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{
"id": "https://www.castingnetworks.com/?p=334493",
"url": "https://www.castingnetworks.com/news/film-set-etiquette-what-actors-need-to-know-advice/",
"title": "Film Set Etiquette: What Actors Need to Know Before Their First Day on Set",
"content_html": "\n
As an actor, your reputation makes its way into a casting director\u2019s office before you\u2019ve even auditioned.
\n\n\n\n
Through production and right up until you\u2019ve wrapped, cast and crew will notice how you behaved, how you treated people, and how easy or difficult you were to work with.
\n\n\n\n
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\u2019s so important to establish a strong working relationship with casting directors.
\n\n\n\n
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\u2019s Brum followed by roles in the BBC\u2019s Red Rose, Dexter Procter: The Ten-Year-Old Doctor and BBC Radio\u2019s The Archers. In his first feature film, he played Astrid\u2019s Doctor, working opposite Jenna Ortega, Catherine O\u2019Hara, Danny DeVito and Michael Keaton in Beetlejuice Beetlejuice.
\n\n\n\n
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.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Casting directors will often hear feedback from production about you, both positive and negative. Each project helps create a professional record.
\n\n\n\n
Set etiquette can mean different rules, depending on the type of role you\u2019ve booked. Understanding where you fit into the hierarchy can help you know what is expected, before you get to set.
\n\n\n\n
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.
Why Film Set Etiquette Starts Before You Arrive on Set
\n\n\n\n
Your reputation from the perspective of production starts to build from the moment you audition, and you\u2019re 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.
\n\n\n\n
Understanding film set etiquette begins with understanding what is expected from you, even at the audition stage. \u201cWith an audition, self tape or recall, obviously you\u2019d want to give a good account of yourself and your talent,\u201d Rupi says.
\n\n\n\n
\u201cThe main thing to think about is, what do you bring to the role that\u2019s 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.\u201d
\n\n\n\n
Start planting the seeds of your professional record early. This way a cohesive experience of what it\u2019s like to work with you can be traced throughout the process, from audition to production. Rupi described working with Tim Burton as \u201ca dream come true,\u201d with the feedback being instantaneous.
\n\n\n\n
He felt like he was appreciated, from being greeted with a smile and a \u201cHey Doc!\u201d 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.
\n\n\n\n
The Hierarchy on Set and Why Actors Need to Understand It
\n\n\n\n
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\u2019s specific roles might differ in terms of proximity, you should be treating everyone with the same level of respect.
\n\n\n\n
An AD might run the floor, so they are your primary point of contact, but this shouldn\u2019t mean that your professionalism is dialed up for them and lapses for the key grip.
\n\n\n\n
According to Rupi, \u201cThis 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.\u201d
\n\n\n\n
Until he got to the set of Beetlejuice Beetlejuice, Rupi had never worked on a feature film, but that didn\u2019t seem to matter to director Tim Burton in terms of respect.
\n\n\n\n
\u201cTim was brilliant with me, really nice and made things super clear. I don\u2019t know if he knew it was my first-ever feature film, but I never felt like it was an issue.\u201d
\n\n\n\n
You might feel out of your depth, especially if it\u2019s 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.
\n\n\n\n
Etiquette Rules by Role: Background, Day Player and Principal
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
Union vs. Non-Union Sets: Different Rules, Different Stakes
\n\n\n\n
SAG-AFTRA sets have specific contractual protocols, and these can include meal penalties, designated rest or holding areas, and turnaround rules. It\u2019s important to know these rules and inform production if you\u2019re unsure about anything.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
What Casting Directors Actually Hear Back From Productions
\n\n\n\n
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.
\n\n\n\n
Avoid any behavior that you know you shouldn’t be engaging in, especially on set where there are eyes everywhere. Rupi has \u201cseen 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\u2019m aware your phone should be kept in your dressing room at all times, and mine always is.\u2019\u201d
\n\n\n\n
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\u2019t just about his talent, but how he held himself to account in a high-stakes environment by being reliable and pleasant to be around.
\n\n\n\n
The Consequences Gap: What Actually Happens When You Break These Rules
\n\n\n\n
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\u2019t recover and repair your working relationships.
\n\n\n\n
If you\u2019ve 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.
\n\n\n\n
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.
\n\n\n\n
Practical Pre-Set Checklist: What to Do Before You Walk on a Film Set
\n\n\n\n
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:
\n\n\n\n
\n
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.
\n\n\n\n
Go over your sides, and check the call sheet for the shot list so you know when you\u2019ll be filming your scenes. Check to see if it\u2019s before or after lunch, and plan wisely.
\n\n\n\n
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.
\n\n\n\n
Check the call sheet for the contact names/information for the actors you\u2019ll be working with, the director, assistant director and production assistant.
\n\n\n\n
Pack a bag with essentials like water, snacks, reading or activities for downtime, comfy shoes or clothes to wear in between setups.
\n\n\n\n
Practice digital hygiene. Keep your phone off or silenced, don\u2019t use social media, no posting on set or photography.
\n
\n\n\n\n
Rupi cleverly refers to these steps as \u201cdoing the things that require no talent.\u201d 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.
\n\n\n\n
Think about every appearance as part of your audition for a casting director\u2019s future submission. While it can be daunting to step on set for the first time, it’s also an environment filled with support.
\n\n\n\n
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.
\n\n\n\n
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 (\u201cthe sooner the better\u201d), and be known as an actor that takes your on-set presence seriously.
\n\n\n\n
As a lifelong fan of the Batman films who got to work with director Tim Burton, Rupi shares, \u201cKnow your worth, your capabilities, what you\u2019re after and go for it!\u201d Keep striving toward an immaculate professional record, you never know when, or how it\u2019ll pay off.
