Through production and right up until you’ve wrapped, cast and crew will notice how you behaved, how you treated people, and how easy or difficult you were to work with.

We caught up with actor Rupi Lal on his experience working with Tim Burton in Beetlejuice Beetlejuice, how he remained professional on set (even when sitting next to the legendary Danny DeVito), and why it’s so important to establish a strong working relationship with casting directors.

Acting since the age of seven, Rupi graduated from The Rose Bruford Drama School in the U.K. His television debut was in the CBBC’s Brum followed by roles in the BBC’s Red Rose, Dexter Procter: The Ten-Year-Old Doctor and BBC Radio’s The Archers. In his first feature film, he played Astrid’s Doctor, working opposite Jenna Ortega, Catherine O’Hara, Danny DeVito and Michael Keaton in Beetlejuice Beetlejuice.  

Film sets can be a highly stressful environment, but according to Rupi, maintaining a high level of decorum and professionalism ensures that any feedback that gets back to casting is positive, helps you be remembered, and opens you up to future opportunities.

Key Insights

• Casting directors will often hear feedback from production about you, both positive and negative. Each project helps create a professional record.
• Set etiquette can mean different rules, depending on the type of role you’ve booked. Understanding where you fit into the hierarchy can help you know what is expected, before you get to set.
• Prepare an on-set check list: check your call time, sides and wardrobe. Being organized before you walk on to the set can go a long way.

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Why Film Set Etiquette Starts Before You Arrive on Set

Your reputation from the perspective of production starts to build from the moment you audition, and you’re leaving an impression with every interaction you have. Have you been punctual? Are you coming across as confident and professional? Talent is important, but your work ethic has a strong influence on whether or not a casting director considers you for another opportunity in the future. 

Understanding film set etiquette begins with understanding what is expected from you, even at the audition stage. “With an audition, self tape or recall, obviously you’d want to give a good account of yourself and your talent,” Rupi says.

“The main thing to think about is, what do you bring to the role that’s unique? The ident can be just as important as the actual scene or the action. Initially, you want them to want to work with you.” 

Start planting the seeds of your professional record early. This way a cohesive experience of what it’s like to work with you can be traced throughout the process, from audition to production. Rupi described working with Tim Burton as “a dream come true,” with the feedback being instantaneous.

He felt like he was appreciated, from being greeted with a smile and a “Hey Doc!” every day, to Tim eventually shaking his hand and thanking him for his work. On his final day, Burton even signed a piece of costume. Rupi took it home and had framed.

The Hierarchy on Set and Why Actors Need to Understand It

While you’re on set, there are key crew roles that you will come into contact with. Rupi advises to get to know names: production assistants, the costume department, makeup team and the assistant director. While the crew’s specific roles might differ in terms of proximity, you should be treating everyone with the same level of respect.

An AD might run the floor, so they are your primary point of contact, but this shouldn’t mean that your professionalism is dialed up for them and lapses for the key grip.

According to Rupi, “This all helps make everyone feel comfortable and confident in you and your capabilities, and in turn, helps you feel a part of the whole team.” 

Until he got to the set of Beetlejuice Beetlejuice, Rupi had never worked on a feature film, but that didn’t seem to matter to director Tim Burton in terms of respect.

“Tim was brilliant with me, really nice and made things super clear. I don’t know if he knew it was my first-ever feature film, but I never felt like it was an issue.”

You might feel out of your depth, especially if it’s your first time on a big set. Ask for support, as there are rules you might not know or find difficult to keep track of.

Etiquette Rules by Role: Background, Day Player and Principal

A production can operate as its own eco system, with energy being transferred from department to department. Any disruption to the set can be felt throughout. Background actors usually spend a lot of time in holding, waiting to be placed into a scene, requiring patience and endurance for long days.

Day players are expected to come in prepared, ready to work and wrap on the same day, whereas principal roles entail a more collaborative dynamic with the director. Preparation is still important, but there is an element of active engagement required.

Union vs. Non-Union Sets: Different Rules, Different Stakes

SAG-AFTRA sets have specific contractual protocols, and these can include meal penalties, designated rest or holding areas, and turnaround rules. It’s important to know these rules and inform production if you’re unsure about anything. 

While there is a less formal expectation around non-union actors, professionalism is still observed, and any violations can lead to legal or financial consequences. These rules not only ensure a safe set environment for you, but for the others around you.

Actors deliberately in violation of these protocols could get reported to the on-set union rep, which can affect working on a SAG-AFTRA set in the future. 

What Casting Directors Actually Hear Back From Productions

Being late or rude can generate negative feedback, and anything that includes poor behavior is most likely being passed on to the casting director. Being disrespectful or endangering the cast and crew by ignoring safety rules or making unreasonable requests not only stalls production, but can keep you from being rehired.

Avoid any behavior that you know you shouldn’t be engaging in, especially on set where there are eyes everywhere. Rupi has “seen moments when fellow actors are on their phones while on set, taking photos. Now obviously nothing should be posted online, but from reading my contracts before going on set, I’m aware your phone should be kept in your dressing room at all times, and mine always is.’” 

Rupi has since established a strong working relationship with the highly talented and well-respected casting director Sophie Holland. The conversations happening about him aren’t just about his talent, but how he held himself to account in a high-stakes environment by being reliable and pleasant to be around.

The Consequences Gap: What Actually Happens When You Break These Rules

What are the consequences for actors who break these rules? It all depends on the behavior, and being late, showing up to set without knowing your lines, or being rude to the cast or crew are likely to get back to the casting team, but this doesn’t mean that you can’t recover and repair your working relationships.

If you’ve made a genuine mistake, take accountability. Talk to production or the director, and rectify the situation when you can. One-time offenses are usually forgivable, but if your behavior has done irreparable damage or harm, there can be serious, sometimes legal consequences.

For actors who have engaged in aggressive or violent behavior, sexual misconduct or drug use over a long period of time, consequences can include being fired from the set or even legal action, and can cause the unraveling of a career. 

