procedural, indie drama or single-cam comedy, each has its own language.
Think of tone like gravity. It affects everything, such as the pace of your speech and the size of your reactions. If something felt slightly off, it might not have been your acting. It might have been a tonal mismatch. Over time, sharpening your awareness of tone makes you instantly more bookable. It signals that you understand not just the character, but the show.
\n\n\n\n
5. Was I connected to the stakes of the scene?
\n\n\n\n
If nothing feels like it matters, the scene can come across a little empty. Were you clear on what you could gain or lose? And more importantly, did you feel that pressure physically, or was it just an idea in your head?
When an actor is truly locked into what\u2019s at stake, they don\u2019t have to force anything. The tension is already there. If your read came off a bit flat, it\u2019s usually not about needing bigger emotions; it\u2019s about needing a stronger sense of investment.
Try asking yourself: What am I risking here? And what happens if I don\u2019t get what I want? Getting specific with that tends to bring everything into sharper focus.
\n\n\n\n
6. Did I prepare enough?
\n\n\n\n
If your performance felt tight, you may have rehearsed it too specifically. If it felt all over the place, you might need more structure going in. It\u2019s not about getting it perfect. It\u2019s about being prepared and able to adapt. Casting directors notice actors who can pivot without losing truth. It shows confidence and professionalism.
\n\n\n\n
The goal isn\u2019t perfection. It\u2019s readiness.
\n\n\n\n
7. Did I take direction well (if given)?
\n\n\n\n
How did you respond when the casting director provided guidance? Did you make a clear adjustment? Or did you only partially revise your performance while clinging to your original choices?
Receiving direction is an important part of collaboration. Casting isn\u2019t solely about talent; it\u2019s also about your ability to work with a director under time constraints while still delivering a strong performance. This question also applies to self tapes. Did you explore multiple takes? Did you create options that demonstrate your adaptability?
Your capacity to adjust is often what sets you apart from others.
\n\n\n\n
8. Did I stay present, or get pulled into my head?
\n\n\n\n
There\u2019s a moment in many auditions where the internal commentary tries to take over.
\n\n\n\n
\u201cWas that line weird?\u201d \u201cThey\u2019re not reacting.\u201d \u201cI should do something different.\u201d
\n\n\n\n
Did that voice pull you out of the scene? Or were you able to stay anchored in the moment? Presence is the actor\u2019s superpower. It\u2019s what makes everything feel alive and unpredictable. If you felt yourself drifting into self-monitoring, don\u2019t beat yourself up. Just notice it.
\n\n\n\n
Awareness is the first step toward shortening that gap. The more you practice returning to the moment, the less power that internal noise has.
\n\n\n\n
9. What did I learn that I can apply immediately?
\n\n\n\n
Every audition teaches you something, even the ones that feel messy. Did you discover a new approach that worked? A habit that got in your way? A preparation technique that helped you feel more grounded?
Actors who grow quickly aren\u2019t necessarily more talented. They\u2019re more observant. They track what works and repeat it. This question turns each audition into a stepping stone.
\n\n\n\n
10. Can I let this go now?
\n\n\n\n
This might be the most important question of all. Once you’ve reflected, can you release the audition?
Don’t dismiss it, don’t pretend it didn’t matter, but genuinely let it leave your system so you can move forward. Holding onto auditions drains your energy and clouds your next opportunity. Letting go creates space.
You’ve done the work. You’ve gathered the insight. The rest is out of your hands. Professional actors aren’t defined by how long they hold onto auditions. They’re defined by how quickly they return to readiness.
\n\n\n\n
Turning Reflection Into Momentum
\n\n\n\n
There\u2019s a quiet confidence that comes from process-focused actors. They don\u2019t ride emotional highs and lows with every audition. They build something steadier. A rhythm.
Audition. Reflect. Adjust. Move on. The truth is, you won\u2019t book most of what you audition for. No one does. But if each audition makes you a little clearer, a little sharper, and a little more aligned, then you\u2019re not starting over each time. You\u2019re building.
So the next time you finish an audition, resist the urge to spiral. Ask better questions. Gather better answers. Then step forward, lighter, sharper and ready for the next one.
\n",
"content_text": "Auditions can feel like tiny earthquakes. You walk in grounded, deliver your work, and then the aftershocks begin. Did I nail it? Did I blow it? Why did I do this instead of that? Then you go home and cry.\n\n\n\nFor many actors, the post-audition window becomes a spiral. But the most consistently working actors treat it differently. They turn auditions into data. Not cold, clinical data that strips away artistry, but usable insight that sharpens instincts and builds consistency over time.\n\n\n\nInstead of replaying your audition over and over in your head, ask yourself questions that shift you from outcome obsession to process mastery. Booking is not fully in your control, but growth is.\n\n\n\nKey Insights\n\n\n\n\nLetting go after reflection is just as important as preparation, because it protects your energy for the next opportunity.\n\n\n\nStrong auditions aren\u2019t about being \u201cright,\u201d they\u2019re about making clear, intentional choices you can learn from.\n\n\n\nThe fastest-growing actors treat every audition as usable data, not a pass/fail judgment.\n\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\n\n\n\n\n1. Did I make specific, intentional choices?\n\n\n\nEvery strong audition is built on clear, playable choices. Did you decide who you were in the scene? What did you want? What were you willing to do to get it?Or did you lean on \u201cfeeling it out\u201d and hope something interesting would happen?This question isn\u2019t about judging whether your choices were \u201cright.\u201d It\u2019s about whether they were yours. Casting directors aren\u2019t looking for neutral. They\u2019re looking for actors who can commit to a perspective.If your choices felt fuzzy, that\u2019s valuable information. It tells you where to dig deeper next time. If your choices were clear and grounded, that\u2019s a win, regardless of the outcome.\n\n\n\n2. Was I responding truthfully, or demonstrating?\n\n\n\nThere\u2019s a critical difference between being affected and showing that you\u2019re affected. Did you actually listen and allow your acting partner\u2019s words to land on you? Or were you indicating reactions to make sure the moment \u201cread\u201d? \n\n\n\nWhat picks up thought faster than effort? The camera. If you catch yourself \u201cadding\u201d reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work. An example that comes to mind is when your scene partner has a long speech. Do you nod \u201con purpose\u201d to show that you\u2019re still listening, or do you subtly move your eyes to acknowledge what they\u2019re saying?\n\n\n\nIf you catch yourself \u201cadding\u201d reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work. \n\n\n\n3. Did my interpretation align with my type and brand?\n\n\n\nEvery audition is a branding exercise, whether you think of it that way or not. Did your take on the character feel aligned with how you’re usually cast? Or did you push yourself into a version that felt slightly off from your natural casting? This doesn’t mean you should play it safe. It means understanding your lane so you can stretch it with intention.When your choices align with your casting presence, casting directors don’t have to work to “place” you. They see where you fit immediately. If your audition felt disconnected from your usual brand, ask why. Were you experimenting? Trying to be what you thought they wanted? That awareness is gold.\n\n\n\n4. Did I understand the tone and world of the project?\n\n\n\nYou want to deliver a grounded performance in a grounded world. Your aim should be not to have any mismatches. Did you match the project’s rhythm and style? Whether it’s network procedural, indie drama or single-cam comedy, each has its own language.Think of tone like gravity. It affects everything, such as the pace of your speech and the size of your reactions. If something felt slightly off, it might not have been your acting. It might have been a tonal mismatch. Over time, sharpening your awareness of tone makes you instantly more bookable. It signals that you understand not just the character, but the show.\n\n\n\n5. Was I connected to the stakes of the scene?\n\n\n\nIf nothing feels like it matters, the scene can come across a little empty. Were you clear on what you could gain or lose? And more importantly, did you feel that pressure physically, or was it just an idea in your head?When an actor is truly locked into what\u2019s at stake, they don\u2019t have to force anything. The tension is already there. If your read came off a bit flat, it\u2019s usually not about needing bigger emotions; it\u2019s about needing a stronger sense of investment.Try asking yourself: What am I risking here? And what happens if I don\u2019t get what I want? Getting specific with that tends to bring everything into sharper focus.\n\n\n\n6. Did I prepare enough?\n\n\n\nIf your performance felt tight, you may have rehearsed it too specifically. If it felt all over the place, you might need more structure going in. It\u2019s not about getting it perfect. It\u2019s about being prepared and able to adapt. Casting directors notice actors who can pivot without losing truth. It shows confidence and professionalism. \n\n\n\nThe goal isn\u2019t perfection. It\u2019s readiness.\n\n\n\n7. Did I take direction well (if given)?\n\n\n\nHow did you respond when the casting director provided guidance?Did you make a clear adjustment? Or did you only partially revise your performance while clinging to your original choices?Receiving direction is an important part of collaboration. Casting isn\u2019t solely about talent; it\u2019s also about your ability to work with a director under time constraints while still delivering a strong performance. This question also applies to self tapes. Did you explore multiple takes? Did you create options that demonstrate your adaptability?Your capacity to adjust is often what sets you apart from others.\n\n\n\n8. Did I stay present, or get pulled into my head?\n\n\n\nThere\u2019s a moment in many auditions where the internal commentary tries to take over.\n\n\n\n\u201cWas that line weird?\u201d\u201cThey\u2019re not reacting.\u201d\u201cI should do something different.\u201d\n\n\n\nDid that voice pull you out of the scene? Or were you able to stay anchored in the moment? Presence is the actor\u2019s superpower. It\u2019s what makes everything feel alive and unpredictable. If you felt yourself drifting into self-monitoring, don\u2019t beat yourself up. Just notice it. \n\n\n\nAwareness is the first step toward shortening that gap. The more you practice returning to the moment, the less power that internal noise has.\n\n\n\n9. What did I learn that I can apply immediately?\n\n\n\nEvery audition teaches you something, even the ones that feel messy. Did you discover a new approach that worked? A habit that got in your way? A preparation technique that helped you feel more grounded?Actors who grow quickly aren\u2019t necessarily more talented. They\u2019re more observant. They track what works and repeat it. This question turns each audition into a stepping stone.\n\n\n\n10. Can I let this go now?\n\n\n\nThis might be the most important question of all. Once you’ve reflected, can you release the audition?Don’t dismiss it, don’t pretend it didn’t matter, but genuinely let it leave your system so you can move forward. Holding onto auditions drains your energy and clouds your next opportunity. Letting go creates space.You’ve done the work. You’ve gathered the insight. The rest is out of your hands. Professional actors aren’t defined by how long they hold onto auditions. They’re defined by how quickly they return to readiness.\n\n\n\nTurning Reflection Into Momentum\n\n\n\nThere\u2019s a quiet confidence that comes from process-focused actors. They don\u2019t ride emotional highs and lows with every audition. They build something steadier. A rhythm.Audition. Reflect. Adjust. Move on. The truth is, you won\u2019t book most of what you audition for. No one does. But if each audition makes you a little clearer, a little sharper, and a little more aligned, then you\u2019re not starting over each time. You\u2019re building.So the next time you finish an audition, resist the urge to spiral. Ask better questions. Gather better answers. Then step forward, lighter, sharper and ready for the next one.\nThe post 10 Smart Questions Actors Should Ask After Every Audition appeared first on Casting Networks.",
"date_published": "2026-04-21T06:17:34-07:00",
"date_modified": "2026-05-22T11:14:54-07:00",
"authors": [
{
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
}
],
"author": {
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/iStock-146783013.jpg",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=317991",
"url": "https://www.castingnetworks.com/news/what-happens-after-an-audition-casting-process/",
"title": "The Waiting Game: What Really Happens After the Audition",
"content_html": "\n
You walk out of the audition or you hit \u201csubmit\u201d on your self tape. For a moment, there\u2019s a quiet sense of completion, like closing a chapter you spent days preparing to write.
\n\n\n\n
Then comes the part no one trains you for: the waiting. For many actors, this is where anxiety creeps in. Silence can feel like rejection. Delays can feel personal. A lack of feedback can feel confusing.
\n\n\n\n
But here\u2019s the truth that working actors come to understand over time: What happens after your audition has very little to do with you, and everything to do with a complex, multi-layered decision-making process behind the scenes. Understanding that process won\u2019t eliminate the wait, but it will change how you experience it. And that shift can be the difference between burnout and longevity.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Career longevity comes from detaching from outcomes, focusing on the craft, and moving forward quickly after each audition.
\n\n\n\n
The post-audition process involves multiple layers of decision-makers, so delays and silence are usually about logistics, not your performance.
\n\n\n\n
Many actors land on shortlists without knowing it, meaning strong auditions often go unacknowledged rather than rejected.
Once auditions are complete (or sometimes even while they\u2019re still coming in), the casting office begins reviewing submissions.
\n\n\n\n
This stage is more than just \u201cwatching tapes.\u201d Casting directors and their teams are:
\n\n\n\n
\n
Comparing performances across hundreds (sometimes thousands) of actors
\n\n\n\n
Evaluating how each actor fits the tone of the project
\n\n\n\n
Considering chemistry with other potential cast members
\n\n\n\n
Watching for subtle qualities like authenticity, listenability and presence
\n
\n\n\n\n
At this point, decisions are rarely final. Instead, casting begins building a shortlist, which is a curated group of actors who could realistically play the role.
\n\n\n\n
This is where many actors first land after a strong audition. Not booked. Not rejected. Just in consideration. And that distinction matters.