\n",
"content_text": "As an actor, your reputation makes its way into a casting director\u2019s office before you\u2019ve even auditioned. \n\n\n\nThrough production and right up until you\u2019ve wrapped, cast and crew will notice how you behaved, how you treated people, and how easy or difficult you were to work with.\n\n\n\nWe 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\u2019s so important to establish a strong working relationship with casting directors.\n\n\n\nActing since the age of seven, Rupi graduated from The Rose Bruford Drama School in the U.K. His television debut was in the CBBC\u2019s Brum followed by roles in the BBC\u2019s Red Rose, Dexter Procter: The Ten-Year-Old Doctor and BBC Radio\u2019s The Archers. In his first feature film, he played Astrid\u2019s Doctor, working opposite Jenna Ortega, Catherine O\u2019Hara, Danny DeVito and Michael Keaton in Beetlejuice Beetlejuice. \n\n\n\nFilm 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.\n\n\n\nKey Insights\n\n\n\n\nCasting directors will often hear feedback from production about you, both positive and negative. Each project helps create a professional record.\n\n\n\nSet etiquette can mean different rules, depending on the type of role you\u2019ve booked. Understanding where you fit into the hierarchy can help you know what is expected, before you get to set.\n\n\n\nPrepare 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.\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\nWhy Film Set Etiquette Starts Before You Arrive on Set\n\n\n\nYour reputation from the perspective of production starts to build from the moment you audition, and you\u2019re 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. \n\n\n\nUnderstanding film set etiquette begins with understanding what is expected from you, even at the audition stage. \u201cWith an audition, self tape or recall, obviously you\u2019d want to give a good account of yourself and your talent,\u201d Rupi says.\n\n\n\n\u201cThe main thing to think about is, what do you bring to the role that\u2019s 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.\u201d \n\n\n\nStart planting the seeds of your professional record early. This way a cohesive experience of what it\u2019s like to work with you can be traced throughout the process, from audition to production. Rupi described working with Tim Burton as \u201ca dream come true,\u201d with the feedback being instantaneous. \n\n\n\nHe felt like he was appreciated, from being greeted with a smile and a \u201cHey Doc!\u201d 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.\n\n\n\nThe Hierarchy on Set and Why Actors Need to Understand It\n\n\n\nWhile 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\u2019s specific roles might differ in terms of proximity, you should be treating everyone with the same level of respect.\n\n\n\nAn AD might run the floor, so they are your primary point of contact, but this shouldn\u2019t mean that your professionalism is dialed up for them and lapses for the key grip. \n\n\n\nAccording to Rupi, \u201cThis 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.\u201d \n\n\n\nUntil he got to the set of Beetlejuice Beetlejuice, Rupi had never worked on a feature film, but that didn\u2019t seem to matter to director Tim Burton in terms of respect. \n\n\n\n\u201cTim was brilliant with me, really nice and made things super clear. I don\u2019t know if he knew it was my first-ever feature film, but I never felt like it was an issue.\u201d\n\n\n\nYou might feel out of your depth, especially if it\u2019s 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.\n\n\n\nEtiquette Rules by Role: Background, Day Player and Principal\n\n\n\nA 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. \n\n\n\nDay 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.\n\n\n\nUnion vs. Non-Union Sets: Different Rules, Different Stakes\n\n\n\nSAG-AFTRA sets have specific contractual protocols, and these can include meal penalties, designated rest or holding areas, and turnaround rules. It\u2019s important to know these rules and inform production if you\u2019re unsure about anything. \n\n\n\nWhile 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. \n\n\n\nActors 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. \n\n\n\nWhat Casting Directors Actually Hear Back From Productions\n\n\n\nBeing 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.\n\n\n\nAvoid any behavior that you know you shouldn’t be engaging in, especially on set where there are eyes everywhere. Rupi has \u201cseen 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\u2019m aware your phone should be kept in your dressing room at all times, and mine always is.\u2019\u201d \n\n\n\nRupi has since established a strong working relationship with the highly talented and well-respected casting director Sophie Holland. The conversations happening about him aren\u2019t just about his talent, but how he held himself to account in a high-stakes environment by being reliable and pleasant to be around.\n\n\n\nThe Consequences Gap: What Actually Happens When You Break These Rules\n\n\n\nWhat 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\u2019t recover and repair your working relationships.\n\n\n\nIf you\u2019ve 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.\n\n\n\nFor 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. \n\n\n\nPractical Pre-Set Checklist: What to Do Before You Walk on a Film Set\n\n\n\nThe 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:\n\n\n\n\nCheck your call time, confirm your pick up, and arrive 5 to 10 minutes before if you can to give yourself time to settle in.\n\n\n\nGo over your sides, and check the call sheet for the shot list so you know when you\u2019ll be filming your scenes. Check to see if it\u2019s before or after lunch, and plan wisely.\n\n\n\nCheck 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.\n\n\n\nCheck the call sheet for the contact names/information for the actors you\u2019ll be working with, the director, assistant director and production assistant.\n\n\n\nPack a bag with essentials like water, snacks, reading or activities for downtime, comfy shoes or clothes to wear in between setups.\n\n\n\nPractice digital hygiene. Keep your phone off or silenced, don\u2019t use social media, no posting on set or photography.\n\n\n\n\nRupi cleverly refers to these steps as \u201cdoing the things that require no talent.\u201d 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.\n\n\n\nThink about every appearance as part of your audition for a casting director\u2019s future submission. While it can be daunting to step on set for the first time, it’s also an environment filled with support. \n\n\n\nAsk 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.\n\n\n\nBuild 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 (\u201cthe sooner the better\u201d), and be known as an actor that takes your on-set presence seriously.\n\n\n\nAs a lifelong fan of the Batman films who got to work with director Tim Burton, Rupi shares, \u201cKnow your worth, your capabilities, what you\u2019re after and go for it!\u201d Keep striving toward an immaculate professional record, you never know when, or how it\u2019ll pay off.\n\n\n\n\n\n\n\nWant to start working on film sets?\n\n\n\nExplore current:\n\n\n\n\nFeature Film Casting Calls\n\n\n\nDocumentary Job Opportunities in Los Angeles\n\n\n\nAuditions for Extras\n\n\n\nShort Film Acting Jobs\n\nThe post Film Set Etiquette: What Actors Need to Know Before Their First Day on Set appeared first on Casting Networks.",
"date_published": "2026-06-04T09:30:00-07:00",
"date_modified": "2026-06-03T15:33:07-07:00",
"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-518599300.jpg",
"tags": [
"Acting Advice",
"Actors",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=332549",
"url": "https://www.castingnetworks.com/news/miss-you-love-you-allison-janney-andrew-rannells-hbo-interview/",
"title": "How Allison Janney and Andrew Rannells Prepared Like Theater Actors to Master Long-Take Film Scenes",
"content_html": "\n
For Miss You, Love You, the upcoming HBO Original film from Academy Award-winning writer-director Jim Rash, the casting process didn’t begin with a breakdown or a nationwide search.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
Key Insights
\n\n\n\n
\n
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.
\n\n\n\n
Silence and physical behavior often communicate more than dialogue, and strong directors know when to trust actors enough to remove unnecessary lines.
\n\n\n\n
Long-term industry relationships and artistic alignment can influence casting just as much as traditional auditions or formal searches.
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\u2019t know a single family member. Rash thought it was an interesting lens to build a story from.
\n\n\n\n
\u201cI started crafting the story of Diane based on little things from my own life, and then Jamie is a lot of me,\u201d confessed Rash. \u201cWriting is therapy. You pull from what you know, and then, of course, the actors elevate it and make it their own.\u201d
\n\n\n\n
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.
\n\n\n\n
Rash previously worked with Janney on the 2013 film The Way Way Back, which he co-wrote and co-directed with Faxon. \u201cAllison and I, we knew each other socially through a mutual friend, so I met her very early on in my time in LA,\u201d Rash stated. \u201cAnd obviously, The Way, Way Back.\u201d
\n\n\n\n
While he did not know Rannells, Rash was familiar with the actor\u2019s work on Broadway, including performances in The Book of Mormon, Falsettos and Gutenberg! The Musical!,among others.
\n\n\n\n
Casting the twice Tony-nominated Rannells was a matter of artistic alignment. \u201cI 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.
\n\n\n\n
For the two actors, the attraction to the material was instant, driven by the opportunity to tackle the layered characters. \u201cFor me, I\u2019ve never been offered a role of this size, and this scope of Diane’s journey is quite extraordinary,\u201d Janney shared. \u201cEverything about Diane, all the different layers and the dark humor, was so appealing because Jim\u2019s writing is so perfect and there\u2019s not any fat in there anywhere.\u201d
\n\n\n\n
Rannells experienced a similar sense of validation while reading the script. \u201cI had never been trusted with this much material in a film or on television before,\u201d he admitted. \u201cIt was very exciting. I knew that it was going to be a very unique challenge, but then when Jim was like, \u2018And it\u2019s [with] Allison Janney,\u2019 I was like, ‘Well, yes!\u2019\u201d
\n\n\n\n
The “Off-Book” Strategy: Treating Film Like a Play
\n\n\n\n
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.
\n\n\n\n
\u201cWe were very fortunate [Jim] gave us the time and the space to rehearse it like a play,” Rannells said. \u201cAllison 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.\u201d
\n\n\n\n
Janney added that committing to that decision and following through before setting foot on set was something she\u2019d never attempted on a film project. \u201cThis is the first time I\u2019ve 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.\u201d
\n\n\n\n
This type of preparation allowed the actors to deliver uninterrupted 15-minute takes on set. \u201cThis was a movie where we shot large chunks, so we did 13 pages one day,\u201d Rash noted. \u201cThese two basically did a 15-minute play for us \u2026 so the crew was watching a little playlet. It was about them finding moments, and fast.\u201d
\n\n\n\n
Technical Blocking
\n\n\n\n
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.