Practical Pre-Set Checklist: What to Do Before You Walk on a Film Set

The foundation for creating a professional record is to make sure you are arriving on set as prepared as possible. Here is a checklist to help you arrive ready to work:

• Check your call time, confirm your pick up, and arrive 5 to 10 minutes before if you can to give yourself time to settle in.
• Go over your sides, and check the call sheet for the shot list so you know when you’ll be filming your scenes. Check to see if it’s before or after lunch, and plan wisely.
• Check what time you’re in makeup and/or wardrobe. Bring appropriate undergarments and check if you need to arrive with washed hair/clean shaven/unvarnished nails, etc.
• Check the call sheet for the contact names/information for the actors you’ll be working with, the director, assistant director and production assistant.
• Pack a bag with essentials like water, snacks, reading or activities for downtime, comfy shoes or clothes to wear in between setups.
• Practice digital hygiene. Keep your phone off or silenced, don’t use social media, no posting on set or photography.

Rupi cleverly refers to these steps as “doing the things that require no talent.” Checking what time you should arrive, who you are working with, and what scenes you are filming that day are essential to building a professional record, one where you are known as a reliable actor that contributes to the efficiency of a film set.

Think about every appearance as part of your audition for a casting director’s future submission. While it can be daunting to step on set for the first time, it’s also an environment filled with support.

Ask for help if you need it. Observe other actors, learn as you go, and be the kind of actor that contributes to a healthy work environment.

Build solid relationships, and like it has for Rupi, this can result in regular opportunities where your work is valued and respected. Send in self-tape requests promptly (“the sooner the better”), and be known as an actor that takes your on-set presence seriously.

As a lifelong fan of the Batman films who got to work with director Tim Burton, Rupi shares, “Know your worth, your capabilities, what you’re after and go for it!” Keep striving toward an immaculate professional record, you never know when, or how it’ll pay off.

Want to start working on film sets?

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The post Film Set Etiquette: What Actors Need to Know Before Their First Day on Set appeared first on Casting Networks.

Launching on May 29, Miss You, Love You stars Allison Janney as Diane, a blunt, grieving widow in Santa Fe who is forced to plan her husband’s funeral after her estranged son avoids coming home and sends his personal assistant, Jamie (Andrew Rannells), in his place.

At a press conference attended by Casting Networks, the trio discussed their industry relationships, the innovative way they approached rehearsal, and how personal history can shape a film’s story and the casting process.  

Key Insights

• Treating a film like a stage play, including memorizing the entire script before shooting, can free actors to stay emotionally present during long, uninterrupted takes.
• Silence and physical behavior often communicate more than dialogue, and strong directors know when to trust actors enough to remove unnecessary lines.
• Long-term industry relationships and artistic alignment can influence casting just as much as traditional auditions or formal searches.

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Rash, who won an Oscar for best adapted screenplay alongside Nat Faxon and Alexander Payne for The Descendants, got the idea to write Miss You, Love You from an incident eight years ago when his own father passed away. His sister had a work-related conflict, so she sent her assistant, whom no one in the family knew, and who didn’t know a single family member. Rash thought it was an interesting lens to build a story from.

“I started crafting the story of Diane based on little things from my own life, and then Jamie is a lot of me,” confessed Rash. “Writing is therapy. You pull from what you know, and then, of course, the actors elevate it and make it their own.”

When the characters of Diane and Jamie first began taking shape on the page, the voices Rash heard were unmistakably those of Janney and Rannells. 

Rash previously worked with Janney on the 2013 film The Way Way Back, which he co-wrote and co-directed with Faxon. “Allison and I, we knew each other socially through a mutual friend, so I met her very early on in my time in LA,” Rash stated. “And obviously, The Way, Way Back.”

While he did not know Rannells, Rash was familiar with the actor’s work on Broadway, including performances in The Book of Mormon, Falsettos and Gutenberg! The Musical!, among others. 

Casting the twice Tony-nominated Rannells was a matter of artistic alignment. “I didn’t know Andrew personally, but he was the perfect version of Jamie in my mind. I was just lucky enough that he reacted [to the project] as well,” Rash recalled.

For the two actors, the attraction to the material was instant, driven by the opportunity to tackle the layered characters. “For me, I’ve never been offered a role of this size, and this scope of Diane’s journey is quite extraordinary,” Janney shared. “Everything about Diane, all the different layers and the dark humor, was so appealing because Jim’s writing is so perfect and there’s not any fat in there anywhere.”

Rannells experienced a similar sense of validation while reading the script. “I had never been trusted with this much material in a film or on television before,” he admitted. “It was very exciting. I knew that it was going to be a very unique challenge, but then when Jim was like, ‘And it’s [with] Allison Janney,’ I was like, ‘Well, yes!’”

The “Off-Book” Strategy: Treating Film Like a Play

Faced with an incredibly tight 17-day shooting schedule, Janney and Rannells decided on an unconventional preparation strategy. Because the script was originally conceived as a play, and because the production required filming massive, multi-page sequences all at once, the two leads chose to treat the film exactly like a live theatrical production.

“We were very fortunate [Jim] gave us the time and the space to rehearse it like a play,” Rannells said. “Allison and I spoke before we got started and had the same idea, that the only way to do this was just to memorize the entire script.”

Janney added that committing to that decision and following through before setting foot on set was something she’d never attempted on a film project. “This is the first time I’ve done something like this. We took all of January 2024 to memorize the entire script. Then we showed up in Albuquerque, we hit the ground running, ready to play. It was so crucial to approach something like this off-book.”

This type of preparation allowed the actors to deliver uninterrupted 15-minute takes on set. “This was a movie where we shot large chunks, so we did 13 pages one day,” Rash noted. “These two basically did a 15-minute play for us … so the crew was watching a little playlet. It was about them finding moments, and fast.”

Technical Blocking 

This thorough preparation helped immensely on set in terms of blocking and camera moves. During a pivotal emotional argument right before the funeral scene, where the characters confront each other over long-held resentments, Rash and DP Danny Moder mapped the camera mechanics to mirror the escalating emotional stakes.

Rash detailed how the group spent roughly three days breaking down the choreography of that specific fight. “We started with the table, going around the table, and that allowed [the actors] to do the scene,” Rash explained.