\n\n\n\n
The Shortlist: You\u2019re Still in the Game
\n\n\n\n
If you\u2019ve ever heard the term \u201cpinned\u201d or \u201con hold,\u201d it often originates from this phase.
\n\n\n\n
Being on a shortlist means:
\n\n\n\n
\n
You\u2019re being seriously considered
\n\n\n\n
Your tape may be shared with producers or directors
\n\n\n\n
You could be called back, or not, depending on the project
\n
\n\n\n\n
Here\u2019s where things slow down.
\n\n\n\n
Once casting has identified their top choices, the process expands outward to include more decision-makers. And each added voice means more time.
\n\n\n\n
The Director\u2019s Pass: Vision Meets Performance
\n\n\n\n
The next step is that your audition may move to the director. A casting director might love your work. But the director is asking a different question:
\n\n\n\n
\u201cDoes this actor match the story I\u2019m trying to tell?\u201d
\n\n\n\n
Directors are looking for alignment with their creative vision, including:
\n\n\n\n
\n
Tone and emotional range
\n\n\n\n
Character interpretation
\n\n\n\n
How you might fit within the world of the project
\n
\n\n\n\n
Sometimes, this results in callbacks. Sometimes, decisions are made directly from the tape. Sometimes, the director asks for adjustments such as new reads, different takes, or chemistry pairings.
\n\n\n\n
This can extend the timeline without any indication to the actor. From your perspective, it\u2019s silence. From theirs, it\u2019s exploration.
\n\n\n\n
Producers Enter the Conversation
\n\n\n\n
Once the director weighs in, it’s time for the producers to enter the decision-making process.
\n\n\n\n
Producers are balancing creative choices with practical considerations, including:
\n\n\n\n
\n
Budget constraints
\n\n\n\n
Scheduling availability
\n\n\n\n
Marketability
\n\n\n\n
Overall casting balance
\n
\n\n\n\n
This is often where things take a turn no one saw coming.
\n\n\n\n
One actor might be the top creative choice, but they can’t make the schedule work. Someone else may be a better financial or logistical fit. Another might carry a name that helps the project gain traction.
\n\n\n\n
It has nothing to do with how well you performed, but it can still determine who ultimately gets the role.
\n\n\n\n
The Network or Studio Layer (For Larger Projects)
\n\n\n\n
For television, studio films, and streaming platforms, there’s often another layer: network or studio approval. This is where decisions can take the longest.
\n\n\n\n
Executives may review multiple options for a role and ask questions like:
\n\n\n\n
\n
Does this actor appeal to our target audience?
\n\n\n\n
Do they align with the network or platform’s brand?
\n\n\n\n
How do they complement the rest of the cast?
\n
\n\n\n\n
In some cases, this leads to screen tests or network tests, where actors perform in front of key decision-makers or on camera in a more formal setting.
\n\n\n\n
These stages can significantly stretch timelines, sometimes by weeks. And during that time, actors often hear nothing.
\n\n\n\n
The Business Side: Offers, Negotiations and Contracts
\n\n\n\n
Even after a decision is reached, things aren\u2019t locked in just yet. Before anything becomes official, there\u2019s a whole round of behind-the-scenes work:
\n\n\n\n
\n
Contracts get written up
\n\n\n\n
Agents go back and forth on terms
\n\n\n\n
Availability is double-checked
\n\n\n\n
Schedules are aligned
\n
\n\n\n\n
And if something changes along the way, such as timing issues, budget adjustments or a shift in direction, the process can circle back.
Roles can still be reassigned, even at this stage.
Most of this happens out of sight, which is why the timeline can feel so uncertain from the actor\u2019s side.
\n\n\n\n
Why You Don\u2019t Hear Back (And What It Really Means)
\n\n\n\n
A common belief in this business is that a lack of response means you missed the mark. That\u2019s not really how it works.
\n\n\n\n
Silence can point to several things:
\n\n\n\n
\n
You may still be in the mix
\n\n\n\n
The project could be running behind
\n\n\n\n
Approvals might still be pending
\n\n\n\n
Casting may be finished, but updates haven\u2019t been sent yet
\n\n\n\n
The entire timeline may have shifted
\n
\n\n\n\n
Casting teams usually handle several projects at once, all moving at different speeds and under varying pressures.
\n\n\n\n
Checking in isn\u2019t always expected, and detailed feedback isn\u2019t always possible. So when you don\u2019t hear anything, it\u2019s not a judgment; it\u2019s just how the process tends to unfold.
\n\n\n\n
The Timeline: Why It Varies So Widely
\n\n\n\n
Actors often ask, \u201cHow long should I wait before assuming it\u2019s a \u2018no\u2019?\u201d The honest answer: there is no universal timeline.
\n\n\n\n
Here\u2019s a rough idea of how timelines can vary:
\n\n\n\n
\n
Commercials: 24-72 hours (sometimes faster)
\n\n\n\n
Co-stars/guest stars: A few days to a couple of weeks
\n\n\n\n
Recurring/series regulars: Several weeks to months
\n\n\n\n
Film roles: Weeks to months, depending on financing and scheduling
\n
\n\n\n\n
Even those timelines aren\u2019t set in stone. Sometimes things move quickly, sometimes they take their time, and neither says much about the outcome. It\u2019s just the nature of the process, with each project moving at its own pace.
\n\n\n\n
The Emotional Reality: Managing the \u201cIn Between\u201d
\n\n\n\n
The stretch after an audition can feel like you\u2019re just waiting, with no clear next step in sight.
\n\n\n\n
That\u2019s where your mindset really starts to matter. Because at the end of the day, the audition is the only piece you actually control. A system handles everything that follows, with many moving parts.
\n\n\n\n
Actors who last in this business tend to:
\n\n\n\n
\n
Let go of the result fairly quickly
\n\n\n\n
Resist the urge to replay every moment
\n\n\n\n
Turn their attention to what\u2019s next
\n\n\n\n
Accept that getting close is part of the process
\n
\n\n\n\n
You could have been the runner-up. Or right behind them. Or even the top choice until something practical shifted. Those almost-bookings don\u2019t get announced, but they happen all the time.
\n\n\n\n
What Casting Directors Want You To Know
\n\n\n\n
If casting offices could send a message to every actor after an audition, it might sound something like this: \u201cWe saw you. We considered you. And if we could cast more than one person, we often would.\u201d
\n\n\n\n
Casting is rarely about finding the \u201cbest\u201d actor. It\u2019s about finding the right combination of elements for a specific moment in time. That includes factors you\u2019ll never see and never control, which is why your focus has to stay on the work, not the result.
\n\n\n\n
The Professional Approach: What to Do After You Audition
\n\n\n\n
While you can\u2019t control the timeline, you can control how you move forward.
\n\n\n\n
Here\u2019s what working actors consistently do after submitting an audition:
\n\n\n\n
1. Move On Quickly
\n\n\n\n
Treat the audition as complete. Don\u2019t linger in analysis.
\n\n\n\n
2. Stay Available
\n\n\n\n
Keep your schedule flexible in case of callbacks or holds.
\n\n\n\n
3. Keep Training
\n\n\n\n
Your next opportunity is already in motion.
\n\n\n\n
4. Maintain Perspective
\n\n\n\n
One audition is a moment. A career is built over many.
\n\n\n\n
5. Celebrate the Win
\n\n\n\n
Getting the audition means you\u2019re in the conversation.
\n\n\n\n
The Hidden Momentum
\n\n\n\n
Your focus isn\u2019t on chasing the result. It\u2019s about staying prepared for whatever comes next. So when you send in a tape and don\u2019t hear anything right away, keep this in mind: you\u2019re not stuck waiting with no movement. The process keeps going long after your submission. You just may not have visibility into any of it.
\n",
"content_text": "You walk out of the audition or you hit \u201csubmit\u201d on your self tape. For a moment, there\u2019s a quiet sense of completion, like closing a chapter you spent days preparing to write.\n\n\n\nThen comes the part no one trains you for: the waiting. For many actors, this is where anxiety creeps in. Silence can feel like rejection. Delays can feel personal. A lack of feedback can feel confusing.\n\n\n\nBut here\u2019s the truth that working actors come to understand over time: What happens after your audition has very little to do with you, and everything to do with a complex, multi-layered decision-making process behind the scenes. Understanding that process won\u2019t eliminate the wait, but it will change how you experience it. And that shift can be the difference between burnout and longevity.\n\n\n\nKey Insights\n\n\n\n\nCareer longevity comes from detaching from outcomes, focusing on the craft, and moving forward quickly after each audition.\n\n\n\nThe post-audition process involves multiple layers of decision-makers, so delays and silence are usually about logistics, not your performance.\n\n\n\nMany actors land on shortlists without knowing it, meaning strong auditions often go unacknowledged rather than rejected.\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\nThe First Stop: Casting Reviews Everything\n\n\n\nOnce auditions are complete (or sometimes even while they\u2019re still coming in), the casting office begins reviewing submissions.\n\n\n\nThis stage is more than just \u201cwatching tapes.\u201d Casting directors and their teams are:\n\n\n\n\nComparing performances across hundreds (sometimes thousands) of actors \n\n\n\nEvaluating how each actor fits the tone of the project \n\n\n\nConsidering chemistry with other potential cast members \n\n\n\nWatching for subtle qualities like authenticity, listenability and presence\n\n\n\n\nAt this point, decisions are rarely final. Instead, casting begins building a shortlist, which is a curated group of actors who could realistically play the role.\n\n\n\nThis is where many actors first land after a strong audition. Not booked. Not rejected. Just in consideration. And that distinction matters.\n\n\n\nThe Shortlist: You\u2019re Still in the Game\n\n\n\nIf you\u2019ve ever heard the term \u201cpinned\u201d or \u201con hold,\u201d it often originates from this phase.\n\n\n\nBeing on a shortlist means:\n\n\n\n\nYou\u2019re being seriously considered \n\n\n\nYour tape may be shared with producers or directors \n\n\n\nYou could be called back, or not, depending on the project \n\n\n\n\nHere\u2019s where things slow down.\n\n\n\nOnce casting has identified their top choices, the process expands outward to include more decision-makers. And each added voice means more time.\n\n\n\nThe Director\u2019s Pass: Vision Meets Performance\n\n\n\nThe next step is that your audition may move to the director. A casting director might love your work. But the director is asking a different question:\n\n\n\n\u201cDoes this actor match the story I\u2019m trying to tell?\u201d\n\n\n\nDirectors are looking for alignment with their creative vision, including:\n\n\n\n\nTone and emotional range\n\n\n\nCharacter interpretation\n\n\n\nHow you might fit within the world of the project\n\n\n\n\nSometimes, this results in callbacks. Sometimes, decisions are made directly from the tape. Sometimes, the director asks for adjustments such as new reads, different takes, or chemistry pairings.\n\n\n\nThis can extend the timeline without any indication to the actor. From your perspective, it\u2019s silence. From theirs, it\u2019s exploration.\n\n\n\nProducers Enter the Conversation\n\n\n\nOnce the director weighs in, it’s time for the producers to enter the decision-making process.\n\n\n\nProducers are balancing creative choices with practical considerations, including:\n\n\n\n\nBudget constraints\n\n\n\nScheduling availability\n\n\n\nMarketability\n\n\n\nOverall casting balance\n\n\n\n\nThis is often where things take a turn no one saw coming.\n\n\n\nOne actor might be the top creative choice, but they can’t make the schedule work. Someone else may be a better financial or logistical fit. Another might carry a name that helps the project gain traction.\n\n\n\nIt has nothing to do with how well you performed, but it can still determine who ultimately gets the role.\n\n\n\nThe Network or Studio Layer (For Larger Projects)\n\n\n\nFor television, studio films, and streaming platforms, there’s often another layer: network or studio approval. This is where decisions can take the longest.\n\n\n\nExecutives may review multiple options for a role and ask questions like:\n\n\n\n\nDoes this actor appeal to our target audience?\n\n\n\nDo they align with the network or platform’s brand?\n\n\n\nHow do they complement the rest of the cast?\n\n\n\n\nIn some cases, this leads to screen tests or network tests, where actors perform in front of key decision-makers or on camera in a more formal setting.\n\n\n\nThese stages can significantly stretch timelines, sometimes by weeks. And during that time, actors often hear nothing.\n\n\n\nThe Business Side: Offers, Negotiations and Contracts\n\n\n\nEven after a decision is reached, things aren\u2019t locked in just yet.Before anything becomes official, there\u2019s a whole round of behind-the-scenes work:\n\n\n\n\nContracts get written up\n\n\n\nAgents go back and forth on terms\n\n\n\nAvailability is double-checked\n\n\n\nSchedules are aligned\n\n\n\n\nAnd if something changes along the way, such as timing issues, budget adjustments or a shift in direction, the process can circle back.Roles can still be reassigned, even at this stage.Most of this happens out of sight, which is why the timeline can feel so uncertain from the actor\u2019s side.\n\n\n\nWhy You Don\u2019t Hear Back (And What It Really Means)\n\n\n\nA common belief in this business is that a lack of response means you missed the mark. That\u2019s not really how it works.\n\n\n\nSilence can point to several things:\n\n\n\n\nYou may still be in the mix\n\n\n\nThe project could be running behind\n\n\n\nApprovals might still be pending\n\n\n\nCasting may be finished, but updates haven\u2019t been sent yet\n\n\n\nThe entire timeline may have shifted\n\n\n\n\nCasting teams usually handle several projects at once, all moving at different speeds and under varying pressures.\n\n\n\nChecking in isn\u2019t always expected, and detailed feedback isn\u2019t always possible. So when you don\u2019t hear anything, it\u2019s not a judgment; it\u2019s just how the process tends to unfold.\n\n\n\nThe Timeline: Why It Varies So Widely\n\n\n\nActors often ask, \u201cHow long should I wait before assuming it\u2019s a \u2018no\u2019?\u201d The honest answer: there is no universal timeline.\n\n\n\nHere\u2019s a rough idea of how timelines can vary:\n\n\n\n\nCommercials: 24-72 hours (sometimes faster) \n\n\n\nCo-stars/guest stars: A few days to a couple of weeks \n\n\n\nRecurring/series regulars: Several weeks to months \n\n\n\nFilm roles: Weeks to months, depending on financing and scheduling \n\n\n\n\nEven those timelines aren\u2019t set in stone. Sometimes things move quickly, sometimes they take their time, and neither says much about the outcome. It\u2019s just the nature of the process, with each project moving at its own pace.\n\n\n\nThe Emotional Reality: Managing the \u201cIn Between\u201d\n\n\n\nThe stretch after an audition can feel like you\u2019re just waiting, with no clear next step in sight.\n\n\n\nThat\u2019s where your mindset really starts to matter. Because at the end of the day, the audition is the only piece you actually control. A system handles everything that follows, with many moving parts.\n\n\n\nActors who last in this business tend to:\n\n\n\n\nLet go of the result fairly quickly\n\n\n\nResist the urge to replay every moment\n\n\n\nTurn their attention to what\u2019s next\n\n\n\nAccept that getting close is part of the process\n\n\n\n\nYou could have been the runner-up. Or right behind them. Or even the top choice until something practical shifted. Those almost-bookings don\u2019t get announced, but they happen all the time.\n\n\n\nWhat Casting Directors Want You To Know\n\n\n\nIf casting offices could send a message to every actor after an audition, it might sound something like this: \u201cWe saw you. We considered you. And if we could cast more than one person, we often would.\u201d\n\n\n\nCasting is rarely about finding the \u201cbest\u201d actor. It\u2019s about finding the right combination of elements for a specific moment in time. That includes factors you\u2019ll never see and never control, which is why your focus has to stay on the work, not the result.\n\n\n\nThe Professional Approach: What to Do After You Audition\n\n\n\nWhile you can\u2019t control the timeline, you can control how you move forward.\n\n\n\nHere\u2019s what working actors consistently do after submitting an audition:\n\n\n\n1. Move On Quickly\n\n\n\nTreat the audition as complete. Don\u2019t linger in analysis.\n\n\n\n2. Stay Available\n\n\n\nKeep your schedule flexible in case of callbacks or holds.\n\n\n\n3. Keep Training\n\n\n\nYour next opportunity is already in motion.\n\n\n\n4. Maintain Perspective\n\n\n\nOne audition is a moment. A career is built over many.\n\n\n\n5. Celebrate the Win\n\n\n\nGetting the audition means you\u2019re in the conversation.\n\n\n\nThe Hidden Momentum\n\n\n\nYour focus isn\u2019t on chasing the result. It\u2019s about staying prepared for whatever comes next. So when you send in a tape and don\u2019t hear anything right away, keep this in mind: you\u2019re not stuck waiting with no movement. The process keeps going long after your submission. You just may not have visibility into any of it.\nThe post The Waiting Game: What Really Happens After the Audition appeared first on Casting Networks.",