\n\n\n\n
Rash detailed how the group spent roughly three days breaking down the choreography of that specific fight. \u201cWe started with the table, going around the table, and that allowed [the actors] to do the scene,\u201d Rash explained.
\n\n\n\n
He purposefully withheld dynamic camera movements until a specific narrative shift occurred. \u201cWe didn\u2019t introduce handheld until [Diane] gets up with the salad,\u201d Rash revealed. \u201cThat allowed us to do the next chapter, which was them pretty much boxing around the room.\u201d
\n\n\n\n
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\u2019 physical choices made those lines redundant.
\n\n\n\n
\u201cJim would say, \u2018You don’t need to say that, because you’re doing it,\u2019” Janney remembered. \u201cHe would take lines out of the script because the silence was so full already with what was happening.\u201d
\n\n\n\n
That observation and script adjustment was an actor\u2019s dream. \u201cI love silences,\u201d said Janney. \u201c[These two characters] are so loud with what\u2019s going on inside of them. Silences are earned.\u201d
\n\n\n\n
Rannells agreed, crediting Rash’s restraint in the editing room for keeping those pauses intact. \u201cActors 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\u2019s to Jim\u2019s credit that he saw what was happening and felt they were important.\u201d
\n\n\n\n
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.
\n\n\n\n
\u201cIt just depends on how much Diane wants to be exposed at this moment … or how much Jamie wants to be vulnerable.\u201d
\n\n\n\n
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\u2019s Another Simple Favor, which filmed in Rome.
\n\n\n\n
Janney recalled turning to her co-star and asking, \u201cShould we? Should we go to Rome?\u201d
\n\n\n\n
They did.
\n\n\n\n
\u201cWe finished Miss You, Love You, and then we went to Rome together,\u201d Rannells said, adding that the easy creative shorthand they developed on set quickly evolved into an equally relaxed off-screen friendship. \u201cI got to walk around Rome with Allison and watch her shop!\u201d
\n",
"content_text": "For Miss You, Love You, the upcoming HBO Original film from Academy Award-winning writer-director Jim Rash, the casting process didn’t begin with a breakdown or a nationwide search. \n\n\n\nLaunching 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.\n\n\n\nAt 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. \n\n\n\nKey Insights\n\n\n\n\nTreating a film like a stage play, including memorizing the entire script before shooting, can free actors to stay emotionally present during long, uninterrupted takes.\n\n\n\nSilence and physical behavior often communicate more than dialogue, and strong directors know when to trust actors enough to remove unnecessary lines.\n\n\n\nLong-term industry relationships and artistic alignment can influence casting just as much as traditional auditions or formal searches.\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\nRash, 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\u2019t know a single family member. Rash thought it was an interesting lens to build a story from.\n\n\n\n\u201cI started crafting the story of Diane based on little things from my own life, and then Jamie is a lot of me,\u201d confessed Rash. \u201cWriting is therapy. You pull from what you know, and then, of course, the actors elevate it and make it their own.\u201d\n\n\n\nWhen the characters of Diane and Jamie first began taking shape on the page, the voices Rash heard were unmistakably those of Janney and Rannells. \n\n\n\nRash previously worked with Janney on the 2013 film The Way Way Back, which he co-wrote and co-directed with Faxon. \u201cAllison and I, we knew each other socially through a mutual friend, so I met her very early on in my time in LA,\u201d Rash stated. \u201cAnd obviously, The Way, Way Back.\u201d\n\n\n\nWhile he did not know Rannells, Rash was familiar with the actor\u2019s work on Broadway, including performances in The Book of Mormon, Falsettos and Gutenberg! The Musical!, among others. \n\n\n\nCasting the twice Tony-nominated Rannells was a matter of artistic alignment. \u201cI 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.\n\n\n\nFor the two actors, the attraction to the material was instant, driven by the opportunity to tackle the layered characters. \u201cFor me, I\u2019ve never been offered a role of this size, and this scope of Diane’s journey is quite extraordinary,\u201d Janney shared. \u201cEverything about Diane, all the different layers and the dark humor, was so appealing because Jim\u2019s writing is so perfect and there\u2019s not any fat in there anywhere.\u201d\n\n\n\nRannells experienced a similar sense of validation while reading the script. \u201cI had never been trusted with this much material in a film or on television before,\u201d he admitted. \u201cIt was very exciting. I knew that it was going to be a very unique challenge, but then when Jim was like, \u2018And it\u2019s [with] Allison Janney,\u2019 I was like, ‘Well, yes!\u2019\u201d\n\n\n\nThe “Off-Book” Strategy: Treating Film Like a Play\n\n\n\nFaced 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.\n\n\n\n\u201cWe were very fortunate [Jim] gave us the time and the space to rehearse it like a play,” Rannells said. \u201cAllison 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.\u201d\n\n\n\nJanney added that committing to that decision and following through before setting foot on set was something she\u2019d never attempted on a film project. \u201cThis is the first time I\u2019ve 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.\u201d\n\n\n\nThis type of preparation allowed the actors to deliver uninterrupted 15-minute takes on set. \u201cThis was a movie where we shot large chunks, so we did 13 pages one day,\u201d Rash noted. \u201cThese two basically did a 15-minute play for us \u2026 so the crew was watching a little playlet. It was about them finding moments, and fast.\u201d\n\n\n\nTechnical Blocking \n\n\n\nThis 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.\n\n\n\nRash detailed how the group spent roughly three days breaking down the choreography of that specific fight. \u201cWe started with the table, going around the table, and that allowed [the actors] to do the scene,\u201d Rash explained. \n\n\n\nHe purposefully withheld dynamic camera movements until a specific narrative shift occurred. \u201cWe didn\u2019t introduce handheld until [Diane] gets up with the salad,\u201d Rash revealed. \u201cThat allowed us to do the next chapter, which was them pretty much boxing around the room.\u201d\n\n\n\nBecause 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\u2019 physical choices made those lines redundant.\n\n\n\n\u201cJim would say, \u2018You don’t need to say that, because you’re doing it,\u2019” Janney remembered. \u201cHe would take lines out of the script because the silence was so full already with what was happening.\u201d\n\n\n\nThat observation and script adjustment was an actor\u2019s dream. \u201cI love silences,\u201d said Janney. \u201c[These two characters] are so loud with what\u2019s going on inside of them. Silences are earned.\u201d\n\n\n\nRannells agreed, crediting Rash’s restraint in the editing room for keeping those pauses intact. \u201cActors 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\u2019s to Jim\u2019s credit that he saw what was happening and felt they were important.\u201d\n\n\n\nA 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. \n\n\n\n\u201cIt just depends on how much Diane wants to be exposed at this moment … or how much Jamie wants to be vulnerable.\u201d\n\n\n\nThe 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\u2019s Another Simple Favor, which filmed in Rome.\n\n\n\nJanney recalled turning to her co-star and asking, \u201cShould we? Should we go to Rome?\u201d\n\n\n\nThey did.\n\n\n\n\u201cWe finished Miss You, Love You, and then we went to Rome together,\u201d Rannells said, adding that the easy creative shorthand they developed on set quickly evolved into an equally relaxed off-screen friendship. \u201cI got to walk around Rome with Allison and watch her shop!\u201d\nThe post How Allison Janney and Andrew Rannells Prepared Like Theater Actors to Master Long-Take Film Scenes appeared first on Casting Networks.",
"date_published": "2026-05-28T09:15:00-07:00",
"date_modified": "2026-05-28T10:20:39-07:00",
"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/2026/05/andrew-rannells-allison-janney.webp",
"tags": [
"Acting Advice",
"Actors",
"Career and Craft"
]
},
{
"id": "https://www.castingnetworks.com/?p=330126",
"url": "https://www.castingnetworks.com/news/acting-in-new-york-what-you-need-to-know-to-succeed/",
"title": "Acting in New York: What You Need to Know to Succeed",
"content_html": "\n
Acting in New York is a tough market with lots of competition, and if you want to make it, there are a lot of factors that go into it.