He purposefully withheld dynamic camera movements until a specific narrative shift occurred. “We didn’t introduce handheld until [Diane] gets up with the salad,” Rash revealed. “That allowed us to do the next chapter, which was them pretty much boxing around the room.”

Because the long takes captured uninterrupted emotional arcs, the actors could explore non-verbal storytelling. Janney noted that Rash sometimes even cut dialogue on the fly because the actors’ physical choices made those lines redundant.

“Jim would say, ‘You don’t need to say that, because you’re doing it,’” Janney remembered. “He would take lines out of the script because the silence was so full already with what was happening.”

That observation and script adjustment was an actor’s dream. “I love silences,” said Janney.  “[These two characters] are so loud with what’s going on inside of them. Silences are earned.”

Rannells agreed, crediting Rash’s restraint in the editing room for keeping those pauses intact. “Actors love to pause, but it usually gets cut,” he observed. “It was exciting to see that Jim had chosen to leave those moments in. That’s to Jim’s credit that he saw what was happening and felt they were important.”

A working actor himself, Rash, who has appeared in projects like Abbott Elementary, Loot and Bros, understood that. He explained that shooting long takes gave him the ultimate flexibility to let the characters breathe.

“It just depends on how much Diane wants to be exposed at this moment … or how much Jamie wants to be vulnerable.”

The first-time pairing between Janney and Rannells also led to another project together for the duo. As production for Miss You, Love You wrapped, the two were invited to join the cast of director Paul Feig’s Another Simple Favor, which filmed in Rome.

Janney recalled turning to her co-star and asking, “Should we? Should we go to Rome?”

They did.

“We finished Miss You, Love You, and then we went to Rome together,” Rannells said, adding that the easy creative shorthand they developed on set quickly evolved into an equally relaxed off-screen friendship. “I got to walk around Rome with Allison and watch her shop!”

The post How Allison Janney and Andrew Rannells Prepared Like Theater Actors to Master Long-Take Film Scenes appeared first on Casting Networks.

Actress Christina Villa, studied acting at the Actors Studio Drama School in New York and learned first-hand what it takes. She has since relocated to Los Angeles, but that New York mentality never left her. 

It’s that mentality that has led to her casting in the 2025 Dolph Lundgren action Netflix film Wanted Man, as well as the sci-fi thriller Spark, currently playing on Amazon Prime. She still carries the lessons she learned in New York, lessons that have served her well.

She spoke to us from her home in LA. 

Key Insights

• Building an acting career in New York requires persistence, community, and a willingness to consistently put yourself in the room.
• Christina Villa credits her growth to intense craft training, continuous self-development, and learning directly from working actors and casting professionals.
• Success came not from one breakthrough moment, but from years of networking, showcases, self-tapes, and showing up professionally at every opportunity.

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What first got you into acting?

My mom was a singer, and so she would perform at local venues and stuff. Sometimes she would have us come on stage with her. I was actually a pretty shy kid, but there was something different about performing. [I said to myself], “‘Oh, I have to do what mom’s doing,’ which is, ‘Don’t get nervous, and don’t be shy, and just do it.’” My mom eventually stopped singing, and I put it aside around middle school age. 

I went to [college] in Austin, at UT. I got my degree in communications, specifically PR, and I just started seeing people actually be artists as they’re in their lives, and going to different improv shows, and there’s music venues everywhere. Upon graduation, I was just not excited about becoming a publicist.

When I was interning, I would sometimes be on commercial sets and think, I want to be that person in front of the camera.

What changed?

I took my first acting class, and I just loved it. I loved being on set. Then I just decided I’m gonna pursue this. I don’t come from money or anything, so I have to support myself. I’ll keep working with a full-time job, and while I’m doing that, I’ll also do theater.

I found a book called Breaking Into Acting for Dummies, and that’s where I learned what a demo reel was and what a casting director was. I knew I could do student films to get footage for my reel, and I need to go do theater so that I can sharpen my skills.

I started doing that, acting any way that I could, wherever I was, and that eventually led me to applying to grad school in New York, and I got my MFA there in acting at the Actors Studio. 

Was there more to your education?

It’s definitely an industry where you can’t do it by yourself. You have to have community and reach out to people and ask questions and just be out there knocking on doors. Whenever I met somebody doing what I wanted to do, I’d invite them for coffee, ask them how they got their start, where they’re going and what they’re doing, and just learning along the way. It’s really been one foot in front of the other.

Why the Actors Studio?

When I started taking acting classes and actually learning the craft of it — Strasberg, Stanislavski, Stella Adler, Meisner, they all originated in New York. That lit a little bit of a match there. It really culminated for me when I saw Al Pacino speak at the Plaza Classic Film Festival in El Paso.

I reached out to an acting teacher that I had in Austin, Amber DuPuy, who gave me a list of schools that she thought I could do well at. One of them was Pace University, and I saw that they had the Actors Studio Drama School. 

Once you got to New York, what was that experience like?

I was focused on my studies. I did a couple of little student films here and there, just to start developing my reel. But that program was very intense. It wasn’t something you could just phone in. You had to immerse yourself, and then I was also working part time. I started to realize that the students doing the best were the ones constantly working.

After class, I was constantly booking studio space so that I can go and take my two-hour block to create different elements of whatever scene I was working on. The method gets misconstrued, but what it’s really about is basically building a house.

You have to have a good foundation. You have to know who your character is, but also building from the outside in, too. You had to put a lot of time into your work, and that’s definitely laid down a foundation for me.

When you finished the program, did you find representation?

Yeah, so I when I graduated, I found that I had to really look within and say, “How bad do you want this?” Because I wasn’t one of the students that got called into a meeting after our showcase. That realization, that everybody was getting calls, and I wasn’t, knocked the wind out of me.

Well? What did you do?

I had to hit the pavement on my own and just figure it out. I bumped into some walls, but it was really just Actors Connection, One on One, The Actor’s Green Room, doing all those things to get to know casting directors, doing showcases.