"date_published": "2026-04-17T09:00:00-07:00",
"date_modified": "2026-05-22T11:15:29-07:00",
"authors": [
{
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
}
],
"author": {
"name": "Ilana Rapp",
"url": "https://www.castingnetworks.com/news/author/ilana-rapp/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/07d/07dc58967567c577ff8552ea9636ee65x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/iStock-1394017828.jpg",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=315787",
"url": "https://www.castingnetworks.com/news/danielle-kassarate-interview-stranger-things-associate-director/",
"title": "Danielle Kassarat\u00e9 on \u2018Stranger Things: The First Shadow\u2019 and the Audition Mindset Actors Need to Book More Work",
"content_html": "\n
The responsibility of an associate director is a role that requires managing daily operations while focusing on the execution of the director’s artistic vision. Stranger Things: The First Shadow, is a prequel to the Netflix television series Stranger Things.
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It first premiered on the West End in 2023 at the Phoenix Theatre. Set during Henry Creel\u2019s teenage years, the show reveals the origin of Creel\u2019s psychokinetic powers. Danielle Kassarat\u00e9 is the current associate director.
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Danielle\u2019s first experience directing began on a production of All My Sons, leading to work assisting on productions of The Lightning Thief: The Percy Jackson Musical, Tambo & Bones, The Tempest at The Globe and King Lear at the Almeida Theatre.
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Key Insights
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Let go of trying to \u201cget it right\u201d in auditions and focus instead on bringing a playful, authentic version of the character into the room.
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If you want to direct, start by creating with your peers because collaboration is often the fastest path to real experience.
\n\n\n\n
Approach theatre as more than performance, using it as a tool to connect, heal, and create meaningful change.
After studying musical theater at the BRIT School in South London, Danielle trained as an actor at the Royal Central School of Speech and Drama. Her acting credits include the Netflix series The Sandman, The Color Purple musical performed at the Birmingham Hippodrome and the Leicester Curve, the international tour of The Curious Incident of the Dog in the Night-Time and The Architect at Greenwich + Docklands festival.
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She is also the co-founder of Mawa, the UK\u2019s first all-Black, all-female Shakespeare theater company.
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First the resident director and now the associate director, she has her hands full. Danielle spoke to us directly from The Phoenix Theatre in London.
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Can you tell us about your earliest inspiration to become a director?
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My mum always took me to the theater, and when I was younger they used to have these offers, for \u2026 I don\u2019t know if it was just for nurses, but you could get these discounted tickets. There were these vouchers that my mum used to get as a nurse for West End shows, which I obviously don\u2019t think is a thing now, which is a shame.
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That made theater accessible for me and her. Basically she took me to the theater a lot when I was younger, because of this discount, which allowed more people to go to the theater, especially in the West End.
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I remember having early memories of watching shows and just being really inspired. I don’t know if it was to be an actor, but I knew I wanted to do something that linked with creativity. There was something in watching other people do and create a world on stage that I wanted to be a part of quite young, and I loved theater at school and all of that. I was always involved in anything that was creative.
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I think it started with my mum really because she encouraged that side of myself from a young age, and we were able to go to the theater and I saw how that isn’t a luxury for a lot of people, especially from different backgrounds. I feel really lucky that I got that, but like I said, there were deals back then which we could use, which meant that we could go.
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One of my earliest memories was seeing Porgy and Bess \u2014 it\u2019s a funny full-circle story actually. I saw Clark Peters in Porgy and Bess, and I ended up working with him on King Lear as an assistant. I saw that production, and I saw myself on stage with all these wonderful actors, and thought, \u201cAh, I can do [that]\u201d with an actor I admired, to then end up working with him on a show that I was also very passionate about. It was a beautiful full-circle moment.
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How did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?
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I trained as an actor, I did drama and applied theater in education, and that came about because I went to the Brit School from age 16. I was at BRIT studying musical theater and during that time, you know, you get to a point where you have to choose what you want to do, which schools you want to apply for.
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We did a community theater project with a local school, and we did a big show at Fairfield Halls for lots of schools to come and watch as well, which was part of this community project, as part of our course.
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I remember at the time, a lot of other actors in my year were like, \u201cOh I\u2019m gonna apply for this school.\u201d They knew exactly what they wanted to do. They knew exactly what schools they wanted to apply for. In terms of the next step in the industry, I was just like, \u201cI’m not there yet.\u201d
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I’m not in this space of wanting to be like, \u201cI\u2019m gonna go to this school, and I\u2019m gonna be doing musical theater and I’m gonna be on the West End.\u201d I knew in myself that I just didn’t have that calling at that point in my career and in my life because I was only 17.
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Then I said to my drama teacher at BRIT, \u201cYeah I\u2019m just figuring out what I want to do, but I really love the community theater project.\u201d She was the one that told me about this course at Central because she studied it. I was like, \u201cOh, okay,\u201d then I did what everyone else does, I applied, went to the open day and got in.
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I went there for three years, many ups and downs like lots of courses, but what I got from it was definitely life affirming. I’m glad I did something like that course before being an actor in this industry.
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You get to understand that there is more to theater than just being on stage, and I know we all know that, but it’s a vessel and a tool that we can use in society to help heal and to make inclusive. To have fun and remind people that there\u2019s escapism we can go to in hard times, and that’s what I loved about that course, that I was able to do that. I worked with Mind Charity, as part of our course and I worked with schools.
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When I graduated, as part of my placement, I worked with a company called Haringey Shed full time. So that placement was like part of my career, somehow going into directing. You end up directing lots of youth theater and children’s theater, but at the time you don’t put that down as directing, you’re like, \u201cOh, this is my job.”
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But, in reality you’re directing 50 plus kids on stage, trying to put together a production of The Tempest. So yeah! You are directing! My journey through to Central was not linear, but that’s how I got there.
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You co-founded The Mawa Theatre Company, the UK\u2019s first all-Black, all-female Shakespeare company. Can you tell us more about Mawa?
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We founded it in 2020, during the pandemic, going into 2021. It came off the back of, you know there was a lot of unrest going on at that time, a lot of pain. There were lots of theaters and people opening up discussions. Maisey [Bawden] who had the idea for it, of wanting to create space for us, and that if we were going back into an industry that was going to open up, what would we want the industry to look like?
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All of us had a passion for Shakespeare, and I kind of came in through my experience with the outreach and that sort of thing from my experience at Central. I was really keen on the outreach side of stuff, then eventually we put all our heads together. Me, Gabrielle [Brooks], Jade [Samuels] and Maisey, and yeah we came up with Mawa.
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We did a series of online videos throughout the pandemic. We did some more online videos, with my stint at Queens Theatre Hornchurch, alongside with Maisey and through Mawa, we did Shakespeare on Sea. We did a monologue slam in Birmingham and we did one at The Globe in London.
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In terms of the future of the company, like lots of things, people evolve and they keep discovering who they are creatively, but Mawa is still and will always be something that was founded from a place that was about creating more opportunity for people. Whether that happens individually or together is something we are still discussing.
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There is always space to hold for that, whatever aspect and whatever job. What I know for myself, is that even if I\u2019m not doing an all-Black female Shakespeare show, in terms of creating space and holding space for people that haven’t always had that, is always at the forefront of my mind.
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As the associate director of Stranger Things: The First Shadow, can you explain what the role involves?
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I look after the show on a week-to-week basis, and that includes going in, watching the show and noting anything office-based, as well to do with cast holiday. Communicating with the offices on anything we might need in the building, but the overall role is the director that is there day to day. That includes parish notes, which is something that we do at the beginning. You need parish notes, maybe to discuss things that happen throughout the week or something you want to work on.
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To be the outside eyes as a director in the building, to help maintain the original vision of the show. A resident is someone that\u2019s on the ground most days, throughout the week, and then you’ve got an associate director who comes in every other week.
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Anna Girvan, is my point of contact. Then above Anna, you have the original directors, Stephen Daldry and Justin Martin. It\u2019s about keeping Stephen and Justin’s vision of the show throughout the whole run of it. I rehearse in covers, I run the cover rehearsals and I re-rehearse anybody, like the young actors. We\u2019ve got children in the show, the young Alices, so I rehearse them into the show.
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So lots of creative input still, which is nice, because you still get to use your directing chops with the people that are being rehearsed back in.
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What advice can you give to actors about auditioning for theater and about the pressure they might feel from being in the audition room?
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Doing a long-running show, I think it’s very easy to feel like you have to be a carbon copy of what the show is, especially with a show like ours. You have a television series to reference, but Anna always says in the initial first-round discussion that we\u2019re not looking for that, we\u2019re looking to see what you bring to that.
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Of course, there are backstories, there are characters that you can reference, and I think this is with any role, try not to come in expecting what you want us to see.
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Always research the show as much as you can, and that doesn’t mean forking out money to go and watch the show. Like for our show, it’s just useful whether you know the series. If you know the series, you know the world of it, right?
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So you\u2019ve got a great reference for that, and what I\u2019d also say is to be as prepared as possible, [and that] doesn’t mean having to be off book. I think there\u2019s this pressure of actors always thinking they have to be off book, and yes it’s useful to be familiar of course, but be playful.
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What can happen is you learn a version of it, and then because you\u2019ve learned a version that you\u2019ve rehearsed at home, you can suddenly come into the room and then without realizing it, it’s not as playable.
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In terms of young actors I\u2019d say just take the pressure off, having been on both sides, having been rejected many times in my career more than I\u2019ve been said yes to, like we all have, it really sometimes comes down to the smallest thing, and don\u2019t hold on to that.
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There\u2019s been amazing talent that along the way you say no to, and sometimes it\u2019s literally just that they\u2019re brilliant, they’re just not right for this show. So just remember that, remember that this \u201cno\u201d is leaving room for the next \u201cyes,\u201d and it’s not always a bad thing. I think straight out of drama school the want is obviously to get jobs and book, but realistically, this industry is very tough.