\n\n\n\n
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.
\n\n\n\n
It\u2019s 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.
\n\n\n\n
She spoke to us from her home in LA.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Building an acting career in New York requires persistence, community, and a willingness to consistently put yourself in the room.
\n\n\n\n
Christina Villa credits her growth to intense craft training, continuous self-development, and learning directly from working actors and casting professionals.
\n\n\n\n
Success came not from one breakthrough moment, but from years of networking, showcases, self-tapes, and showing up professionally at every opportunity.
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], \u201c\u2018Oh, I have to do what mom’s doing,\u2019 which is, \u2018Don’t get nervous, and don’t be shy, and just do it.\u2019\u201d My mom eventually stopped singing, and I put it aside around middle school age.
\n\n\n\n
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.
\n\n\n\n
When I was interning, I would sometimes be on commercial sets and think, I want to be that person in front of the camera.
\n\n\n\n
What changed?
\n\n\n\n
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\u2019ll keep working with a full-time job, and while I’m doing that, I’ll also do theater.
\n\n\n\n
I found a book called Breaking Into Actingfor 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.
\n\n\n\n
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\u2019d 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.
\n\n\n\n
Why the Actors Studio?
\n\n\n\n
When I started taking acting classes and actually learning the craft of it \u2014 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.
\n\n\n\n
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.
\n\n\n\n
Once you got to New York, what was that experience like?
\n\n\n\n
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\u2019t 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.
\n\n\n\n
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\u2019s really about is basically building a house.
\n\n\n\n
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\u2019s definitely laid down a foundation for me.
\n\n\n\n
When you finished the program, did you find representation?
\n\n\n\n
Yeah, so I when I graduated, I found that I had to really look within and say, \u201cHow bad do you want this?\u201d 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\u2019t, knocked the wind out of me.
\n\n\n\n
Well? What did you do?
\n\n\n\n
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\u2019s Green Room, doing all those things to get to know casting directors, doing showcases.
\n\n\n\n
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.
\n\n\n\n
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?
\n\n\n\n
I was called in for FBI for a costar [role] and Jonathan Strauss\u2019 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.
\n\n\n\n
She’d check out my headshots, my reel, and then we\u2019d 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.
\n\n\n\n
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.
\n\n\n\n
How did you get the agent?
\n\n\n\n
I had seen that somebody booked a costar [role] on one of those procedural shows. I thought, \u201cWell, I fit that world, because I’ve been called into that world, so let’s see who their agent is.\u201d I submitted to their agent, and she got back to me within minutes. She was looking for my type.
\n\n\n\n
I think that serves as such a good example for anyone who might be reading this, about doing research and pounding the pavement.
\n\n\n\n
Yeah, and sometimes you feel overwhelmed because you\u2019re not sure and think, \u201cWell, what do I do?\u201d 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.
\n\n\n\n
There\u2019s 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.
\n\n\n\n
Somebody who’s on time, somebody who does their part, and who’s constantly working on their craft.
\n\n\n\n
Do you still find you think of yourself as a New York actress?
\n\n\n\n
I think I always will. It has community. People were always so open to lend a hand. Just reach out and say, \u201cHey, why don’t you come to this workshop with me?\u201d Or, \u201cCan you come to this event with me?\u201d 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.
\n\n\n\n
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\u2019s just something to always strive for, that you’re working at that level, no matter where you’re at.
\n",
"content_text": "Acting in New York is a tough market with lots of competition, and if you want to make it, there are a lot of factors that go into it. \n\n\n\nActress 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. \n\n\n\nIt\u2019s 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. \n\n\n\nShe spoke to us from her home in LA. \n\n\n\nKey Insights\n\n\n\n\nBuilding an acting career in New York requires persistence, community, and a willingness to consistently put yourself in the room.\n\n\n\nChristina Villa credits her growth to intense craft training, continuous self-development, and learning directly from working actors and casting professionals.\n\n\n\nSuccess came not from one breakthrough moment, but from years of networking, showcases, self-tapes, and showing up professionally at every opportunity.\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 first got you into acting?\n\n\n\nMy 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], \u201c\u2018Oh, I have to do what mom’s doing,\u2019 which is, \u2018Don’t get nervous, and don’t be shy, and just do it.\u2019\u201d My mom eventually stopped singing, and I put it aside around middle school age. \n\n\n\nI 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.\n\n\n\nWhen I was interning, I would sometimes be on commercial sets and think, I want to be that person in front of the camera.\n\n\n\nWhat changed?\n\n\n\nI 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\u2019ll keep working with a full-time job, and while I’m doing that, I’ll also do theater.\n\n\n\nI 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.\n\n\n\nI 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\u2019d 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.\n\n\n\nWhy the Actors Studio?\n\n\n\nWhen I started taking acting classes and actually learning the craft of it \u2014 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. \n\n\n\nI 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. \n\n\n\nOnce you got to New York, what was that experience like?\n\n\n\nI 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\u2019t 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. \n\n\n\nAfter 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\u2019s really about is basically building a house. \n\n\n\nYou 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\u2019s definitely laid down a foundation for me.\n\n\n\nWhen you finished the program, did you find representation?\n\n\n\nYeah, so I when I graduated, I found that I had to really look within and say, \u201cHow bad do you want this?\u201d 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\u2019t, knocked the wind out of me.\n\n\n\nWell? What did you do?\n\n\n\nI 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\u2019s Green Room, doing all those things to get to know casting directors, doing showcases. \n\n\n\nI 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.\n\n\n\nSo 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? \n\n\n\nI was called in for FBI for a costar [role] and Jonathan Strauss\u2019 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. \n\n\n\nShe’d check out my headshots, my reel, and then we\u2019d 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. \n\n\n\nThis 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.\n\n\n\nHow did you get the agent?\n\n\n\nI had seen that somebody booked a costar [role] on one of those procedural shows. I thought, \u201cWell, I fit that world, because I’ve been called into that world, so let’s see who their agent is.\u201d I submitted to their agent, and she got back to me within minutes. She was looking for my type.\n\n\n\nI think that serves as such a good example for anyone who might be reading this, about doing research and pounding the pavement.\n\n\n\nYeah, and sometimes you feel overwhelmed because you\u2019re not sure and think, \u201cWell, what do I do?\u201d 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. \n\n\n\nThere\u2019s 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. \n\n\n\nSomebody who’s on time, somebody who does their part, and who’s constantly working on their craft.\n\n\n\nDo you still find you think of yourself as a New York actress?\n\n\n\nI think I always will. It has community. People were always so open to lend a hand. Just reach out and say, \u201cHey, why don’t you come to this workshop with me?\u201d Or, \u201cCan you come to this event with me?\u201d 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.\n\n\n\nWhen 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\u2019s just something to always strive for, that you’re working at that level, no matter where you’re at.\n\n\n\n\n\n\n\nLooking for acting opportunities in New York?\n\n\n\nBrowse current:\n\n\n\n\nNew York City Casting Calls\n\n\n\nNYC Background Actor Jobs\n\n\n\nTheatre Auditions\n\n\n\nNew York TV Series Casting Calls\n\n\n\n\n\nThe post Acting in New York: What You Need to Know to Succeed appeared first on Casting Networks.",
"date_published": "2026-05-21T09:10:00-07:00",
"date_modified": "2026-05-19T15:06:35-07:00",
"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/CN-BLOG-TEMPLATE.jpg",
"tags": [
"Acting 101",
"Acting Advice",
"Actors",
"Interviews"
]
},
{
"id": "https://www.castingnetworks.com/?p=317995",
"url": "https://www.castingnetworks.com/news/audition-mindset-embodying-the-character/",
"title": "What Jacob Elordi Gets Right About Booking Roles",
"content_html": "\n
“My whole career, I had an acting teacher tell me when you go into an audition, it’s a crime scene, and the casting director is a detective who’s trying to find who killed them.\u201d
\n\n\n\n
\u2013Jacob Elordi
\n\n\n\n
Jacob Elordi\u2019s 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 \u201cbeing good,\u201d doing it \u201cright,\u201d or trying to give them what \u201cthey want.\u201d
\n\n\n\n
Most of which stems from a belief that they have to prove something because they don\u2019t believe what they\u2019re bringing to the table is enough. That\u2019s the trap. Elordi\u2019s comments hit because they point to the number-one mentality you need to book: the belief that you are the character.