I did plenty of showcases. I worked full time at a mattress store on East 60th, and that’s how I was able to fund all these different things, but I was able to meet agents and casting directors by doing everything I could.

So it was just always saying yes, anything that got you in front of people, got you on stage, and it might get you in front of the right person who’s going to notice you and put you in something? 

I was called in for FBI for a costar [role] and Jonathan Strauss’ office was casting. [Casting director] Alexis Atkinson was there for my audition, and I got a callback. I didn’t get the part, but I got an email from her asking if I would be interested in working with her.

She’d check out my headshots, my reel, and then we’d work on self tapes together, because at the time I had an agent that I submitted to, and she would get me auditions. It really was just one foot in front of the other.

This person giving me a tip over here, this person over here a referral. I definitely was not shy about asking for help. I feel New York was definitely planting all the seeds.

How did you get the agent?

I had seen that somebody booked a costar [role] on one of those procedural shows. I thought, “Well, I fit that world, because I’ve been called into that world, so let’s see who their agent is.” I submitted to their agent, and she got back to me within minutes. She was looking for my type.

I think that serves as such a good example for anyone who might be reading this, about doing research and pounding the pavement.

Yeah, and sometimes you feel overwhelmed because you’re not sure and think, “Well, what do I do?” It’s not linear. Again, put that foot in front of the other, and then just see what happens. If you’re doing something and it’s right for you, then the door will open, and if it’s not, the door will close, and then you’ll just have to walk down the hall and see if any doors open over there.

There’s no formula where it’s A plus B equals C. I’m still trying to meet more people and knock on more doors, but it’s helpful that now others are willing to go to bat for me with the people that they know, and I think that’s something to really keep in mind, is that when people go to bat for you, you need to be able to show up.

Somebody who’s on time, somebody who does their part, and who’s constantly working on their craft.

Do you still find you think of yourself as a New York actress?

I think I always will. It has community. People were always so open to lend a hand. Just reach out and say, “Hey, why don’t you come to this workshop with me?” Or, “Can you come to this event with me?” So I try to make sure that I pay that forward as well. I think a big aspect of being a New York actor is really desiring and creating community in artistic spaces.

When somebody is your friend in New York, they’re really your friend, and that’s super valuable. And obviously in New York, you can go into a small theater and see amazing work, and I think that’s just something to always strive for, that you’re working at that level, no matter where you’re at.

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The post Acting in New York: What You Need to Know to Succeed appeared first on Casting Networks.

–Jacob Elordi

Jacob Elordi’s recent thoughts on auditioning have gone viral because they cut straight to a fundamental truth about great auditions. So many actors, myself included, have walked into auditions looking for permission, and spend way too much time focused on “being good,” doing it “right,” or trying to give them what “they want.”

Most of which stems from a belief that they have to prove something because they don’t believe what they’re bringing to the table is enough. That’s the trap.
Elordi’s comments hit because they point to the number-one mentality you need to book: the belief that you are the character.

Not that you’re playing them. Not that you’re trying to be them. You are them. If you dig even deeper, the reason that mentality is so magnetic is because underneath it is a quiet certainty that everything you are is not only enough, it’s the entire ballgame.

Key Insights

• The actors who book aren’t suggesting the character, they embody it with complete certainty and conviction.
• Casting responds to specificity and bold choices, not safe, approval-seeking performances.
• The real shift is internal: trusting that what you bring is enough and committing to it fully.

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The Crime Scene Mentality

What Jacob Elordi is describing is captured perfectly in one of the best metaphors I’ve ever heard about auditioning: it’s a crime scene, and casting is trying to figure out who did it. So think of yourself as a suspect … who also has great headshots.

While most actors walk in trying to suggest they might be the one, the actor who books is the one who leaves no shadow of doubt.

And that usually means instead of giving a version of the performance that feels careful, controlled and just slightly held back, they fully immerse themselves in the character. This is done through preparation, embodiment and certainty.

Some of the best audition tapes: Aaron Paul for Breaking Bad, Rachel McAdams for The Notebook and Stephanie Hsu for Everything Everywhere All at Once, weren’t technically perfect. In fact, they stumbled, forgot lines and had rough edges.

But when you watch those tapes, one thing is undeniable: they are the character. They committed the crime.

Kicking the Door Down Politely

So the question then becomes, “How do we actually do this?” The answer: be Jacob Elordi. Just kidding. Let’s focus on another key part of what Elordi’s teacher said, which was to “kick the door down politely.” Of course, they didn’t mean that literally, which is great, because actors aren’t that good at violence.

What they did mean was to metaphorically kick the door down by making strong, bold choices in a confident, relaxed manner that says, “This is who the character is.” What those choices look like will vary depending on the role and the actor, but they can include:

• Making a specific point of view about the scene.
• Committing to a clear emotional tone instead of playing it safe.
• Making a lived-in choice vs. a static one. (Examples include answering the question:   “What was the character doing right before this, and what are they doing right after?”)
• Playing a distinct relationship dynamic with the other character that they might not even know about. 
• Even something as simple as deciding where your character holds tension in their body and letting that inform how they move and speak.

You don’t need to do any of these specific things, but as long as whatever you do is delivered with an energy of not needing approval and an embodied sense of certainty, it’s going to land far better than, “Is this okay?” or “Hey, do you guys like me?”

A friend of mine who does a lot of improv, books all the time, and consistently makes big choices in auditions once said to me, “Dude, they don’t even know what they want. It’s your job to show them.” And that really is the job: to make such a clear impression that they realize you are the one they’ve been looking for.

Another actor friend of mine once said you should be able to watch an audition with the sound off and still have a clear sense of what’s happening in the scene. That’s how embodied and powerful a great audition can be.

It’s fair to say that in commercials there might be more latitude for experimentation, but that doesn’t mean you should limit yourself in TV and film. If anything, that’s where bold, specific choices matter even more, especially since so many other actors are preoccupied with sticking to a safe, traditional read of the material.

The Shift 

I want to fully acknowledge that auditioning can be extremely hard. It’s very easy for me to sit here and talk about certainty and confidence like it’s something you can just flip on and off, but it doesn’t always work that way. Sometimes your nerves show up, and sometimes old patterns take over. That’s okay, because it’s all part of it.