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I would never want anyone to leave an audition process and think that just because they got a \u201cno,\u201d for their dream role in the West End that it means that it’s \u201cno” forever. It\u2019s very important to hold onto that, because I\u2019ve been there, I understand that, it’s hard.
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It’s important when you’re young to not let that define the rest of your auditioning process and let that \u201cno\u201d get to you. There really will be, if you want it, there will be other opportunities that are right for you.
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That\u2019s great advice. What would you say is the best approach for an actor in terms of collaboration with a director?
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I think being playful with room to play and offer, and that comes through the rehearsal process, even on a long-running show. I\u2019m lucky that I’ve worked on some that allow that room for the actors to still bring themselves and find choices that work for them, yes within the perimeters of the show, but it’s important that the actor still feels ownership, so room to play is definitely invited.
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I think throughout, that my main advice is play and offer, and then we go on a journey together and discover what the role is for that specific actor.
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What advice can you offer for actors who are also interested in directing?
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I\u2019d say go for it. Team up with your friends, I know someone I taught at at [National Youth Theatre] (NYT), she had never really directed before, and off the back of what we did was like, \u201cI really want to try.\u201d So her friend came to her with something and they just put it on at a fringe festival in Camden, and that’s really the way to do it. Even with us at Mawa, we’ve come together, and through coming together, I’ve directed a couple of things for them.
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That\u2019s the nature and the beauty of our industry is that we know so many people. Get your friends together. Drama schools are a great way to do that, I’ve done that, it’s a great way to exercise those directing muscles. If you have access at your old drama school, you can ask to assist on a first-year project and a second-year project, and eventually you get a third-year one.
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That’s what I would say, is use your tribe to create your own opportunities and your own work.
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How has your experience as an actor influenced your directing style?
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I come from a place of understanding what it’s like to be on the other side. When I did my first assisting role, I thought, \u201cOh, I have so much more compassion for the creative team,\u201d because as an actor you turn up and you do your thing and you go home.
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You’re going home, and yeah, you’re running lines, but a lot of the time the creative team is sometimes going until really late some days, just discussing things. How this thing isn’t working, or that thing isn’t working, and once the actors leave for tech, the creative teams are still discussing stuff.
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You know actors are on a break and we\u2019re still discussing things. That being said, I have more compassion for this side of things because I\u2019m on it, but I also have understanding and compassion for actors, because I have been on that side. I know how draining it is, I know that some days you turn up and you’re not feeling a hundred percent.
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You’re not feeling it, and there’s nothing worse than when you’re not feeling great in your body and you’re trying to find a role. So I have lots of empathy for that side of it as well.
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My main headline is having compassion for both sides, that’s how acting has influenced my directing style. Just making a call like, \u201cOkay, maybe today isn’t the day that we run that bit, because I can see that actors are having a day.\u201d Which most directors would do anyway, but I’ve been the actor having a day, and having to do something and it’s not been great.
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I would have liked \u2026 maybe someone in the room to take a beat on that before doing anything. I’ve done things with heavy shows, when you’re being asked to do that scene, over and over again. So actually let’s finish at 4 p.m. today, because doing that until 6 p.m. for 6 hours or more sometimes, might not help us in the long run for that actor, you know?
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Finally, what show on the West End would be your dream production to direct?
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My background is in musical theater, so I would love to direct a musical for sure. There’s a production called Five Guys Named Moe by Clarke Peters, and I would love to explore a gender-swapped version of that. Especially because the themes and the songs are actually a lot about women.
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I would be intrigued to unpick that story to see how it would look through a female lens about how men betrayed women during that time and now, and flip it.
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You can watch all five seasons of Stranger Things on Netflix now.
\n",
"content_text": "The responsibility of an associate director is a role that requires managing daily operations while focusing on the execution of the director’s artistic vision. Stranger Things: The First Shadow, is a prequel to the Netflix television series Stranger Things. \n\n\n\nIt first premiered on the West End in 2023 at the Phoenix Theatre. Set during Henry Creel\u2019s teenage years, the show reveals the origin of Creel\u2019s psychokinetic powers. Danielle Kassarat\u00e9 is the current associate director. \n\n\n\nDanielle\u2019s first experience directing began on a production of All My Sons, leading to work assisting on productions of The Lightning Thief: The Percy Jackson Musical, Tambo & Bones, The Tempest at The Globe and King Lear at the Almeida Theatre. \n\n\n\nKey Insights\n\n\n\n\nLet go of trying to \u201cget it right\u201d in auditions and focus instead on bringing a playful, authentic version of the character into the room.\n\n\n\nIf you want to direct, start by creating with your peers because collaboration is often the fastest path to real experience.\n\n\n\nApproach theatre as more than performance, using it as a tool to connect, heal, and create meaningful change.\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\nAfter studying musical theater at the BRIT School in South London, Danielle trained as an actor at the Royal Central School of Speech and Drama. Her acting credits include the Netflix series The Sandman, The Color Purple musical performed at the Birmingham Hippodrome and the Leicester Curve, the international tour of The Curious Incident of the Dog in the Night-Time and The Architect at Greenwich + Docklands festival.\n\n\n\nShe is also the co-founder of Mawa, the UK\u2019s first all-Black, all-female Shakespeare theater company.\n\n\n\nFirst the resident director and now the associate director, she has her hands full. Danielle spoke to us directly from The Phoenix Theatre in London.\n\n\n\nCan you tell us about your earliest inspiration to become a director?\n\n\n\nMy mum always took me to the theater, and when I was younger they used to have these offers, for \u2026 I don\u2019t know if it was just for nurses, but you could get these discounted tickets. There were these vouchers that my mum used to get as a nurse for West End shows, which I obviously don\u2019t think is a thing now, which is a shame. \n\n\n\nThat made theater accessible for me and her. Basically she took me to the theater a lot when I was younger, because of this discount, which allowed more people to go to the theater, especially in the West End. \n\n\n\nI remember having early memories of watching shows and just being really inspired. I don’t know if it was to be an actor, but I knew I wanted to do something that linked with creativity. There was something in watching other people do and create a world on stage that I wanted to be a part of quite young, and I loved theater at school and all of that. I was always involved in anything that was creative. \n\n\n\nI think it started with my mum really because she encouraged that side of myself from a young age, and we were able to go to the theater and I saw how that isn’t a luxury for a lot of people, especially from different backgrounds. I feel really lucky that I got that, but like I said, there were deals back then which we could use, which meant that we could go. \n\n\n\nOne of my earliest memories was seeing Porgy and Bess \u2014 it\u2019s a funny full-circle story actually. I saw Clark Peters in Porgy and Bess, and I ended up working with him on King Lear as an assistant. I saw that production, and I saw myself on stage with all these wonderful actors, and thought, \u201cAh, I can do [that]\u201d with an actor I admired, to then end up working with him on a show that I was also very passionate about. It was a beautiful full-circle moment.\n\n\n\nHow did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?\n\n\n\nI trained as an actor, I did drama and applied theater in education, and that came about because I went to the Brit School from age 16. I was at BRIT studying musical theater and during that time, you know, you get to a point where you have to choose what you want to do, which schools you want to apply for. \n\n\n\nWe did a community theater project with a local school, and we did a big show at Fairfield Halls for lots of schools to come and watch as well, which was part of this community project, as part of our course.\n\n\n\nI remember at the time, a lot of other actors in my year were like, \u201cOh I\u2019m gonna apply for this school.\u201d They knew exactly what they wanted to do. They knew exactly what schools they wanted to apply for. In terms of the next step in the industry, I was just like, \u201cI’m not there yet.\u201d \n\n\n\nI’m not in this space of wanting to be like, \u201cI\u2019m gonna go to this school, and I\u2019m gonna be doing musical theater and I’m gonna be on the West End.\u201d I knew in myself that I just didn’t have that calling at that point in my career and in my life because I was only 17. \n\n\n\nThen I said to my drama teacher at BRIT, \u201cYeah I\u2019m just figuring out what I want to do, but I really love the community theater project.\u201d She was the one that told me about this course at Central because she studied it. I was like, \u201cOh, okay,\u201d then I did what everyone else does, I applied, went to the open day and got in. \n\n\n\nI went there for three years, many ups and downs like lots of courses, but what I got from it was definitely life affirming. I’m glad I did something like that course before being an actor in this industry. \n\n\n\nYou get to understand that there is more to theater than just being on stage, and I know we all know that, but it’s a vessel and a tool that we can use in society to help heal and to make inclusive. To have fun and remind people that there\u2019s escapism we can go to in hard times, and that’s what I loved about that course, that I was able to do that. I worked with Mind Charity, as part of our course and I worked with schools. \n\n\n\nWhen I graduated, as part of my placement, I worked with a company called Haringey Shed full time. So that placement was like part of my career, somehow going into directing. You end up directing lots of youth theater and children’s theater, but at the time you don’t put that down as directing, you’re like, \u201cOh, this is my job.” \n\n\n\nBut, in reality you’re directing 50 plus kids on stage, trying to put together a production of The Tempest. So yeah! You are directing! My journey through to Central was not linear, but that’s how I got there.\n\n\n\nYou co-founded The Mawa Theatre Company, the UK\u2019s first all-Black, all-female Shakespeare company. Can you tell us more about Mawa?\n\n\n\nWe founded it in 2020, during the pandemic, going into 2021. It came off the back of, you know there was a lot of unrest going on at that time, a lot of pain. There were lots of theaters and people opening up discussions. Maisey [Bawden] who had the idea for it, of wanting to create space for us, and that if we were going back into an industry that was going to open up, what would we want the industry to look like? \n\n\n\nAll of us had a passion for Shakespeare, and I kind of came in through my experience with the outreach and that sort of thing from my experience at Central. I was really keen on the outreach side of stuff, then eventually we put all our heads together. Me, Gabrielle [Brooks], Jade [Samuels] and Maisey, and yeah we came up with Mawa. \n\n\n\nWe did a series of online videos throughout the pandemic. We did some more online videos, with my stint at Queens Theatre Hornchurch, alongside with Maisey and through Mawa, we did Shakespeare on Sea. We did a monologue slam in Birmingham and we did one at The Globe in London. \n\n\n\nIn terms of the future of the company, like lots of things, people evolve and they keep discovering who they are creatively, but Mawa is still and will always be something that was founded from a place that was about creating more opportunity for people. Whether that happens individually or together is something we are still discussing. \n\n\n\nThere is always space to hold for that, whatever aspect and whatever job. What I know for myself, is that even if I\u2019m not doing an all-Black female Shakespeare show, in terms of creating space and holding space for people that haven’t always had that, is always at the forefront of my mind.\n\n\n\nAs the associate director of Stranger Things: The First Shadow, can you explain what the role involves?\n\n\n\nI look after the show on a week-to-week basis, and that includes going in, watching the show and noting anything office-based, as well to do with cast holiday. Communicating with the offices on anything we might need in the building, but the overall role is the director that is there day to day. That includes parish notes, which is something that we do at the beginning. You need parish notes, maybe to discuss things that happen throughout the week or something you want to work on. \n\n\n\nTo be the outside eyes as a director in the building, to help maintain the original vision of the show. A resident is someone that\u2019s on the ground most days, throughout the week, and then you’ve got an associate director who comes in every other week. \n\n\n\nAnna Girvan, is my point of contact. Then above Anna, you have the original directors, Stephen Daldry and Justin Martin. It\u2019s about keeping Stephen and Justin’s vision of the show throughout the whole run of it. I rehearse in covers, I run the cover rehearsals and I re-rehearse anybody, like the young actors. We\u2019ve got children in the show, the young Alices, so I rehearse them into the show. \n\n\n\nSo lots of creative input still, which is nice, because you still get to use your directing chops with the people that are being rehearsed back in.\n\n\n\nWhat advice can you give to actors about auditioning for theater and about the pressure they might feel from being in the audition room?\n\n\n\nDoing a long-running show, I think it’s very easy to feel like you have to be a carbon copy of what the show is, especially with a show like ours. You have a television series to reference, but Anna always says in the initial first-round discussion that we\u2019re not looking for that, we\u2019re looking to see what you bring to that. \n\n\n\nOf course, there are backstories, there are characters that you can reference, and I think this is with any role, try not to come in expecting what you want us to see. \n\n\n\nAlways research the show as much as you can, and that doesn’t mean forking out money to go and watch the show. Like for our show, it’s just useful whether you know the series. If you know the series, you know the world of it, right? \n\n\n\nSo you\u2019ve got a great reference for that, and what I\u2019d also say is to be as prepared as possible, [and that] doesn’t mean having to be off book. I think there\u2019s this pressure of actors always thinking they have to be off book, and yes it’s useful to be familiar of course, but be playful. \n\n\n\nWhat can happen is you learn a version of it, and then because you\u2019ve learned a version that you\u2019ve rehearsed at home, you can suddenly come into the room and then without realizing it, it’s not as playable.