\n\n\n\n
Not that you\u2019re playing them. Not that you\u2019re 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\u2019s the entire ballgame.
\n\n\n\n
Key Insights
\n\n\n\n
\n
The actors who book aren\u2019t suggesting the character, they embody it with complete certainty and conviction.
\n\n\n\n
Casting responds to specificity and bold choices, not safe, approval-seeking performances.
\n\n\n\n
The real shift is internal: trusting that what you bring is enough and committing to it fully.
What Jacob Elordi is describing is captured perfectly in one of the best metaphors I\u2019ve ever heard about auditioning: it\u2019s a crime scene, and casting is trying to figure out who did it. So think of yourself as a suspect \u2026 who also has great headshots.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
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\u2019t technically perfect. In fact, they stumbled, forgot lines and had rough edges.
\n\n\n\n
But when you watch those tapes, one thing is undeniable: they are the character. They committed the crime.
\n\n\n\n
Kicking the Door Down Politely
\n\n\n\n
So the question then becomes, \u201cHow do we actually do this?\u201d The answer: be Jacob Elordi. Just kidding. Let\u2019s focus on another key part of what Elordi\u2019s teacher said, which was to \u201ckick the door down politely.\u201d Of course, they didn\u2019t mean that literally, which is great, because actors aren\u2019t that good at violence.
\n\n\n\n
What they did mean was to metaphorically kick the door down by making strong, bold choices in a confident, relaxed manner that says, \u201cThis is who the character is.\u201d What those choices look like will vary depending on the role and the actor, but they can include:
\n\n\n\n
\n
Making a specific point of view about the scene.
\n\n\n\n
Committing to a clear emotional tone instead of playing it safe.
\n\n\n\n
Making a lived-in choice vs. a static one. (Examples include answering the question: \u00a0 \u201cWhat was the character doing right before this, and what are they doing right after?\u201d)
\n\n\n\n
Playing a distinct relationship dynamic with the other character that they might not even know about.\u00a0
\n\n\n\n
Even something as simple as deciding where your character holds tension in their body and letting that inform how they move and speak.
\n
\n\n\n\n
You don\u2019t 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\u2019s going to land far better than, \u201cIs this okay?\u201d or \u201cHey, do you guys like me?\u201d
\n\n\n\n
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, \u201cDude, they don\u2019t even know what they want. It\u2019s your job to show them.\u201d And that really is the job: to make such a clear impression that they realize you are the one they\u2019ve been looking for.
\n\n\n\n
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\u2019s happening in the scene. That\u2019s how embodied and powerful a great audition can be.
\n\n\n\n
It\u2019s fair to say that in commercials there might be more latitude for experimentation, but that doesn\u2019t mean you should limit yourself in TV and film. If anything, that\u2019s 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.
\n\n\n\n
The Shift
\n\n\n\n
I want to fully acknowledge that auditioning can be extremely hard. It\u2019s very easy for me to sit here and talk about certainty and confidence like it\u2019s something you can just flip on and off, but it doesn\u2019t always work that way. Sometimes your nerves show up, and sometimes old patterns take over. That\u2019s okay, because it\u2019s all part of it.
\n\n\n\n
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.
\n\n\n\n
And this isn\u2019t just useful for acting, it\u2019s beneficial for your whole life. At the very least, you get to walk out knowing you went for it and didn\u2019t hold back. You put yourself out there. You didn\u2019t ask. You showed them that you committed the crime.
\n",
"content_text": "“My whole career, I had an acting teacher tell me when you go into an audition, it’s a crime scene, and the casting director is a detective who’s trying to find who killed them.\u201d\n\n\n\n\u2013Jacob Elordi\n\n\n\nJacob Elordi\u2019s 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 \u201cbeing good,\u201d doing it \u201cright,\u201d or trying to give them what \u201cthey want.\u201d \n\n\n\nMost of which stems from a belief that they have to prove something because they don\u2019t believe what they\u2019re bringing to the table is enough. That\u2019s the trap.Elordi\u2019s comments hit because they point to the number-one mentality you need to book: the belief that you are the character. \n\n\n\nNot that you\u2019re playing them. Not that you\u2019re 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\u2019s the entire ballgame.\n\n\n\nKey Insights\n\n\n\n\nThe actors who book aren\u2019t suggesting the character, they embody it with complete certainty and conviction.\n\n\n\nCasting responds to specificity and bold choices, not safe, approval-seeking performances.\n\n\n\nThe real shift is internal: trusting that what you bring is enough and committing to it fully.\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 Crime Scene Mentality\n\n\n\nWhat Jacob Elordi is describing is captured perfectly in one of the best metaphors I\u2019ve ever heard about auditioning: it\u2019s a crime scene, and casting is trying to figure out who did it. So think of yourself as a suspect \u2026 who also has great headshots.\n\n\n\nWhile 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.\n\n\n\nAnd 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.\n\n\n\nSome 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\u2019t technically perfect. In fact, they stumbled, forgot lines and had rough edges.\n\n\n\nBut when you watch those tapes, one thing is undeniable: they are the character. They committed the crime.\n\n\n\nKicking the Door Down Politely \n\n\n\nSo the question then becomes, \u201cHow do we actually do this?\u201d The answer: be Jacob Elordi. Just kidding. Let\u2019s focus on another key part of what Elordi\u2019s teacher said, which was to \u201ckick the door down politely.\u201d Of course, they didn\u2019t mean that literally, which is great, because actors aren\u2019t that good at violence.\n\n\n\nWhat they did mean was to metaphorically kick the door down by making strong, bold choices in a confident, relaxed manner that says, \u201cThis is who the character is.\u201d What those choices look like will vary depending on the role and the actor, but they can include:\n\n\n\n\nMaking a specific point of view about the scene.\n\n\n\nCommitting to a clear emotional tone instead of playing it safe.\n\n\n\nMaking a lived-in choice vs. a static one. (Examples include answering the question: \u00a0 \u201cWhat was the character doing right before this, and what are they doing right after?\u201d)\n\n\n\nPlaying a distinct relationship dynamic with the other character that they might not even know about.\u00a0\n\n\n\nEven something as simple as deciding where your character holds tension in their body and letting that inform how they move and speak.\n\n\n\n\nYou don\u2019t 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\u2019s going to land far better than, \u201cIs this okay?\u201d or \u201cHey, do you guys like me?\u201d\n\n\n\nA friend of mine who does a lot of improv, books all the time, and consistently makes big choices in auditions once said to me, \u201cDude, they don\u2019t even know what they want. It\u2019s your job to show them.\u201d And that really is the job: to make such a clear impression that they realize you are the one they\u2019ve been looking for.\n\n\n\nAnother 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\u2019s happening in the scene. That\u2019s how embodied and powerful a great audition can be.\n\n\n\nIt\u2019s fair to say that in commercials there might be more latitude for experimentation, but that doesn\u2019t mean you should limit yourself in TV and film. If anything, that\u2019s 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.\n\n\n\nThe Shift \n\n\n\nI want to fully acknowledge that auditioning can be extremely hard. It\u2019s very easy for me to sit here and talk about certainty and confidence like it\u2019s something you can just flip on and off, but it doesn\u2019t always work that way. Sometimes your nerves show up, and sometimes old patterns take over. That\u2019s okay, because it\u2019s all part of it.\n\n\n\nBut 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.\n\n\n\nAnd this isn\u2019t just useful for acting, it\u2019s beneficial for your whole life. At the very least, you get to walk out knowing you went for it and didn\u2019t hold back. You put yourself out there. You didn\u2019t ask. You showed them that you committed the crime.\nThe post What Jacob Elordi Gets Right About Booking Roles appeared first on Casting Networks.",
"date_published": "2026-04-16T09:00:00-07:00",
"date_modified": "2026-05-22T11:17:50-07:00",
"authors": [
{
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
}
],
"author": {
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/Jacob-Elordi-getty-H-2025.webp",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=317497",
"url": "https://www.castingnetworks.com/news/why-comedians-stand-out-in-auditions/",
"title": "How Comedians Approach Acting Differently and Why It Works",
"content_html": "\n
There\u2019s a reason casting directors love comedians: they\u2019re unpredictable, adaptable and comfortable in uncertainty.