But the more you shift toward making proactive choices, toward embodiment, and toward committing to what you believe is right for the character and for yourself as an actor, the easier it becomes.

And this isn’t just useful for acting, it’s beneficial for your whole life. At the very least, you get to walk out knowing you went for it and didn’t hold back. You put yourself out there. You didn’t ask. You showed them that you committed the crime.

The post What Jacob Elordi Gets Right About Booking Roles appeared first on Casting Networks.

They’re like a storm chaser in tornado season, running toward chaos while everyone else is trying to control it. Put a good comedian in a scene and they’ll find something real and authentic, even if they didn’t plan to.

Key Insights

• Comedians thrive in auditions because they’re trained to stay present, adapt quickly, and create authentic moments under pressure.
• Their instinct to personalize material and play with rhythm makes performances feel natural rather than overly rehearsed.
• A high tolerance for risk and failure allows comedians to make bold, memorable choices that set them apart.

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While traditional acting training emphasizes preparation, analysis, embodiment and repetition, comedians are trained in something else entirely: total presence. A live comedic performer knows what it’s like to jump without a safety net, adjust when things go wrong, and be 100 percent comfortable creating something in the moment.

They’re also used to working through distractions. When you’ve told jokes over people ordering their two-drink minimum on a weird first date, or a Tuesday night where no one wants to be there, a little audition chaos isn’t going to throw you off.

Before we go any farther, it’s also important to say that comedians aren’t perfect, and can certainly stand to learn from traditional acting approaches. That’s because comedians can sometimes treat auditions like a stand-up set; chasing punchlines, going too big, or waiting for laughs from two exhausted casting directors sitting behind a tiny table while looking at headshots. 

When I first started auditioning, I thought the reason I wasn’t booking was because I needed to say my lines louder. That was my entire strategy: just add volume. I was like, “You know what this audition needs? More yelling.” I don’t know if you’ve ever seen someone yell their way through a Burger King audition, but I can confirm, it doesn’t help.

Making It Their Own

One of the greatest advantages comedians bring into an audition is their ability to make the material feel like their own. Comedians aren’t afraid to adjust phrasing, shift intonation and play with the rhythm of a scene instead of locking into one “correct” way to do it.

This also means not being overly precious or completely glued to the script, which can make auditions feel robotic or automated. Comedians add life by respecting the writing while still exploring the edges of it. They often do this by adding buttons and tags, those small, original moments that give a character a unique voice or perspective.

The best time to do this is typically at the end of a scene, where a subtle look, a throwaway line or a slightly unexpected reaction can elevate the moment and make it more memorable. This doesn’t have to be limited to broad comedy either. It can work just as effectively in a more grounded way in dramas.

Telling the Truth

No matter what your training is, the goal of any great scene is to tell the truth. Fortunately, comedians are some of the best BS detectors out there. Because of their acute and often skeptical perspective, they’re able to quickly pick up on what feels real and what doesn’t.

That instinct helps them cut through surface-level choices and tap into the underlying truth and subtext of a scene. For example, in a scene where a couple is fighting over the bill at a restaurant, a comedian will usually clock what’s really going on immediately: “She doesn’t care about the bill, she just wants to leave this guy. And honestly… who can blame her? He’s wearing jorts.”

Everything Is a Punchline

Comedians also know that all performances build to a payoff. So even if material is dense, heavy or extremely dramatic, they understand the importance of building to moments that lead to a big payoff. In the same way you lean into the setup of tension in a joke, this allows you to trust the tension in the build of a scene.

This training is massively important because it allows you to know when to really turn up the intensity or dial it back. They also understand timing, so they tend to know the ideal time to do this.

Being Ok With Failure/Risk

This is arguably the most important. As a comedian, bombing isn’t optional. It’s a rite of passage. Every comedian (especially stand-ups) has experienced silence louder than a tumbleweed. But, they kept going anyway.

And because of that, comedians tend to have a higher tolerance for risk, and for stepping into unknown territory in auditions and scenes.

In acting, that might look like:

• Trying a totally wild and different angle in a scene
• Letting a moment breathe longer than expected
• Making a bold or unexpected choice
• Stepping outside the material, either by changing it or going someplace no one else would. 

This willingness to take these risks can completely separate you from other actors, and at the very least, you’ll feel more alive and actually have fun, which is kind of the whole point anyway.

The post How Comedians Approach Acting Differently and Why It Works appeared first on Casting Networks.

While production is currently underway in both London and Kansas City, actor Karen Johal, who plays the role of Nicole Shelley in season 3, reflects on her experiences, from filming with the cast and crew to being directed by Jason Sudeikis, to why her collaborative relationship with casting director Theo Park has changed the way she approaches auditioning.

Key Insights

• Be adaptable. Rehearsals can take place right before filming on set, so be open to trying new things.
• Auditioning is part of the work, so have fun and make bold choices while bringing yourself to the character.
• Be familiar with the television series you’re being seen for. It will help you understand the tone of the script and what casting might be looking for.

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From Self-Tape to Screen

The character description was brief, but I remember it was something like “smart, clearly successful and dotes on her brother.” It was a weird coincidence at the time, because I had just finished watching the first two seasons. I remember thinking it must be such a fun show to work on. It’s so endearing and funny, without leaning too much toward one or the other.

Every scene has a purpose in the overall framework, which is why it’s so popular. Ted Lasso is optimistic and sentimental at the core, but it’s also realistic and grounded.

For the self tape, understanding the tone of the show made things easier for me. I could use what I already knew about Nate’s character: what he might need from his sister, what kind of relationship they have, and how it affects him and the things he does. I have two younger brothers and there’s always been an underlying playful nature between us.

I made choices for Nicole from a place of truth. Even if the script has a serious tone, giving it an underscore just lifts it off the page. Understandably, we can get overwhelmed by everything we have to do for a self tape. It feels like we have one chance to put everything we are into an audition. So there’s a very real pressure to present.