\n\n\n\nIn terms of young actors I\u2019d say just take the pressure off, having been on both sides, having been rejected many times in my career more than I\u2019ve been said yes to, like we all have, it really sometimes comes down to the smallest thing, and don\u2019t hold on to that. \n\n\n\nThere\u2019s been amazing talent that along the way you say no to, and sometimes it\u2019s literally just that they\u2019re brilliant, they’re just not right for this show. So just remember that, remember that this \u201cno\u201d is leaving room for the next \u201cyes,\u201d and it’s not always a bad thing. I think straight out of drama school the want is obviously to get jobs and book, but realistically, this industry is very tough. \n\n\n\nI would never want anyone to leave an audition process and think that just because they got a \u201cno,\u201d for their dream role in the West End that it means that it’s \u201cno” forever. It\u2019s very important to hold onto that, because I\u2019ve been there, I understand that, it’s hard. \n\n\n\nIt’s important when you’re young to not let that define the rest of your auditioning process and let that \u201cno\u201d get to you. There really will be, if you want it, there will be other opportunities that are right for you.\n\n\n\nThat\u2019s great advice. What would you say is the best approach for an actor in terms of collaboration with a director?\n\n\n\nI think being playful with room to play and offer, and that comes through the rehearsal process, even on a long-running show. I\u2019m lucky that I’ve worked on some that allow that room for the actors to still bring themselves and find choices that work for them, yes within the perimeters of the show, but it’s important that the actor still feels ownership, so room to play is definitely invited. \n\n\n\nI think throughout, that my main advice is play and offer, and then we go on a journey together and discover what the role is for that specific actor.\n\n\n\nWhat advice can you offer for actors who are also interested in directing?\n\n\n\nI\u2019d say go for it. Team up with your friends, I know someone I taught at at [National Youth Theatre] (NYT), she had never really directed before, and off the back of what we did was like, \u201cI really want to try.\u201d So her friend came to her with something and they just put it on at a fringe festival in Camden, and that’s really the way to do it. Even with us at Mawa, we’ve come together, and through coming together, I’ve directed a couple of things for them. \n\n\n\nThat\u2019s the nature and the beauty of our industry is that we know so many people. Get your friends together. Drama schools are a great way to do that, I’ve done that, it’s a great way to exercise those directing muscles. If you have access at your old drama school, you can ask to assist on a first-year project and a second-year project, and eventually you get a third-year one. \n\n\n\nThat’s what I would say, is use your tribe to create your own opportunities and your own work.\n\n\n\nHow has your experience as an actor influenced your directing style?\n\n\n\nI come from a place of understanding what it’s like to be on the other side. When I did my first assisting role, I thought, \u201cOh, I have so much more compassion for the creative team,\u201d because as an actor you turn up and you do your thing and you go home. \n\n\n\nYou’re going home, and yeah, you’re running lines, but a lot of the time the creative team is sometimes going until really late some days, just discussing things. How this thing isn’t working, or that thing isn’t working, and once the actors leave for tech, the creative teams are still discussing stuff. \n\n\n\nYou know actors are on a break and we\u2019re still discussing things. That being said, I have more compassion for this side of things because I\u2019m on it, but I also have understanding and compassion for actors, because I have been on that side. I know how draining it is, I know that some days you turn up and you’re not feeling a hundred percent. \n\n\n\nYou’re not feeling it, and there’s nothing worse than when you’re not feeling great in your body and you’re trying to find a role. So I have lots of empathy for that side of it as well. \n\n\n\nMy main headline is having compassion for both sides, that’s how acting has influenced my directing style. Just making a call like, \u201cOkay, maybe today isn’t the day that we run that bit, because I can see that actors are having a day.\u201d Which most directors would do anyway, but I’ve been the actor having a day, and having to do something and it’s not been great. \n\n\n\nI would have liked \u2026 maybe someone in the room to take a beat on that before doing anything. I’ve done things with heavy shows, when you’re being asked to do that scene, over and over again. So actually let’s finish at 4 p.m. today, because doing that until 6 p.m. for 6 hours or more sometimes, might not help us in the long run for that actor, you know?\n\n\n\nFinally, what show on the West End would be your dream production to direct?\n\n\n\nMy background is in musical theater, so I would love to direct a musical for sure. There’s a production called Five Guys Named Moe by Clarke Peters, and I would love to explore a gender-swapped version of that. Especially because the themes and the songs are actually a lot about women. \n\n\n\nI would be intrigued to unpick that story to see how it would look through a female lens about how men betrayed women during that time and now, and flip it.\n\n\n\nYou can watch all five seasons of Stranger Things on Netflix now.\nThe post Danielle Kassarat\u00e9 on ‘Stranger Things: The First Shadow’ and the Audition Mindset Actors Need to Book More Work appeared first on Casting Networks.",
"date_published": "2026-04-08T09:17:00-07:00",
"date_modified": "2026-05-22T12:00:12-07:00",
"authors": [
{
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
}
],
"author": {
"name": "Karen Johal",
"url": "https://www.castingnetworks.com/news/author/karan-johal/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/070/0706b4e9488eb03e0efdd38f1035c382x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/Danielle-Kassarate_CN-BLOG-HEADER.png",
"tags": [
"Acting Advice",
"Auditions",
"Casting Insights"
]
},
{
"id": "https://www.castingnetworks.com/?p=297552",
"url": "https://www.castingnetworks.com/news/casting-director-megan-carpenter-auditioning-with-confidence/",
"title": "How to Thrive Anywhere: Megan Carpenter on Auditioning With Confidence",
"content_html": "\n
It takes a certain kind of person to work in the entertainment industry in the most remote city on the planet. You have to have a different take on things, a sense of humor, and not take yourself too seriously while also being really good at what you do, because there\u2019s no safety net. It\u2019s a good thing that Megan Carpenter nails all four of those qualities.
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Setting up shop in Perth, Australia, had its risks, but she\u2019s thriving, working in film, TV and commercials. A brand-new studio in town will mean more production coming its way, and Carpenter is well situated to see the benefits.
\n\n\n\n
It starts with her latest film, the Daisy Ridley-led horror film, We Bury the Dead, currently in theaters. She spoke to us from halfway around the world, in her Perth office.
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Key Insights
\n\n\n\n
\u2022 Megan Carpenter\u2019s background as an actor helps her design audition environments that reduce nerves and bring out stronger performances.
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\u2022 Prioritizing work-life balance led her to build a sustainable casting career focused on commercials and local production.
\n\n\n\n
\u2022 Detailed self-tape guidance and in-room empathy help level the playing field for performers working remotely.
Very organically. I started off as just a humble actor in Perth, just doing my thing. Didn’t have any serious training, just stepped into it as a hobby, and very quickly, I was doing a fair bit of work. At the time, I was running a children’s entertainment company, and someone that I went in to do auditions with on a regular basis asked me to come and join them one day because they were [auditioning] 200 children and they knew I was good with them.
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I helped them do that, and that was my starting with casting. I\u2019ve [worked in] lots of different departments as well, producing, production managing, location managing, but with my heart coming from an acting background, I created my own casting company. And now, there’s just two of us in Perth, me and Annie Murtagh-Monks. We stay busy.
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I talk to a lot of casting directors who came from acting, and inevitably there\u2019s a light bulb moment where they realize that this is their calling, and not acting. What was that moment for you?
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I sat with both of them for about 10 years, because I still do really love acting. I purposely put myself into audition moments at least once a year, just so I keep remembering what it’s like to be an actor and how nerve-racking auditioning is, because I think it’s really important as a casting director.
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I remember how those nerves can take over, and how that presents yourself when you’re doing an audition. I remember doing this play. It was a 20-minute solo performance, monologue, and I had left the stage, and I was so, so sick. I just [said] to myself, \u201cI don’t think I can do this to myself anymore.\u201d That was the moment I knew that I’d probably just be doing behind the camera stuff.
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You just worked with Bruce Beresford, who is a legend.
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Honestly, the man is incredible. He’s brilliant, and what I loved about him the most is he would so often join me in the casting room. He would read with the talent. He didn’t want me to read, he didn’t want me to bring in a reader, he said, \u201cNo, it’s my script. I will read with the talent.\u201d
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That was wonderful for the talent. They got to meet Bruce Beresford and do a scene with him. And he’s a darn good actor himself.
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You don\u2019t just work in film or TV, right?
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I don’t sit a lot in the feature film land. I did work in features a fair bit earlier, and I was getting a little bit burned out. They\u2019re a hard slog, and I was doing a lot of production work, not just casting, but it\u2019s a really hard lifestyle. I was a single mom at the time and not seeing my daughter very much. That was probably a light bulb moment for me as well.
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I wasn\u2019t having any work-life balance, so I needed to change that. I really pushed on the casting side of my job, because it meant I was home. I could set up a studio here, my daughter could come in and be with me, and I really focused on the commercial world, because there wasn’t a lot of a lot of work in the feature film world in Perth, then.
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But things are changing in that regard, aren’t they?
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Things are changing rapidly now, because we’ve just built a studio. Where we used to maybe get one feature through a year, we’re doing six a year now. So the landscape is changing very fast. We’ve been asking for a studio for 20 years, and finally our government has built one. It’s going to change the whole landscape of our industry here.
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Can we back up for a second? I want to ask you about putting yourself out there to audition once a year to make sure you stay in touch with that side of things. I\u2019ve never heard of anyone actually doing that before.
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I’d never put myself forward for something I was casting, absolutely not. But recently, someone else was casting something they thought I would be good for, and I thought, \u201cWell, why not?\u201d That was a self tape, and I hadn’t really done a self tape in a very long time.
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I wanted to put myself through that process as well, because I wanted to really look at how much more difficult it is for talent to do self tapes, and I believe it’s a huge difficulty. They should be in a studio with a casting director that gives them the right directions, gives them the right feel about what the project is and what the directors talked about. We always get a better performance from a talent if they’re in the room [rather] than a self tape.
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I hear that over and over again, the good and the bad of self taping. You get to see more people, but lose so much of the room. With this experience, are you able to employ that to make the self-tape process easier for the people that they’re sending in?
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I do try to put out a very, very detailed brief, including, \u201cPlease only stand less than three meters away from the camera. Please be in a well-lit room. Please use a mic. Please don’t get your mum to read with you. Call a friend, call an actor friend, bring an actor in with you so you don’t have to worry about the camera.\u201d
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You can just do your art without having to worry about all the other stuff. If it’s a really important audition, I do encourage them to pay for someone to do a test with you, a professional, but then that\u2019s not fair because actors are spending money. But if it’s a really hot role for you, take away all the pressure of doing the filming yourself.
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So then you are able to bring some of that into the exchange, level the playing field a bit and make it easier for people to show you what they can do without being in the room.
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Yeah. When I was younger, I went to some really, really horrible auditions. Auditions where you had a director sitting there on his phone while you’re doing a scene that you’ve worked really hard to do. So it was imperative for me to make sure that my audition space is a really safe, nurturing space for the talent. I guess I’m very lucky in Perth, because we’ve got such a small pool here. I know pretty much everybody and everyone who walks in.
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It’s such a friendly environment, and I can tell straight away if they’re having a bad day or if the nerves have got the better of them, because I know the nerves can get the better of me, too. So because I do go to the auditions and keep reminding myself how overwhelming it can be sometimes, when they come in and I can see that they’re not quite there because the nerves are affecting them.
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I often say, \u201cOkay, let’s just stop for a second. Let’s do this breathing exercise together, or let’s run on the spot together.\u201d It’s really important to me that I help them as much as possible. I think if I don’t keep reminding myself how nerve-wracking auditions can be, I might not have as much care.
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That feels like a perfect segue into my last question. What piece of advice or wisdom would you give to somebody who is coming in to see you?
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Just enjoy yourself. I tell actors all the time, because I do workshops and lectures and things, I can have an actor come in for two years and they’ve got a good face and they want to be an actor, but they’ll bomb their auditions for two years, okay?
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But I keep bringing them in because I believe the audition process is training. I mean, you should learn something from your audition. It’s a training ground, and it always takes about two years for talent for some reason.
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They come in one day and they absolutely nail their audition, and when I ask that talent, \u201cOkay, tell me what happened today that you haven’t done for the last two years, because you just smashed your audition. What was different today?” And everyone always [gives] exactly the same answer: \u201cMegs, I actually came in and went, \u201cI’m just going to have fun and enjoy myself today.\u201d
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Take all the pressure off of \u201cI want the job. I want the job. I really want to get the job.\u201d As soon as they do that and just enjoy their craft, they audition wonderfully. That’s my advice to actors. You’re getting to audition. What a great thing. Not a lot of people are getting the call, so just enjoy the moment.
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Key Takeaways
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\u2022 Use every audition as training, not just an opportunity to \u201cget the job.\u201d
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\u2022 Create conditions that let you focus on your craft, whether in person or on tape.
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\u2022 Let go of pressure and focus on enjoying the process to unlock your best work.