\n\n\n\n
They\u2019re 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\u2019ll find something real and authentic, even if they didn\u2019t plan to.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Comedians thrive in auditions because they\u2019re trained to stay present, adapt quickly, and create authentic moments under pressure.
\n\n\n\n
Their instinct to personalize material and play with rhythm makes performances feel natural rather than overly rehearsed.
\n\n\n\n
A high tolerance for risk and failure allows comedians to make bold, memorable choices that set them apart.
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\u2019s like to jump without a safety net, adjust when things go wrong, and be 100 percent comfortable creating something in the moment.
\n\n\n\n
They\u2019re also used to working through distractions. When you\u2019ve 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\u2019t going to throw you off.
\n\n\n\n
Before we go any farther, it\u2019s also important to say that comedians aren\u2019t perfect, and can certainly stand to learn from traditional acting approaches. That\u2019s 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.
\n\n\n\n
When I first started auditioning, I thought the reason I wasn\u2019t booking was because I needed to say my lines louder. That was my entire strategy: just add volume. I was like, \u201cYou know what this audition needs? More yelling.\u201d I don\u2019t know if you\u2019ve ever seen someone yell their way through a Burger King audition, but I can confirm, it doesn\u2019t help.
\n\n\n\n
Making It Their Own
\n\n\n\n
One of the greatest advantages comedians bring into an audition is their ability to make the material feel like their own. Comedians aren\u2019t afraid to adjust phrasing, shift intonation and play with the rhythm of a scene instead of locking into one \u201ccorrect\u201d way to do it.
\n\n\n\n
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.
\n\n\n\n
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\u2019t have to be limited to broad comedy either. It can work just as effectively in a more grounded way in dramas.
\n\n\n\n
Telling the Truth
\n\n\n\n
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\u2019re able to quickly pick up on what feels real and what doesn\u2019t.
\n\n\n\n
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\u2019s really going on immediately: \u201cShe doesn\u2019t care about the bill, she just wants to leave this guy. And honestly\u2026 who can blame her? He\u2019s wearing jorts.\u201d
\n\n\n\n
Everything Is a Punchline
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
Being Ok With Failure/Risk
\n\n\n\n
This is arguably the most important. As a comedian, bombing isn\u2019t optional. It\u2019s a rite of passage. Every comedian (especially stand-ups) has experienced silence louder than a tumbleweed. But, they kept going anyway.
\n\n\n\n
And because of that, comedians tend to have a higher tolerance for risk, and for stepping into unknown territory in auditions and scenes.
\n\n\n\n
In acting, that might look like:
\n\n\n\n
\n
Trying a totally wild and different angle in a scene
\n\n\n\n
Letting a moment breathe longer than expected
\n\n\n\n
Making a bold or unexpected choice
\n\n\n\n
Stepping outside the material, either by changing it or going someplace no one else would.
\n
\n\n\n\n
This willingness to take these risks can completely separate you from other actors, and at the very least, you\u2019ll feel more alive and actually have fun, which is kind of the whole point anyway.
\n",
"content_text": "There\u2019s a reason casting directors love comedians: they\u2019re unpredictable, adaptable and comfortable in uncertainty. \n\n\n\nThey\u2019re 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\u2019ll find something real and authentic, even if they didn\u2019t plan to.\n\n\n\nKey Insights\n\n\n\n\nComedians thrive in auditions because they\u2019re trained to stay present, adapt quickly, and create authentic moments under pressure.\n\n\n\nTheir instinct to personalize material and play with rhythm makes performances feel natural rather than overly rehearsed.\n\n\n\nA high tolerance for risk and failure allows comedians to make bold, memorable choices that set them apart.\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\nWhile 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\u2019s like to jump without a safety net, adjust when things go wrong, and be 100 percent comfortable creating something in the moment.\n\n\n\nThey\u2019re also used to working through distractions. When you\u2019ve 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\u2019t going to throw you off.\n\n\n\nBefore we go any farther, it\u2019s also important to say that comedians aren\u2019t perfect, and can certainly stand to learn from traditional acting approaches. That\u2019s 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. \n\n\n\nWhen I first started auditioning, I thought the reason I wasn\u2019t booking was because I needed to say my lines louder. That was my entire strategy: just add volume. I was like, \u201cYou know what this audition needs? More yelling.\u201d I don\u2019t know if you\u2019ve ever seen someone yell their way through a Burger King audition, but I can confirm, it doesn\u2019t help.\n\n\n\nMaking It Their Own\n\n\n\nOne of the greatest advantages comedians bring into an audition is their ability to make the material feel like their own. Comedians aren\u2019t afraid to adjust phrasing, shift intonation and play with the rhythm of a scene instead of locking into one \u201ccorrect\u201d way to do it.\n\n\n\nThis 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.\n\n\n\nThe 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\u2019t have to be limited to broad comedy either. It can work just as effectively in a more grounded way in dramas.\n\n\n\nTelling the Truth \n\n\n\nNo 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\u2019re able to quickly pick up on what feels real and what doesn\u2019t.\n\n\n\nThat 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\u2019s really going on immediately: \u201cShe doesn\u2019t care about the bill, she just wants to leave this guy. And honestly\u2026 who can blame her? He\u2019s wearing jorts.\u201d\n\n\n\nEverything Is a Punchline\n\n\n\nComedians 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.\n\n\n\nThis 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.\n\n\n\nBeing Ok With Failure/Risk\n\n\n\nThis is arguably the most important. As a comedian, bombing isn\u2019t optional. It\u2019s a rite of passage. Every comedian (especially stand-ups) has experienced silence louder than a tumbleweed. But, they kept going anyway.\n\n\n\nAnd because of that, comedians tend to have a higher tolerance for risk, and for stepping into unknown territory in auditions and scenes.\n\n\n\nIn acting, that might look like:\n\n\n\n\nTrying a totally wild and different angle in a scene\n\n\n\nLetting a moment breathe longer than expected\n\n\n\nMaking a bold or unexpected choice\n\n\n\nStepping outside the material, either by changing it or going someplace no one else would. \n\n\n\n\nThis willingness to take these risks can completely separate you from other actors, and at the very least, you\u2019ll feel more alive and actually have fun, which is kind of the whole point anyway.\nThe post How Comedians Approach Acting Differently and Why It Works appeared first on Casting Networks.",
"date_published": "2026-04-10T09:33:50-07:00",
"date_modified": "2026-05-22T11:58:43-07:00",
"authors": [
{
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
}
],
"author": {
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/01/shutterstock_2277441791.jpg",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=315797",
"url": "https://www.castingnetworks.com/news/ted-lasso-casting-insights-audition-tips/",
"title": "How I Got Cast on \u2018Ted Lasso\u2019 and the Audition Mindset Every Actor Needs to Book the Job",
"content_html": "\n
On January 28, Apple TV+ announced its hit television series Ted Lasso would air its upcoming fourth season in the summer of 2026. Taking on their biggest challenge yet, coaching a second division women\u2019s football team, Jason Sudeikis, Hannah Waddingham, Juno Temple and Brett Goldstein are set to reprise their roles.