Especially for something like Ted Lasso, it’s a huge show! I didn’t want to waste energy trying to make a cinematically beautiful self tape, offering a version that wasn’t real. So I kept it simple: good lighting, plain backdrop and a good reader (which was me). 

The thing about this audition specifically, was that I remember having so much fun. I trusted myself, I relaxed into the process because I’d done the work. Decentering perfection, working freely, making choices and focusing on the relationship between these two siblings.

I booked the role off one self tape, so I think leaning into the enjoyment of the work really resonated. 

Working as a Team

Working on Ted Lasso has now changed the way I approach auditions. The casting process was incredibly collaborative and I felt so supported. Theo Park and the entire casting team have always been so wonderful to work with, but they also offered a sense of validation I hadn’t had before. Feeling valued every time I go into their London office or self tape for them has elevated my work, and has given me that extra assurance.

The unseen work that casting directors do for us, makes me feel a part of a team. So this alleviates the pressure of auditioning and softens the blow of rejection. I get called in to work, then the casting team does their part and we all have a hand in the process. Even if I don’t book the role, I know that I have done my part and I have to trust that it is enough. Even when I don’t hear back or get the outcome I want.

Something that has always stuck out to me, about the conversations that can happen when we’re not in the room, is how Nick Mohammed was cast. He originally auditioned for Higgins and it was Theo Park who convinced him to re-submit for Nate. The fact that they knew he was meant to be in this show, and didn’t let him go, really affirms the constant advocacy that the casting team are doing on our behalf.

Be Open and Adaptable

As directors, Jason Sudeikis and Matt Lipsey created an open and welcoming rehearsal process for season 3. I’d arrived with my character preparation done and anticipated using all the typical acting techniques and tools. While, yes that was needed, it actually ended up being a space for creative inspiration to thrive. If things were changed in the script or ideas came up at that moment, they were presented as offerings. So the work felt naturally guided by uplifting the heart of the show.

I remember Jason specifically asked me if I watched the show, which of course I had, and he wanted to play with an idea that there is a sibling trait shared between Nate and Nicole that we’d be able to recall from previous seasons. So it was added in and really fun to play with. I really love working with directors who think about those moments, even if they aren’t overly obvious to an audience. It adds weight to the work.

The cast and crew had this symbiotic relationship, too. Everyone was lovely and they were incredible to work with. When there are so many components on a big set, it’s easy to feel out of sync, but my experience was faultless. From working with Nicky Austin in hair and makeup to Jacky Levy, our amazing costume designer. Everyone seemed to share the same temperament —  it’s the calmest set environment I’ve ever worked in. I also had the best french toast of my life on my first day! 

“I Believe in Hope”

The fourth season follows Ted coaching a women’s second division football team, and while I can’t say what that means for my character, the decision to take the narrative in this direction is about more than just continuing Ted’s story. In England in 1952, women were banned from playing football for 50 years. So I know that this season will not only platform the women’s game, but it will teach us to reflect on the limited views held about women’s sports in general.

Production has integrated football throughout all the seasons. Filming at Selhurst Park Stadium, home to the Premier League team Crystal Palace FC, included authentic gameplay, casting real people who play the sport, and working with specialized VFX to recreate the atmosphere of Premier League games. [There was also the] Colin Hughes storyline where he came out to his teammates, positively representing the LGBTQ+ community in media and sports. 

That’s what I love about the show. Football is woven into the story, but it teaches us so much more about having compassion for each other. Sports show us the extreme highs and lows and how to deepen our understanding for one another.

I hope that Nicole shows up somewhere in the future, maybe as a lawyer for the women’s club or watching her brother manage a Premier League team again. Whatever happens, I hope that people continue to enjoy watching the show and learning from it. I know I will.

The post How I Got Cast on ‘Ted Lasso’ and the Audition Mindset Every Actor Needs to Book the Job appeared first on Casting Networks.

It can feel so taxing that at a certain point, it can almost feel like your job has become that of a professional waiter, not an actor. But here comes a whole lot of great news: the solution to all this waiting has never been simpler…cast yourself.

Key Insights

• Stop waiting for permission and start creating your own opportunities, even if it begins with something small like a self-shot scene.
• Casting yourself gives you creative control and lets you showcase your talent exactly how you want it seen.
• Build roles around what excites you most, because authentic work is what ultimately draws attention from the industry.

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How I Cast Myself in Death Is Normal

About five years ago, I wrote a pilot called Death Is Normal, a dystopian dramedy. It was, and still is, my dream TV series. My manager and I took it out to a few production companies and got almost exactly the same feedback at every place, “We love it, do you know Ryan Gosling?” No, I am like many people, in that they wish they knew Ryan Gosling. And if you’re reading this, and you do, call me.

So for a year or two, the project was temporarily stalled out, and just sort of sat there. It was then that I was faced with a clear choice: take more meetings where I would likely get the same feedback, OR stalk Ryan Gosling. Just kidding.

Get the money to shoot the pilot myself. In many ways, this was the harder road. However, it came with the incredible benefit of me having the final say on all production choices. Including, most importantly … you guessed it, who gets to play the lead.

We ended up getting an absolutely incredible cast including Cristo Fernández, Lauren Adams, Arturo Castro, Cassandra Blair, Matthew Moy and Kody Kavitha to name a few, and I got to cast myself as the main character. 

The benefits of going this route far exceeded anything I could have even anticipated. Because when you cast yourself, it’s not about the spotlight of being the lead, but about having a huge say in the massive creative direction of all the characters, including and especially the one you’re playing.

And remember, since you most likely wrote the material, no one will know the script or the scene better than you because it’s lived in your mind more than anyone else’s. Now you get to translate those images into real life and onto the screen.

Stop Waiting for Permission

If you’re reading this and thinking, “OK, but this sounds like a lot of work. How do I even start?” The answer is … just start. There’s no magical moment when the “right time” will come where everything aligns and then you will finally cast yourself for something you really want to do.

And the incredible news is that there has never been a better time to make your own content. If you’re concerned that production costs are too high, then start by filming a sketch on your phone or a great character that you always want to play.