\n",
"content_text": "It takes a certain kind of person to work in the entertainment industry in the most remote city on theplanet. You have to have a different take on things, a sense of humor, and not take yourself too seriously while also being really good at what you do, because there\u2019s no safety net. It\u2019s a good thing that Megan Carpenter nails all four of those qualities.\n\n\n\nSetting up shop in Perth, Australia, had its risks, but she\u2019s thriving, working in film, TV and commercials. A brand-new studio in town will mean more production coming its way, and Carpenter is well situated to see the benefits.\n\n\n\nIt starts with her latest film, the Daisy Ridley-led horror film, We Bury the Dead, currently in theaters. She spoke to us from halfway around the world, in her Perth office.\n\n\n\nKey Insights\n\n\n\n\u2022 Megan Carpenter\u2019s background as an actor helps her design audition environments that reduce nerves and bring out stronger performances.\n\n\n\n\u2022 Prioritizing work-life balance led her to build a sustainable casting career focused on commercials and local production.\n\n\n\n\u2022 Detailed self-tape guidance and in-room empathy help level the playing field for performers working remotely.\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\nHow did you get into casting in the first place?\n\n\n\nVery organically. I started off as just a humble actor in Perth, just doing my thing. Didn’t have any serious training, just stepped into it as a hobby, and very quickly, I was doing a fair bit of work. At the time, I was running a children’s entertainment company, and someone that I went in to do auditions with on a regular basis asked me to come and join them one day because they were [auditioning] 200 children and they knew I was good with them. \n\n\n\nI helped them do that, and that was my starting with casting. I\u2019ve [worked in] lots of different departments as well, producing, production managing, location managing, but with my heart coming from an acting background, I created my own casting company. And now, there’s just two of us in Perth, me and Annie Murtagh-Monks. We stay busy.\n\n\n\nI talk to a lot of casting directors who came from acting, and inevitably there\u2019s a light bulb moment where they realize that this is their calling, and not acting. What was that moment for you?\n\n\n\nI sat with both of them for about 10 years, because I still do really love acting. I purposely put myself into audition moments at least once a year, just so I keep remembering what it’s like to be an actor and how nerve-racking auditioning is, because I think it’s really important as a casting director.\n\n\n\nI remember how those nerves can take over, and how that presents yourself when you’re doing an audition. I remember doing this play. It was a 20-minute solo performance, monologue, and I had left the stage, and I was so, so sick. I just [said] to myself, \u201cI don’t think I can do this to myself anymore.\u201d That was the moment I knew that I’d probably just be doing behind the camera stuff.\n\n\n\nYou just worked with Bruce Beresford, who is a legend.\n\n\n\nHonestly, the man is incredible. He’s brilliant, and what I loved about him the most is he would so often join me in the casting room. He would read with the talent. He didn’t want me to read, he didn’t want me to bring in a reader, he said, \u201cNo, it’s my script. I will read with the talent.\u201d \n\n\n\nThat was wonderful for the talent. They got to meet Bruce Beresford and do a scene with him. And he’s a darn good actor himself.\n\n\n\nYou don\u2019t just work in film or TV, right?\n\n\n\nI don’t sit a lot in the feature film land. I did work in features a fair bit earlier, and I was getting a little bit burned out. They\u2019re a hard slog, and I was doing a lot of production work, not just casting, but it\u2019s a really hard lifestyle. I was a single mom at the time and not seeing my daughter very much. That was probably a light bulb moment for me as well. \n\n\n\nI wasn\u2019t having any work-life balance, so I needed to change that. I really pushed on the casting side of my job, because it meant I was home. I could set up a studio here, my daughter could come in and be with me, and I really focused on the commercial world, because there wasn’t a lot of a lot of work in the feature film world in Perth, then. \n\n\n\nBut things are changing in that regard, aren’t they?\n\n\n\nThings are changing rapidly now, because we’ve just built a studio. Where we used to maybe get one feature through a year, we’re doing six a year now. So the landscape is changing very fast. We’ve been asking for a studio for 20 years, and finally our government has built one. It’s going to change the whole landscape of our industry here.\n\n\n\nCan we back up for a second? I want to ask you about putting yourself out there to audition once a year to make sure you stay in touch with that side of things. I\u2019ve never heard of anyone actually doing that before.\n\n\n\nI’d never put myself forward for something I was casting, absolutely not. But recently, someone else was casting something they thought I would be good for, and I thought, \u201cWell, why not?\u201d That was a self tape, and I hadn’t really done a self tape in a very long time. \n\n\n\nI wanted to put myself through that process as well, because I wanted to really look at how much more difficult it is for talent to do self tapes, and I believe it’s a huge difficulty. They should be in a studio with a casting director that gives them the right directions, gives them the right feel about what the project is and what the directors talked about. We always get a better performance from a talent if they’re in the room [rather] than a self tape.\n\n\n\nI hear that over and over again, the good and the bad of self taping. You get to see more people, but lose so much of the room. With this experience, are you able to employ that to make the self-tape process easier for the people that they’re sending in?\n\n\n\nI do try to put out a very, very detailed brief, including, \u201cPlease only stand less than three meters away from the camera. Please be in a well-lit room. Please use a mic. Please don’t get your mum to read with you. Call a friend, call an actor friend, bring an actor in with you so you don’t have to worry about the camera.\u201d \n\n\n\nYou can just do your art without having to worry about all the other stuff. If it’s a really important audition, I do encourage them to pay for someone to do a test with you, a professional, but then that\u2019s not fair because actors are spending money. But if it’s a really hot role for you, take away all the pressure of doing the filming yourself.\n\n\n\nSo then you are able to bring some of that into the exchange, level the playing field a bit and make it easier for people to show you what they can do without being in the room.\n\n\n\nYeah. When I was younger, I went to some really, really horrible auditions. Auditions where you had a director sitting there on his phone while you’re doing a scene that you’ve worked really hard to do. So it was imperative for me to make sure that my audition space is a really safe, nurturing space for the talent. I guess I’m very lucky in Perth, because we’ve got such a small pool here. I know pretty much everybody and everyone who walks in.\n\n\n\nIt’s such a friendly environment, and I can tell straight away if they’re having a bad day or if the nerves have got the better of them, because I know the nerves can get the better of me, too. So because I do go to the auditions and keep reminding myself how overwhelming it can be sometimes, when they come in and I can see that they’re not quite there because the nerves are affecting them.\n\n\n\nI often say, \u201cOkay, let’s just stop for a second. Let’s do this breathing exercise together, or let’s run on the spot together.\u201d It’s really important to me that I help them as much as possible. I think if I don’t keep reminding myself how nerve-wracking auditions can be, I might not have as much care.\n\n\n\nThat feels like a perfect segue into my last question. What piece of advice or wisdom would you give to somebody who is coming in to see you?\n\n\n\nJust enjoy yourself. I tell actors all the time, because I do workshops and lectures and things, I can have an actor come in for two years and they’ve got a good face and they want to be an actor, but they’ll bomb their auditions for two years, okay? \n\n\n\nBut I keep bringing them in because I believe the audition process is training. I mean, you should learn something from your audition. It’s a training ground, and it always takes about two years for talent for some reason. \n\n\n\nThey come in one day and they absolutely nail their audition, and when I ask that talent, \u201cOkay, tell me what happened today that you haven’t done for the last two years, because you just smashed your audition. What was different today?” And everyone always [gives] exactly the same answer: \u201cMegs, I actually came in and went, \u201cI’m just going to have fun and enjoy myself today.\u201d \n\n\n\nTake all the pressure off of \u201cI want the job. I want the job. I really want to get the job.\u201d As soon as they do that and just enjoy their craft, they audition wonderfully. That’s my advice to actors. You’re getting to audition. What a great thing. Not a lot of people are getting the call, so just enjoy the moment.\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\u2022 Use every audition as training, not just an opportunity to \u201cget the job.\u201d\n\n\n\n\u2022 Create conditions that let you focus on your craft, whether in person or on tape.\n\n\n\n\u2022 Let go of pressure and focus on enjoying the process to unlock your best work.\nThe post How to Thrive Anywhere: Megan Carpenter on Auditioning With Confidence appeared first on Casting Networks.",
"date_published": "2026-02-05T09:03:06-08:00",
"date_modified": "2026-05-22T12:34:08-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/02/CD.png",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=297209",
"url": "https://www.castingnetworks.com/news/how-to-stand-out-in-voice-acting-with-casting-director-stephanie-sheh/",
"title": "How to Stand Out in Voice Acting with Casting Director Stephanie Sheh",
"content_html": "\n
The list of successful casting directors who are also successful actors is exceedingly short. There might even just be a single name on it, and that name is Stephanie Sheh. One of the top voice actors in animation, she has nearly 700 credits to her name, and that\u2019s just as a performer. She\u2019s also a writer, producer, director, and obviously, a casting director, having put together several dozen projects on that side of the camera.
\n\n\n\n
She\u2019s still heavily involved in anime, but she\u2019s hardly limited to that. She\u2019s also worked on Star Wars and Disney projects, and is constantly in demand. One of her latest projects is Disney\u2019s Twisted-Wonderland: The Animation, the first season of which is streaming on Disney+ and Hulu. She talked to us from Los Angeles.
\n\n\n\n
Key Insights
\n\n\n\n
\n
A strong foundation in acting technique is essential for voice actors who want to deliver meaningful, professional performances.
\n\n\n\n
Making clear, creative choices helps actors avoid \u201cvanilla\u201d auditions and stand out in highly competitive casting pools.
\n\n\n\n
Long-term success often comes from niche expertise, consistent networking, and understanding both sides of the industry.
\n
\n\n\n\n\n\n\n\n
What got you into acting in the first place? I’m assuming the acting came first and then the casting?
\n\n\n\n
Yeah, the acting came first. I mostly get hired to do voice-over. It doesn’t mean that that’s all I do as an actor, but it’s what I’ve basically been hired for. I’m so grateful, but all actors want to do the things that you’re not doing.
\n\n\n\n
So when I started out, if you want to really get into it psychologically, when I was very young, the appeal of acting was an escape from myself. At the time, I don’t think I was very happy with who I was as a human, so that’s where that came from.
\n\n\n\n
So how did that evolve to so much success in voice acting?
\n\n\n\n
For whatever reason, voice-over was what I was hired to do, over and over again. I can speculate in terms of why that is. The worst feedback I got was from an agent.
\n\n\n\n
I read for her, too, and she said, \u201cI don’t have any issue with your ability to read, but I’m not signing you because I don’t know where I would put you. Because from the neck up, you look 30, and from the body down, you look 14.\u201d
\n\n\n\n
Oh my God, that\u2019s awful!
\n\n\n\n
(Laughs) It was terrible. And at the time, FYI, I was 24, so it was doubly bad. Like, \u201cI’m 30? What are you talking about?\u201d (Laughs) It was brutal. And over the years, I got it over and over again, that it was a really great read, but I\u2019m just not physically right for this part. So I started with voice acting in the niche of dubbing anime.
\n\n\n\n
I\u2019ve heard that from other people, doing English dubbing being their way in.
\n\n\n\n
Yeah, but at the time I started, it was very rare. Nowadays, a lot of people come in through fandom, but at the time, I was already pursuing acting in college, doing improv, part of a Shakespeare group and whatnot, and I was watching anime.
\n\n\n\n
I would watch the Japanese version and then the English version,\u00a0 and as an actor with low self esteem, I thought to myself, \u201cWell, if that’s the bar, I can do that. Right?\u201d (Laughs) I had the confidence, whether or not it was warranted, so I pursued it.
\n\n\n\n
It was such a small niche market, and being Asian, even though I’m not Japanese, there are some cultural elements that I can pick up on a little bit more naturally, because it’s not so foreign to me. So I’d come in with a leg up, because I would know archetypes, I would know tropes. At that time, there weren’t that many actors who were fans of anime, so I had that base knowledge and an advantage.
\n\n\n\n
Did that lead to other opportunities?
\n\n\n\n
I’d been doing anime for a while, but hadn’t been doing as much of the original animation and that sphere. At some point, I started booking. There were a lot of things happening, a lot of pro-Asian casting that also helped, because there were a lot more characters that were Asian, and more representation happening at the same time.
\n\n\n\n
I started noticing that I would book some parts, and there would be people in the room who already knew who I was, which was very confusing to me, because I’d never been a household name. What I realized is that I had been working in the industry long enough that the people who grew up watching anime were now working in the industry, so they knew who I was. (Laughs)
\n\n\n\n
That is fantastic.
\n\n\n\n
I remember this one experience where we had done this movie called Your Name., which was a big deal in the anime space. I went in for a callback at Nickelodeon and the director who I had never met in person.
\n\n\n\n
When I walked into the room, swiveled in his chair, and he goes, \u201cYour name?\u201d I’m like, \u201cOh, Stephanie Sheh.\u201d And he goes, \u201cNo! The movie! Oh my gosh, so great.\u201d (Laughs)
\n\n\n\n
So, when did casting come into it?
\n\n\n\n
Even before I started doing it professionally, I was the type of person who pays attention to casting, even as an audience member. But it was a slow situation. I never started out trying to pursue that as a career, I had just done so much networking as an actor, and when I was pursuing acting in the anime world, my day job was also producing anime, so I was already on both sides of it.
\n\n\n\n
I would go to events, conferences, conventions, hang out with the producers and the studio owners, but then also had my actor friends. So because I ended up knowing a lot of people, people just started asking me for recommendations.\u00a0
\n\n\n\n
So it came about organically?
\n\n\n\n
Yeah, I pretty much exclusively work with NYAV POST when it comes to casting and directing, mostly because they give me so much creative freedom, and I value that beyond anything else. Eventually it became more of an official thing.
\n\n\n\n
How have the two sides of your career affected each other?
\n\n\n\n
I always say knowing what goes with other people’s hardships and challenges can only make you better. I very much view any sort of production as a team effort, and in production, it\u2019s a series of fires that need to be creatively put out.
\n\n\n\n
So if you come from that perspective, you can tweak yourself to make things as easy as possible. I think that applies to every position. I think that one of the things I learned as a producer early on, and one of the things that helped my acting early on is, as a producer, I sat in on every single session so I could observe and learn from every actor who went in.
\n\n\n\n
As a casting person and an actor, that’s the same thing, because you’re listening to thousands of auditions, and you can hear the process, hear what’s being phoned in, what choices are being made, and also acknowledge and realize someone might be a good actor, but not right for the character.\u00a0
\n\n\n\n
I think that\u2019s pretty common for casting directors.