\n\n\n\n
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.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Be adaptable. Rehearsals can take place right before filming on set, so be open to trying new things.
\n\n\n\n
Auditioning is part of the work, so have fun and make bold choices while bringing yourself to the character.
\n\n\n\n
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.
The character description was brief, but I remember it was something like \u201csmart, clearly successful and dotes on her brother.\u201d 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\u2019s so endearing and funny, without leaning too much toward one or the other.
\n\n\n\n
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\u2019s also realistic and grounded.
\n\n\n\n
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\u2019s always been an underlying playful nature between us.
\n\n\n\n
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\u2019s a very real pressure to present.
\n\n\n\n
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\u2019t real. So I kept it simple: good lighting, plain backdrop and a good reader (which was me).
\n\n\n\n
The thing about this audition specifically, was that I remember having so much fun. I trusted myself, I relaxed into the process because I\u2019d done the work. Decentering perfection, working freely, making choices and focusing on the relationship between these two siblings.
\n\n\n\n
I booked the role off one self tape, so I think leaning into the enjoyment of the work really resonated.
\n\n\n\n
Working as a Team
\n\n\n\n
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\u2019t 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.
\n\n\n\n
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\u2019t book the role, I know that I have done my part and I have to trust that it is enough. Even when I don\u2019t hear back or get the outcome I want.
\n\n\n\n
Something that has always stuck out to me, about the conversations that can happen when we\u2019re 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\u2019t let him go, really affirms the constant advocacy that the casting team are doing on our behalf.
\n\n\n\n
Be Open and Adaptable
\n\n\n\n
As directors, Jason Sudeikis and Matt Lipsey created an open and welcoming rehearsal process for season 3. I\u2019d 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.
\n\n\n\n
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\u2019d 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.
\n\n\n\n
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\u2019s 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 \u2014 it\u2019s the calmest set environment I\u2019ve ever worked in. I also had the best french toast of my life on my first day!
\n\n\n\n
\u201cI Believe in Hope\u201d
\n\n\n\n
The fourth season follows Ted coaching a women\u2019s second division football team, and while I can\u2019t say what that means for my character, the decision to take the narrative in this direction is about more than just continuing Ted\u2019s 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\u2019s game, but it will teach us to reflect on the limited views held about women\u2019s sports in general.
\n\n\n\n
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.
\n\n\n\n
That\u2019s 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.
\n\n\n\n
I hope that Nicole shows up somewhere in the future, maybe as a lawyer for the women\u2019s 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.
\n",
"content_text": "On January 28, Apple TV+ announced its hit television series Ted Lasso would air its upcoming fourth season in the summer of 2026. Taking on their biggest challenge yet, coaching a second division women\u2019s football team, Jason Sudeikis, Hannah Waddingham, Juno Temple and Brett Goldstein are set to reprise their roles. \n\n\n\nWhile 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.\n\n\n\nKey Insights\n\n\n\n\nBe adaptable. Rehearsals can take place right before filming on set, so be open to trying new things.\n\n\n\nAuditioning is part of the work, so have fun and make bold choices while bringing yourself to the character.\n\n\n\nBe 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.\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\nFrom Self-Tape to Screen\n\n\n\nThe character description was brief, but I remember it was something like \u201csmart, clearly successful and dotes on her brother.\u201d 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\u2019s so endearing and funny, without leaning too much toward one or the other. \n\n\n\nEvery 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\u2019s also realistic and grounded.\n\n\n\nFor 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\u2019s always been an underlying playful nature between us. \n\n\n\nI 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\u2019s a very real pressure to present. \n\n\n\nEspecially 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\u2019t real. So I kept it simple: good lighting, plain backdrop and a good reader (which was me). \n\n\n\nThe thing about this audition specifically, was that I remember having so much fun. I trusted myself, I relaxed into the process because I\u2019d done the work. Decentering perfection, working freely, making choices and focusing on the relationship between these two siblings. \n\n\n\nI booked the role off one self tape, so I think leaning into the enjoyment of the work really resonated. \n\n\n\nWorking as a Team\n\n\n\nWorking 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\u2019t 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.\n\n\n\nThe 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\u2019t book the role, I know that I have done my part and I have to trust that it is enough. Even when I don\u2019t hear back or get the outcome I want.\n\n\n\nSomething that has always stuck out to me, about the conversations that can happen when we\u2019re 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\u2019t let him go, really affirms the constant advocacy that the casting team are doing on our behalf.\n\n\n\nBe Open and Adaptable\n\n\n\nAs directors, Jason Sudeikis and Matt Lipsey created an open and welcoming rehearsal process for season 3. I\u2019d 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.\n\n\n\nI 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\u2019d 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.\n\n\n\nThe 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\u2019s 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 \u2014 it\u2019s the calmest set environment I\u2019ve ever worked in. I also had the best french toast of my life on my first day! \n\n\n\n\u201cI Believe in Hope\u201d\n\n\n\nThe fourth season follows Ted coaching a women\u2019s second division football team, and while I can\u2019t say what that means for my character, the decision to take the narrative in this direction is about more than just continuing Ted\u2019s 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\u2019s game, but it will teach us to reflect on the limited views held about women\u2019s sports in general.\n\n\n\nProduction 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. \n\n\n\nThat\u2019s 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. \n\n\n\nI hope that Nicole shows up somewhere in the future, maybe as a lawyer for the women\u2019s 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.\nThe post How I Got Cast on ‘Ted Lasso’ and the Audition Mindset Every Actor Needs to Book the Job appeared first on Casting Networks.",
"date_published": "2026-04-09T09:17:00-07:00",
"date_modified": "2026-05-22T11:59:39-07:00",
"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/Ted_Lasso_Photo_030901-H-2023.webp",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=315775",
"url": "https://www.castingnetworks.com/news/stop-waiting-to-be-cast-create-your-own-roles/",
"title": "Stop Waiting to Be Cast: Create Your Own Roles and Make The Industry Notice",
"content_html": "\n
If you\u2019re an actor, chances are you\u2019ve waited for auditions, waited for feedback, and waited for someone to pick you out of a lineup full of people that look just like you. It\u2019s exhausting and it can feel like its own event, a kind of mental gymnastics that comes with being a creative.
\n\n\n\n
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\u2026cast yourself.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Stop waiting for permission and start creating your own opportunities, even if it begins with something small like a self-shot scene.
\n\n\n\n
Casting yourself gives you creative control and lets you showcase your talent exactly how you want it seen.
\n\n\n\n
Build roles around what excites you most, because authentic work is what ultimately draws attention from the industry.