If you’re looking to do something more long form or dramatic, you can assemble a scrappy crew and shoot a few scenes, because there are tons of people in the industry who want to gain experience and would benefit from working on your project.

I promise you will never regret making a piece of content in any form if you stick to your vision and execute at the level you know you’re capable of.

If you’re still unsure, remember you’re an actor. You’re taking massive creative risks every day (which probably include making your parents nervous) by auditioning, putting yourself out there, taking classes, so this is just going one step further.

Build Roles Around What You Actually Want To Do

The last key element is if you are going to cast yourself and shoot something that you wrote, make sure it’s something that you really want to do. Since you have total creative freedom here, use this space as an infinite creative canvas with no rules.

Remember, you don’t have to answer to network notes, producers (because you probably already are one), or outside economic interests that want to have a say in what you make.

You get to really go for it, and showcase your brilliance that the world desperately needs. And by doing so, you will stand out, and now the industry has a chance to come to you. And best of all, you didn’t wait a single minute.

Brendan Fitzgibbons is an LA-based comedian, writer and actor whose work has appeared on Comedy Central, TBS, MTV, SXSW, The Onion and HuffPost. His new comedy special, I Am the Resistance, is available on Apple TV. His new TV pilot, Death is Normal, is an official selection at SeriesFest in Denver.

The post Stop Waiting to Be Cast: Create Your Own Roles and Make The Industry Notice appeared first on Casting Networks.

Actors often have demanding and unpredictable schedules, and the “starving artist” trope survives for a reason, with many artists living paycheck to paycheck, or not far beyond. Besides which, being an actor is expensive: headshots, casting breakdown services, reel edits, self-tape equipment, and the list goes on. Why not add one more expense and tack on acting classes? 

Key Insights

• Treat acting like a muscle. Regular training keeps you ready so you’re not scrambling to “get ready” when opportunity hits.
• Explore multiple techniques and teachers to expand your range and avoid getting stuck in a single creative lens.
• Use low-pressure learning environments to take risks, fail safely, and reconnect with the joy that fuels long-term success.

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Particularly post-college or conservatory, young actors might understandably feel they have invested enough into their artistic education, and pay-to-play opportunities offering exposure do little to instill trust in the community. But while there certainly can be predatory institutions, continuing to invest in your acting education is one of the most important things you can do for the quality and longevity of your career.

There is always more to learn. Developing new skills, working new techniques, and learning how to learn from different instructors, all make you more hireable as an actor. Stanislavski is not the only acting technique out there. The more you try, the better informed you are on what methods help you access what you need. 

Acting is like any other muscle. It must be worked to remain strong. Continuing training makes the difference between getting ready, versus staying ready. The more consistently you work off-set, the quicker you’ll be able to adapt to new directors, new teams and new ways of working. And the faster you are able to spring into action, the more likely you are to be hired again. 

The more artists you learn from, the better. Collaborating with new artists, taking classes at different studios and learning from a variety of coaches keeps you well rounded. If there is only one voice in your head, you’re limiting your perspective, something any actor should be keen to avoid. 

Beyond the skills you acquire, intentionally studying and working on your craft when it’s free from the pressures of being hired is a wonderful way to rekindle the joy in your work. It gives you the freedom to practice taking real risks, and to fail without fear of professional consequence.

It allows you to stretch in ways you might not be afforded the opportunity to do in the fast-paced world of film and theater. Moreover, it’s a good way to keep checking in with yourself. If you stop loving the learning of your craft, you have lost love for the craft itself.

Remember, training and professional development can look different as your career evolves. Traditional acting classes can be wonderful, but they are not the only way to learn, and not all lessons come with a price tag. Collaborating with more experienced artists, taking on jobs that demand you learn new skills, reading books on acting, studying media and working with artists from other cities and countries are all experiences that can shape your growth as an artist.

Knowing yourself as a student will help guide you to the kind of training that works best for you.

The post Train Like You’re Already Booked: Why Consistent Practice Keeps Actors Working appeared first on Casting Networks.

Key Insights

• Sustaining a long-running role requires both creative renewal and a reliable off-duty routine that supports physical and emotional stamina.
• Recognizing personal patterns of burnout or stagnation helps actors prepare for the moments when a performance starts to feel routine.
• Reconnecting with inspiration, revising goals, and collaborating with castmates can help keep performances dynamic over time.

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Build an “Off-Duty” Routine

Physical health and stamina are a huge part of sustaining long-running roles in demanding schedules. Finding consistency and structure for nutrition, sleep, workouts and mental rejuvenation will be your foundation. When you’re in the midst of rehearsals and long days of filming or performance, these things can fall by the wayside. Find the structure that best supports you–identify your (likely limited) windows of time and assess whether they need to be delegated to rest, preparation, exercise, etc. What can you outsource or delegate? What are your weaker areas and how can you set yourself up for success? Don’t forget to include emotional respite and connection with friends and family. You won’t always have time for all of them, but if you have a structured plan to fall back on, it will be easier to sustain for months or years of artistic output.   

Identify Your Patterns

Forewarned is forearmed. Once you’ve been in the game for a while, you’ll start to notice patterns. Maybe you always hit a creative wall in the fourth week of a run, or don’t know how to keep your character nuanced after two seasons. Or perhaps you notice that your home routine supports you, but falls apart after a couple of months, leaving you scrambling. Knowing what derails or stalls your creativity will help you plan for those times when you don’t have many spoons to spare. 

Re-Connect to Inspiration

If you’re feeling stuck artistically, maybe it’s time to remember what drew you to the role in the first place. What excites you about your character? What intimidates you? If your choices are starting to feel safe and predictable, it’s time to take risks. Re-invigorating your passion for the story can help rev the engines. Maybe it’s time to re-read source material, or revisit someone else’s performance from which you draw inspiration. 

Constantly Revise Your Goals

A great gift of acting is that there is always more to be done. Shifting focus can shake things loose and open new opportunities for development and play. Changing tactics is a good start, as it allows for play within the structure of the scene you have built with your collaborators.  The only caveat is that any changes to your performance must still be in line with the director’s wishes, and any significant changes should be discussed with the director and your scene partners. Subtler changes in your goals can keep it fresh as well. “Today, I will focus on listening to and being more present with my scene partner.” 