\n\n\n\n
Things are so fast paced these days. Twenty years ago, you had more time to ask for rereads with people and really find it. Nowadays, at least in the projects that we do, we cast for the leads and then I don’t always have the luxury to do a whole casting.
\n\n\n\n
In the case of games and original animation, there is a limit to the number of unique voices you can do, but not with dubbing. That means an actor can come in and do 20 different voices across however many episodes.
\n\n\n\n
So I know the importance of being versatile in that sense, because, let’s say I have a role, and it’s not as big as a guest role, but it’s got a little nice little two-scene story arc. Maybe 20 lines. I need someone to be able to pull that off, but, oh, shoot, I also have this random grandma that I need for one line, and they have three lines for a little boy.
\n\n\n\n
Now my task is different than if I was just filling somebody in for that 20-line role, because now the appeal is going to be who can nail all those things.
\n\n\n\n
How often do you pop yourself into these roles that you are casting?
\n\n\n\n
My philosophy is, there are times when I have put myself in something, but only if I feel like I can’t find somebody, and I know that I can do it for an incidental. I know the slippery slope is to just cast myself in everything, so you work against it.
\n\n\n\n
What advice would you give to someone wanting to get into voice acting?
\n\n\n\n
More and more, I’m seeing people who are good voice artists, who are not necessarily as strong in the acting. They don’t speak the language of an actor, because they came from fandom or voice-over. When I started as an actor, I took Meisner classes.
\n\n\n\n
I took study classes. You worked things in a different way. So my main thing would be, make sure you have a really good acting foundation. A lot of dub directors will tell you that we spend time almost teaching acting in the booth, and that’s not what the time is for.
\n\n\n\n
Also, some actors come in with this sense of, \u201cOh, I can do whatever you want,\u201d and that’s very different than a classically trained actor who offers their thoughts on the character. They need to have the agency, and they need to know what that means and feels like for making choices.\u00a0
\n\n\n\n
So then, would your advice to someone coming in to audition for you be the same thing? Make choices?
\n\n\n\n
Yes, definitely, because the thing is, if you have a point of view and a clear sense, you’re going to naturally make more creative decisions. I’m now getting hundreds of submissions for one role, and people wonder why they don’t book, but 20% of the submissions that I get are just unusable, terrible, bad.
\n\n\n\n
Then you have 10% that\u2019s really stellar. And the rest of it, that 70%? It\u2019s fine, but it’s very vanilla. Do you want to be in that 70%? So even if you make a strong choice, I can hear that there’s something behind that, even if it’s not right for that part, I’m going to flag it, because there’s so many other parts.
\n\n\n\n
And with an original animated project, sometimes those things are not fleshed out yet. I’ve sat in a room where they’re not sure of what the character is until they hear it. They’re waiting for you to bring in the special magic thing.
\n\n\n\n\n\n\n\n
Key Takeaways
\n\n\n\n
\n
Invest in serious acting training before focusing on voice-over specialization.
\n\n\n\n
Approach every audition with a point of view that shows depth, intention, and originality.
\n\n\n\n
Build relationships and versatility over time to create sustainable opportunities across performance and casting.
\n",
"content_text": "The list of successful casting directors who are also successful actors is exceedingly short. There might even just be a single name on it, and that name is Stephanie Sheh. One of the top voice actors in animation, she has nearly 700 credits to her name, and that\u2019s just as a performer. She\u2019s also a writer, producer, director, and obviously, a casting director, having put together several dozen projects on that side of the camera.\n\n\n\nShe\u2019s still heavily involved in anime, but she\u2019s hardly limited to that. She\u2019s also worked on Star Wars and Disney projects, and is constantly in demand. One of her latest projects is Disney\u2019s Twisted-Wonderland: The Animation, the first season of which is streaming on Disney+ and Hulu. She talked to us from Los Angeles.\n\n\n\nKey Insights\n\n\n\n\nA strong foundation in acting technique is essential for voice actors who want to deliver meaningful, professional performances.\n\n\n\nMaking clear, creative choices helps actors avoid \u201cvanilla\u201d auditions and stand out in highly competitive casting pools.\n\n\n\nLong-term success often comes from niche expertise, consistent networking, and understanding both sides of the industry.\n\n\n\n\n\n\n\n\nWhat got you into acting in the first place? I’m assuming the acting came first and then the casting?\n\n\n\nYeah, the acting came first. I mostly get hired to do voice-over. It doesn’t mean that that’s all I do as an actor, but it’s what I’ve basically been hired for. I’m so grateful, but all actors want to do the things that you’re not doing. \n\n\n\nSo when I started out, if you want to really get into it psychologically, when I was very young, the appeal of acting was an escape from myself. At the time, I don’t think I was very happy with who I was as a human, so that’s where that came from.\n\n\n\nSo how did that evolve to so much success in voice acting? \n\n\n\nFor whatever reason, voice-over was what I was hired to do, over and over again. I can speculate in terms of why that is. The worst feedback I got was from an agent. \n\n\n\nI read for her, too, and she said, \u201cI don’t have any issue with your ability to read, but I’m not signing you because I don’t know where I would put you. Because from the neck up, you look 30, and from the body down, you look 14.\u201d\n\n\n\nOh my God, that\u2019s awful! \n\n\n\n(Laughs) It was terrible. And at the time, FYI, I was 24, so it was doubly bad. Like, \u201cI’m 30? What are you talking about?\u201d (Laughs) It was brutal. And over the years, I got it over and over again, that it was a really great read, but I\u2019m just not physically right for this part. So I started with voice acting in the niche of dubbing anime.\n\n\n\nI\u2019ve heard that from other people, doing English dubbing being their way in.\n\n\n\nYeah, but at the time I started, it was very rare. Nowadays, a lot of people come in through fandom, but at the time, I was already pursuing acting in college, doing improv, part of a Shakespeare group and whatnot, and I was watching anime. \n\n\n\nI would watch the Japanese version and then the English version,\u00a0 and as an actor with low self esteem, I thought to myself, \u201cWell, if that’s the bar, I can do that. Right?\u201d (Laughs) I had the confidence, whether or not it was warranted, so I pursued it. \n\n\n\nIt was such a small niche market, and being Asian, even though I’m not Japanese, there are some cultural elements that I can pick up on a little bit more naturally, because it’s not so foreign to me. So I’d come in with a leg up, because I would know archetypes, I would know tropes. At that time, there weren’t that many actors who were fans of anime, so I had that base knowledge and an advantage.\n\n\n\nDid that lead to other opportunities?\n\n\n\nI’d been doing anime for a while, but hadn’t been doing as much of the original animation and that sphere. At some point, I started booking. There were a lot of things happening, a lot of pro-Asian casting that also helped, because there were a lot more characters that were Asian, and more representation happening at the same time. \n\n\n\nI started noticing that I would book some parts, and there would be people in the room who already knew who I was, which was very confusing to me, because I’d never been a household name. What I realized is that I had been working in the industry long enough that the people who grew up watching anime were now working in the industry, so they knew who I was. (Laughs)\n\n\n\nThat is fantastic. \n\n\n\nI remember this one experience where we had done this movie called Your Name., which was a big deal in the anime space. I went in for a callback at Nickelodeon and the director who I had never met in person. \n\n\n\nWhen I walked into the room, swiveled in his chair, and he goes, \u201cYour name?\u201d I’m like, \u201cOh, Stephanie Sheh.\u201d And he goes, \u201cNo! The movie! Oh my gosh, so great.\u201d (Laughs)\n\n\n\nSo, when did casting come into it?\n\n\n\nEven before I started doing it professionally, I was the type of person who pays attention to casting, even as an audience member. But it was a slow situation. I never started out trying to pursue that as a career, I had just done so much networking as an actor, and when I was pursuing acting in the anime world, my day job was also producing anime, so I was already on both sides of it. \n\n\n\nI would go to events, conferences, conventions, hang out with the producers and the studio owners, but then also had my actor friends. So because I ended up knowing a lot of people, people just started asking me for recommendations.\u00a0\n\n\n\nSo it came about organically?\n\n\n\nYeah, I pretty much exclusively work with NYAV POST when it comes to casting and directing, mostly because they give me so much creative freedom, and I value that beyond anything else. Eventually it became more of an official thing.\n\n\n\nHow have the two sides of your career affected each other?\n\n\n\nI always say knowing what goes with other people’s hardships and challenges can only make you better. I very much view any sort of production as a team effort, and in production, it\u2019s a series of fires that need to be creatively put out. \n\n\n\nSo if you come from that perspective, you can tweak yourself to make things as easy as possible. I think that applies to every position. I think that one of the things I learned as a producer early on, and one of the things that helped my acting early on is, as a producer, I sat in on every single session so I could observe and learn from every actor who went in. \n\n\n\nAs a casting person and an actor, that’s the same thing, because you’re listening to thousands of auditions, and you can hear the process, hear what’s being phoned in, what choices are being made, and also acknowledge and realize someone might be a good actor, but not right for the character.\u00a0\n\n\n\nI think that\u2019s pretty common for casting directors.\n\n\n\nThings are so fast paced these days. Twenty years ago, you had more time to ask for rereads with people and really find it. Nowadays, at least in the projects that we do, we cast for the leads and then I don’t always have the luxury to do a whole casting. \n\n\n\nIn the case of games and original animation, there is a limit to the number of unique voices you can do, but not with dubbing. That means an actor can come in and do 20 different voices across however many episodes. \n\n\n\nSo I know the importance of being versatile in that sense, because, let’s say I have a role, and it’s not as big as a guest role, but it’s got a little nice little two-scene story arc. Maybe 20 lines. I need someone to be able to pull that off, but, oh, shoot, I also have this random grandma that I need for one line, and they have three lines for a little boy. \n\n\n\nNow my task is different than if I was just filling somebody in for that 20-line role, because now the appeal is going to be who can nail all those things.\n\n\n\nHow often do you pop yourself into these roles that you are casting?\n\n\n\nMy philosophy is, there are times when I have put myself in something, but only if I feel like I can’t find somebody, and I know that I can do it for an incidental. I know the slippery slope is to just cast myself in everything, so you work against it.\n\n\n\nWhat advice would you give to someone wanting to get into voice acting?\n\n\n\nMore and more, I’m seeing people who are good voice artists, who are not necessarily as strong in the acting. They don’t speak the language of an actor, because they came from fandom or voice-over. When I started as an actor, I took Meisner classes. \n\n\n\nI took study classes. You worked things in a different way. So my main thing would be, make sure you have a really good acting foundation. A lot of dub directors will tell you that we spend time almost teaching acting in the booth, and that’s not what the time is for. \n\n\n\nAlso, some actors come in with this sense of, \u201cOh, I can do whatever you want,\u201d and that’s very different than a classically trained actor who offers their thoughts on the character. They need to have the agency, and they need to know what that means and feels like for making choices.\u00a0\n\n\n\nSo then, would your advice to someone coming in to audition for you be the same thing? Make choices? \n\n\n\nYes, definitely, because the thing is, if you have a point of view and a clear sense, you’re going to naturally make more creative decisions. I’m now getting hundreds of submissions for one role, and people wonder why they don’t book, but 20% of the submissions that I get are just unusable, terrible, bad. \n\n\n\nThen you have 10% that\u2019s really stellar. And the rest of it, that 70%? It\u2019s fine, but it’s very vanilla. Do you want to be in that 70%? So even if you make a strong choice, I can hear that there’s something behind that, even if it’s not right for that part, I’m going to flag it, because there’s so many other parts. \n\n\n\nAnd with an original animated project, sometimes those things are not fleshed out yet. I’ve sat in a room where they’re not sure of what the character is until they hear it. They’re waiting for you to bring in the special magic thing.\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nInvest in serious acting training before focusing on voice-over specialization.\n\n\n\nApproach every audition with a point of view that shows depth, intention, and originality.\n\n\n\nBuild relationships and versatility over time to create sustainable opportunities across performance and casting.\n\nThe post How to Stand Out in Voice Acting with Casting Director Stephanie Sheh appeared first on Casting Networks.",
"date_published": "2026-02-04T09:13:01-08:00",
"date_modified": "2026-05-22T12:43:42-07:00",
"authors": [
{
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
}
],
"author": {
"name": "Neil Turitz",
"url": "https://www.castingnetworks.com/news/author/neil-turitz/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/824/824ad122ece0f64119671fbf606465d3x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/02/Stephanie-Sheh-Headshot-Commercial.jpg",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=274509",
"url": "https://www.castingnetworks.com/news/how-to-make-great-self-tapes-when-youre-away-from-home/",
"title": "How to Make Great Self Tapes When You\u2019re Away From Home",
"content_html": "\n
We\u2019ve all been there. You\u2019re traveling, or home for the holidays, when the self-tape request comes in. Inevitably, no matter how well you prepare, there will be a time when you\u2019re caught without lights, space or equipment, and need to submit an audition in a hurry. Here are a few tips and tricks to keep in mind.
\n\n\n\n
Key Insights:
\n\n\n\n
\n
Notify your agent of your travel dates and equipment limitations before you leave so they can set you up for success.
\n\n\n\n
Face a window to use sunlight and use a plain wall as a backdrop.
\n\n\n\n
Remember that the quality of your acting is what matters most to casting.
Communicate. Whenever you\u2019re traveling, you should be booking out (even if it\u2019s a soft book out) or communicating your plans in the way your agent prefers. Make sure they know what your access to taping space/equipment (or lack thereof) will look like before you go, so they can help set you up for success.
\n\n\n\n
Don\u2019t panic. Of course, circumstances aren\u2019t ideal, but they aren\u2019t insurmountable. Casting directors have run into this before. Fretting over what you lack won\u2019t serve your audition, and at the end of the day, the quality of the work is most important.
\n\n\n\n
Natural light is your friend. In the absence of proper lighting equipment, sunlight is going to be the next best thing. Try taping facing a window so sunlight hits you (likely west or south-facing), or even film outside if you can find a quiet spot. Most times, natural sunlight is going to look better and be less of a hassle than trying to cobble together lamps and indoor lighting. (If you\u2019re able to travel with a ring light for such occasions, that will help, too.)
\n\n\n\n
Don\u2019t forget sound quality. Test for sound. If you\u2019re taping in an unfamiliar environment, there\u2019s a chance it will be more echoey, or you\u2019ll be picking up more background noise than you realize. Blankets over walls or windows can absorb sound in a pinch, and try to shut off any AC, pet fountains, or electronic devices that might have an ambient hum.
\n\n\n\n
Assess your backdrop situation. Chances are you won\u2019t have a backdrop with you. A plain wall will do. Blue or gray walls are great, or even brick; mostly, you\u2019re just looking for a clean expanse without too much distraction. This will likely look better than trying to rig up a sheet, but if you have the right color and access to a steamer, have at it.
\n\n\n\n
Take your time with camera setup. Good angles and a steady camera are going to do a lot for production value. Most phones have good enough cameras to film an audition. Film horizontally, unless otherwise directed. It\u2019s worth it to test your frame, to keep playing with mounting, or propping your phone until you get the right angle. Try to avoid too much headspace. If you haven\u2019t been given framing instructions, shoot for no more than an inch or two above your head to mid-chest.
\n\n\n\n
Don\u2019t be afraid to get creative. When you don\u2019t have control of your environment, you have to adapt. I once filmed an audition on my knees with my phone on the table because the light was best, and the cleanest stretch of background was halfway up the kitchen wall. Ultimately, do what you can to make the production value look good, but keep it simple and focus on the work.
\n",
"content_text": "We\u2019ve all been there. You\u2019re traveling, or home for the holidays, when the self-tape request comes in. Inevitably, no matter how well you prepare, there will be a time when you\u2019re caught without lights, space or equipment, and need to submit an audition in a hurry. Here are a few tips and tricks to keep in mind.\n\n\n\nKey Insights:\n\n\n\n\nNotify your agent of your travel dates and equipment limitations before you leave so they can set you up for success.\n\n\n\nFace a window to use sunlight and use a plain wall as a backdrop.\n\n\n\nRemember that the quality of your acting is what matters most to casting.\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\nCommunicate. Whenever you\u2019re traveling, you should be booking out (even if it\u2019s a soft book out) or communicating your plans in the way your agent prefers. Make sure they know what your access to taping space/equipment (or lack thereof) will look like before you go, so they can help set you up for success. \n\n\n\nDon\u2019t panic. Of course, circumstances aren\u2019t ideal, but they aren\u2019t insurmountable. Casting directors have run into this before. Fretting over what you lack won\u2019t serve your audition, and at the end of the day, the quality of the work is most important. \n\n\n\nNatural light is your friend. In the absence of proper lighting equipment, sunlight is going to be the next best thing. Try taping facing a window so sunlight hits you (likely west or south-facing), or even film outside if you can find a quiet spot. Most times, natural sunlight is going to look better and be less of a hassle than trying to cobble together lamps and indoor lighting. (If you\u2019re able to travel with a ring light for such occasions, that will help, too.)\n\n\n\nDon\u2019t forget sound quality. Test for sound. If you\u2019re taping in an unfamiliar environment, there\u2019s a chance it will be more echoey, or you\u2019ll be picking up more background noise than you realize. Blankets over walls or windows can absorb sound in a pinch, and try to shut off any AC, pet fountains, or electronic devices that might have an ambient hum. \n\n\n\nAssess your backdrop situation. Chances are you won\u2019t have a backdrop with you. A plain wall will do. Blue or gray walls are great, or even brick; mostly, you\u2019re just looking for a clean expanse without too much distraction. This will likely look better than trying to rig up a sheet, but if you have the right color and access to a steamer, have at it. \n\n\n\nTake your time with camera setup. Good angles and a steady camera are going to do a lot for production value. Most phones have good enough cameras to film an audition. Film horizontally, unless otherwise directed. It\u2019s worth it to test your frame, to keep playing with mounting, or propping your phone until you get the right angle. Try to avoid too much headspace. If you haven\u2019t been given framing instructions, shoot for no more than an inch or two above your head to mid-chest. \n\n\n\nDon\u2019t be afraid to get creative. When you don\u2019t have control of your environment, you have to adapt. I once filmed an audition on my knees with my phone on the table because the light was best, and the cleanest stretch of background was halfway up the kitchen wall. Ultimately, do what you can to make the production value look good, but keep it simple and focus on the work.\n\n\n\n\n\n\n\nYou may also like:\n\n\n\n\nTips for Turnarounds: Self Tapes on Short Notice\n\n\n\nHow to Capture Your Best Self Tape\n\n\n\nThe Actor\u2019s Closet: Items to Have On Hand for Self Tapes\n\n\n\n\n\nThe post How to Make Great Self Tapes When You’re Away From Home appeared first on Casting Networks.",
"date_published": "2025-12-23T09:37:37-08:00",
"date_modified": "2026-05-22T13:01:01-07:00",
"authors": [
{
"name": "Rachel Frawley",
"url": "https://www.castingnetworks.com/news/author/rachel-frawley/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/380/380bfe1e4a62070d90457d53f1559039x512.jpg"
}
],
"author": {
"name": "Rachel Frawley",
"url": "https://www.castingnetworks.com/news/author/rachel-frawley/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/380/380bfe1e4a62070d90457d53f1559039x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/12/best-self-tape-tips-while-traveling-scaled.jpg",
"tags": [
"Acting Advice",
"Auditions"
]
},
{
"id": "https://www.castingnetworks.com/?p=274532",
"url": "https://www.castingnetworks.com/news/the-traitors-usa-everything-you-need-to-know-to-get-cast/",
"title": "The Traitors US: Everything You Need to Know to Get Cast in 2026",
"content_html": "\n
As competition reality series continue to dominate streaming and social conversation, one show has pulled far ahead of the pack: The Traitors US. Its blend of psychological gameplay, high-stakes strategy, and character-driven storytelling has created a format where casting matters just as much as the gameplay itself.
\n\n\n\n
For actors, this opens a unique lane of hybrid performance, personality, presence and narrative instinct, and an opportunity to step into one of the most visible unscripted platforms running today.
\n\n\n\n\n\n\n\n
Key Insight:
\n\n\n\n
\n
The Traitors US casts like a character-driven ensemble, prioritizing bold personalities, emotional availability, and strong storytelling instincts \u2014 areas where actors naturally excel.
\n
\n\n\n\n\n\n\n\n
Apply for the Upcoming Season of The Traitors US
\n\n\n\n\n\n\n\n
Casting is open for the next season of The Traitors US! Actors with strong personalities, emotional range, and on-camera confidence are encouraged to apply.
Although The Traitors US is unscripted, casting for the show resembles a hybrid between reality TV casting and ensemble-building for a character-driven series. The team behind the show looks for:
\n\n\n\n
1. Distinct personalities
\n\n\n\n
Every season revolves around a curated mix of personalities: leaders, strategists, empathic players, wildcard energy, emotionally expressive cast members and those who bring humor or unpredictability.
\n\n\n\n
2. Strong storytelling presence
\n\n\n\n
The best contestants aren\u2019t just big personalities; they drive the story. Casting looks for people who create narrative friction, propel alliances, generate emotional stakes or elevate tension simply by being involved.
\n\n\n\n
3. Emotional availability
\n\n\n\n
Casting wants players who can articulate their feelings, explain decisions and stay present in confessionals. A strong ability to read people, respond under pressure, and adapt on the fly is essential.
\n\n\n\n\n\n\n\n
How to Position Yourself as a Strong Candidate for The Traitors US
\n\n\n\n
Even though it\u2019s an unscripted series, your submission needs intentionality, just like an audition. Here\u2019s what matters:
\n\n\n\n
Highlight the real you
\n\n\n\n
The Traitors US thrives on authenticity. Casting teams want to see who you actually are, not a character you think they want.
\n\n\n\n
Show both your strengths and flaws
\n\n\n\n
Producers are building a dynamic ensemble. Vulnerabilities, competitive spirit, eccentricity \u2014 all of it can help define your role in the cast.
\n\n\n\n\n\n\n\n
What the Casting Process Looks Like
\n\n\n\n
While formats and pipelines shift season to season, actors can expect a process that generally includes:
\n\n\n\n
\n
An initial application or casting submission
\n\n\n\n
A personality-focused self-tape or video questionnaire
\n\n\n\n
A series of interviews with casting producers
\n\n\n\n
Potential deep-dive calls about your life, social background, and goals
\n\n\n\n
Final selection rounds with showrunners
\n
\n\n\n\n\n\n\n\n
Where to Find More Unscripted and Reality TV Opportunities
\n\n\n\n
Reality competition series, docu-style shows and hybrid formats often post casting calls on Casting Networks. Many of these opportunities move quickly, and early submissions are key to increasing your chances.
\n\n\n\n
Looking for more reality and unscripted opportunities? Start your free trial with Casting Networks to access casting calls like this one and more.
\n",
"content_text": "As competition reality series continue to dominate streaming and social conversation, one show has pulled far ahead of the pack: The Traitors US. Its blend of psychological gameplay, high-stakes strategy, and character-driven storytelling has created a format where casting matters just as much as the gameplay itself. \n\n\n\nFor actors, this opens a unique lane of hybrid performance, personality, presence and narrative instinct, and an opportunity to step into one of the most visible unscripted platforms running today.\n\n\n\n\n\n\n\nKey Insight:\n\n\n\n\nThe Traitors US casts like a character-driven ensemble, prioritizing bold personalities, emotional availability, and strong storytelling instincts \u2014 areas where actors naturally excel.\n\n\n\n\n\n\n\n\nApply for the Upcoming Season of The Traitors US\n\n\n\n\n\n\n\nCasting is open for the next season of The Traitors US! Actors with strong personalities, emotional range, and on-camera confidence are encouraged to apply.\n\n\n\nThink you’ve got what it takes? Apply here.\n\n\n\n\n\n\n\n\n \n \n Get access to thousands of high-quality roles.\n \n \n \n \n \n \n \n \n \n JOIN FREE TODAY \n \n \n\n\n\n\n\n\n\n\nWhat The Traitors US Casting Team Looks For\n\n\n\nAlthough The Traitors US is unscripted, casting for the show resembles a hybrid between reality TV casting and ensemble-building for a character-driven series. The team behind the show looks for:\n\n\n\n1. Distinct personalities\n\n\n\nEvery season revolves around a curated mix of personalities: leaders, strategists, empathic players, wildcard energy, emotionally expressive cast members and those who bring humor or unpredictability.\n\n\n\n2. Strong storytelling presence\n\n\n\nThe best contestants aren\u2019t just big personalities; they drive the story. Casting looks for people who create narrative friction, propel alliances, generate emotional stakes or elevate tension simply by being involved.\n\n\n\n3. Emotional availability\n\n\n\nCasting wants players who can articulate their feelings, explain decisions and stay present in confessionals. A strong ability to read people, respond under pressure, and adapt on the fly is essential. \n\n\n\n\n\n\n\nHow to Position Yourself as a Strong Candidate for The Traitors US\n\n\n\nEven though it\u2019s an unscripted series, your submission needs intentionality, just like an audition. Here\u2019s what matters:\n\n\n\nHighlight the real you\n\n\n\nThe Traitors US thrives on authenticity. Casting teams want to see who you actually are, not a character you think they want.\n\n\n\nShow both your strengths and flaws\n\n\n\nProducers are building a dynamic ensemble. Vulnerabilities, competitive spirit, eccentricity \u2014 all of it can help define your role in the cast.\n\n\n\n\n\n\n\nWhat the Casting Process Looks Like\n\n\n\nWhile formats and pipelines shift season to season, actors can expect a process that generally includes:\n\n\n\n\nAn initial application or casting submission\n\n\n\nA personality-focused self-tape or video questionnaire\n\n\n\nA series of interviews with casting producers\n\n\n\nPotential deep-dive calls about your life, social background, and goals\n\n\n\nFinal selection rounds with showrunners\n\n\n\n\n\n\n\n\nWhere to Find More Unscripted and Reality TV Opportunities \n\n\n\nReality competition series, docu-style shows and hybrid formats often post casting calls on Casting Networks. Many of these opportunities move quickly, and early submissions are key to increasing your chances.\n\n\n\nLooking for more reality and unscripted opportunities? Start your free trial with Casting Networks to access casting calls like this one and more.\n\n\n\n\nThe post The Traitors US: Everything You Need to Know to Get Cast in 2026 appeared first on Casting Networks.",
"date_published": "2025-12-23T02:24:00-08:00",
"date_modified": "2026-05-22T13:01:32-07:00",
"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/2025/12/the-traitors-us-header-image.jpg",
"tags": [
"Acting Advice",
"Auditions"
]
}
]
}
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