Enlist the Help of Your Classmates

Reconnecting with your scene partners might be just what gets the creative juices flowing. Collaborate together to reinvigorate relationship dynamics, or attempt different tactics in a stale scene. Improvising a scene on your own time is a great way to discover fresh nuances to your scenes. Even inviting conversation can be helpful. “Hey, I’m struggling with the stakes at the top of this scene–can we talk about our characters’ relationship coming into this?”

Building stamina for long-running roles is a multi-tiered endeavor, and one that will need to be revisited and revised regularly. But getting to plumb the depths of your character again and again is more than worth the challenge.

Key Takeaways

• Long-running roles stay fresh when actors build habits that support both endurance and artistic flexibility.
• Small creative adjustments, like shifting goals or tactics, can prevent a performance from becoming predictable.
• Maintaining open communication with scene partners and directors is key to refreshing a role while staying aligned with the production.

The post From Routine to Renewal: How Actors Can Keep Long-Running Roles Fresh appeared first on Casting Networks.

Key Insights

• Professional relationships often open doors, as many Dark Winds cast members landed roles through years of collaboration and industry connections.
• Preparation remains a defining factor in booking work, with actors emphasizing memorization, training and arriving fully ready for auditions.
• Casting Indigenous talent can require creative approaches, including discovering new performers directly from Native communities.

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Native American actor Zahn McClarnon stars as veteran tribal police lieutenant Leaphorn, with Kiowa Gordon as undercover FBI agent-turned-deputy Chee, and Jessica Matten as tribal police sergeant Manuelito. This season, the trio moves from the Navajo Nation to the gritty streets of 1970s Los Angeles to find a missing Navajo girl before an obsessive killer does.

McClarnon is also an executive producer alongside a notable list of EPs, such as George R.R. Martin, the late Robert Redford, director Chris Eyre and Hillerman’s novelist daughter Anne Hillerman. 

Casting Networks had the opportunity to spend time with the trio to talk about casting. McClarnon, who is very much involved in the casting process, explained that the show works with casting director Rene Haynes (Killers of the Flower Moon) in Los Angeles and Jennifer Schwalenberg (Rez Ball), who does the local casting in Santa Fe, New Mexico. Both, he noted, have extensive experience with Native talent and have been invaluable to the series. 

Finding talent within the Native community can be challenging, McClarnon acknowledged, saying that production aims to hire Indigenous actors, specifically Diné (Navajo), but that has presented its share of difficulties. “There’s not a big pool of native talent out there,” he noted.

Due to those limitations, production has at times cast Native non-actors from the reservations. Sometimes that means limited exposure to acting classes and on-set experience, but it can also yield some genuine surprises.  

“It can be difficult to do, but we’ve been successful at it, and found some on the reservations, especially the young kids,” McClarnon offered, adding that younger actors can be refreshingly unencumbered. “I think kids have a lot more freedom and allow themselves to play a lot more,” he continued. 

McClarnon recalled a young actor in season 3 who really impressed him. The boy arrived to set with his parents and shared a scene with McClarnon. “He was an amazing kid to work with. He was just a natural at it, and he had fun on set, and he enjoyed the process. There was a freedom to him. That was amazing to me.”

Gordon’s path to Dark Winds involved a traditional audition, aided by relationships built over the years. The actor first met showrunner Eyre at an Indigenous film festival, where Eyre told him about a project in the works involving George R.R. Martin. Months later, the LA-based Gordon was invited to audition; he went to Hot Shots Self Taping in Studio City, California, to put a scene on tape.

After subsequently booking an episode on Reservation Dogs and shooting in Oklahoma, he learned that an offer for Dark Winds would be coming. It also didn’t hurt that Gordon had previously worked with McClarnon on two Jason Momoa-led series, Frontier and The Red Road. 

“It’s always tough to get a series regular gig as an actor,” he said. “I probably wouldn’t have got this job if I didn’t meet Chris Aaron [at that film festival] or if I didn’t [previously] work with Zahn.” 

Matten, who also worked with McClarnon and Gordon on Frontier, equally stresses the importance of professional relationships. “The three of us had worked together before, and had known each other for a decade prior, so people pay attention to that,” she pointed out. 

She echoes McClarnon’s view on the limited Native pool in casting and what that means for an actor’s reputation.

“Our Indian country is small, so we kind of all know each other, and our reputation does matter,” she emphasized. “Are you prepped? Are you going to create drama? You really have to be a professional and understand that there’s an entire business working around this and that it’s not about just you as the actor. You are a puzzle piece in this very diverse, gigantic production. I think you will extend the chances of your career in this business if you come at it from a business point of view and understand that it really is a team effort.”

Matten, who landed her Dark Winds role “after a second taping on my broken ring light,” also states that auditioning can often be harder simply because she’s a woman, which is why she believes female actors must always bring their A game.  

“You’re not necessarily competing against other women,” she observed. “If you think about it, you are literally trying to prove your position on a male-dominated, male-written show. That’s just historically how it’s gone.”

Despite a resume that includes lead roles and producer credits, Matten reveals she typically gets only five auditions a year. Which means when those do come up, she arrives fully prepared, lines memorized, and no script in hand. 

“I know they say ‘hold your sides’ and read off it, but everything I’ve booked has been off being super prepped, and being completely off book,” she stated. 

McClarnon underscores the value of preparation for any actor, and credits it in part to his own success.

“I studied my butt off,” he revealed. “I moved to Los Angeles and dedicated my whole life to acting and being in class three or four times a week sometimes, and continuing to do that. I embedded myself in the career.”

Key Takeaways

• Build and maintain genuine relationships across the industry because collaborations often circle back years later.
• Treat every audition like a rare opportunity by preparing thoroughly and arriving completely off-book whenever possible.
• Approach acting as both an art and a business by maintaining professionalism, protecting your reputation and committing to ongoing training.

The post What ‘Dark Winds’ Teaches Actors About Preparation and Building the Right Relationships appeared first on Casting Networks.