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, \u201cWe love it, do you know Ryan Gosling?\u201d No, I am like many people, in that they wish they knew Ryan Gosling. And if you\u2019re reading this, and you do, call me.
\n\n\n\n
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.
\n\n\n\n
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.
\n\n\n\n
We ended up getting an absolutely incredible cast including Cristo Fern\u00e1ndez, 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.
\n\n\n\n
The benefits of going this route far exceeded anything I could have even anticipated. Because when you cast yourself, it\u2019s 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\u2019re playing.
\n\n\n\n
And remember, since you most likely wrote the material, no one will know the script or the scene better than you because it\u2019s lived in your mind more than anyone else\u2019s. Now you get to translate those images into real life and onto the screen.
\n\n\n\n
Stop Waiting for Permission
\n\n\n\n
If you\u2019re reading this and thinking, \u201cOK, but this sounds like a lot of work. How do I even start?\u201d The answer is \u2026 just start. There\u2019s no magical moment when the \u201cright time\u201d will come where everything aligns and then you will finally cast yourself for something you really want to do.
\n\n\n\n
And the incredible news is that there has never been a better time to make your own content. If you\u2019re 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.
\n\n\n\n
If you\u2019re 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.
\n\n\n\n
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\u2019re capable of.
\n\n\n\n
If you\u2019re still unsure, remember you\u2019re an actor. You\u2019re 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.
\n\n\n\n
Build Roles Around What You Actually Want To Do
\n\n\n\n
The last key element is if you are going to cast yourself and shoot something that you wrote, make sure it\u2019s 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.
\n\n\n\n
Remember, you don\u2019t 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.
\n\n\n\n
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\u2019t wait a single minute.
\n\n\n\n\n\n\n\n
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.
\n",
"content_text": "If you\u2019re an actor, chances are you\u2019ve waited for auditions, waited for feedback, and waited for someone to pick you out of a lineup full of people that look just like you. It\u2019s exhausting and it can feel like its own event, a kind of mental gymnastics that comes with being a creative.\n\n\n\nIt 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\u2026cast yourself.\n\n\n\nKey Insights\n\n\n\n\nStop waiting for permission and start creating your own opportunities, even if it begins with something small like a self-shot scene.\n\n\n\nCasting yourself gives you creative control and lets you showcase your talent exactly how you want it seen.\n\n\n\nBuild roles around what excites you most, because authentic work is what ultimately draws attention from the industry.\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\nHow I Cast Myself in Death Is Normal\n\n\n\nAbout 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, \u201cWe love it, do you know Ryan Gosling?\u201d No, I am like many people, in that they wish they knew Ryan Gosling. And if you\u2019re reading this, and you do, call me.\n\n\n\nSo 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. \n\n\n\nGet 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.\n\n\n\nWe ended up getting an absolutely incredible cast including Cristo Fern\u00e1ndez, 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. \n\n\n\nThe benefits of going this route far exceeded anything I could have even anticipated. Because when you cast yourself, it\u2019s 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\u2019re playing.\n\n\n\nAnd remember, since you most likely wrote the material, no one will know the script or the scene better than you because it\u2019s lived in your mind more than anyone else\u2019s. Now you get to translate those images into real life and onto the screen.\n\n\n\nStop Waiting for Permission\n\n\n\nIf you\u2019re reading this and thinking, \u201cOK, but this sounds like a lot of work. How do I even start?\u201d The answer is \u2026 just start. There\u2019s no magical moment when the \u201cright time\u201d will come where everything aligns and then you will finally cast yourself for something you really want to do.\n\n\n\nAnd the incredible news is that there has never been a better time to make your own content. If you\u2019re 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. \n\n\n\nIf you\u2019re 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.\n\n\n\nI 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\u2019re capable of. \n\n\n\nIf you\u2019re still unsure, remember you\u2019re an actor. You\u2019re 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.\n\n\n\nBuild Roles Around What You Actually Want To Do\n\n\n\nThe last key element is if you are going to cast yourself and shoot something that you wrote, make sure it\u2019s 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. \n\n\n\nRemember, you don\u2019t 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.\n\n\n\nYou 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\u2019t wait a single minute.\n\n\n\n\n\n\n\nBrendan 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.\nThe post Stop Waiting to Be Cast: Create Your Own Roles and Make The Industry Notice appeared first on Casting Networks.",
"date_published": "2026-04-07T09:07:00-07:00",
"date_modified": "2026-05-22T12:01:00-07:00",
"authors": [
{
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
}
],
"author": {
"name": "Brendan Fitzgibbons",
"url": "https://www.castingnetworks.com/news/author/brendan-fitzgibbons/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/77e/77eacc3bca6d32bb742bbe05c3011d4cx512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2026/04/iStock-1210331665.jpg",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=315351",
"url": "https://www.castingnetworks.com/news/why-actors-should-keep-training-acting-advice/",
"title": "Train Like You\u2019re Already Booked: Why Consistent Practice Keeps Actors Working",
"content_html": "\n
Life as a working actor can make studying your craft feel like a chore.
\n\n\n\n
Actors often have demanding and unpredictable schedules, and the \u201cstarving artist\u201d 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?
\n\n\n\n
Key Insights
\n\n\n\n
\n
Treat acting like a muscle. Regular training keeps you ready so you\u2019re not scrambling to \u201cget ready\u201d when opportunity hits.
\n\n\n\n
Explore multiple techniques and teachers to expand your range and avoid getting stuck in a single creative lens.
\n\n\n\n
Use low-pressure learning environments to take risks, fail safely, and reconnect with the joy that fuels long-term success.
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.
\n\n\n\n
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.
\n\n\n\n
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\u2019ll 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.
\n\n\n\n
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\u2019re limiting your perspective, something any actor should be keen to avoid.
\n\n\n\n
Beyond the skills you acquire, intentionally studying and working on your craft when it\u2019s 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.
\n\n\n\n
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\u2019s 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.
\n\n\n\n
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.
\n\n\n\n
Knowing yourself as a student will help guide you to the kind of training that works best for you.
\n",
"content_text": "Life as a working actor can make studying your craft feel like a chore.\n\n\n\n Actors often have demanding and unpredictable schedules, and the \u201cstarving artist\u201d 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? \n\n\n\nKey Insights\n\n\n\n\nTreat acting like a muscle. Regular training keeps you ready so you\u2019re not scrambling to \u201cget ready\u201d when opportunity hits.\n\n\n\nExplore multiple techniques and teachers to expand your range and avoid getting stuck in a single creative lens.\n\n\n\nUse low-pressure learning environments to take risks, fail safely, and reconnect with the joy that fuels long-term success.\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\nParticularly 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.\n\n\n\nThere 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. \n\n\n\nActing 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\u2019ll 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. \n\n\n\nThe 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\u2019re limiting your perspective, something any actor should be keen to avoid. \n\n\n\nBeyond the skills you acquire, intentionally studying and working on your craft when it\u2019s 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. \n\n\n\nIt 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\u2019s 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.\n\n\n\nRemember, 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. \n\n\n\nKnowing yourself as a student will help guide you to the kind of training that works best for you.\n\n\n\n\nThe post Train Like You\u2019re Already Booked: Why Consistent Practice Keeps Actors Working appeared first on Casting Networks.",
"date_published": "2026-04-03T09:10:13-07:00",
"date_modified": "2026-05-22T12:01:46-07:00",
"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/2026/04/iStock-2231151844.jpg",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=311196",
"url": "https://www.castingnetworks.com/news/how-actors-keep-long-running-roles-fresh-tips/",
"title": "From Routine to Renewal: How Actors Can Keep Long-Running Roles Fresh",
"content_html": "\n
Long-running roles can be an actor\u2019s dream. Multi-season television roles, touring productions, or long-running live theatre shows offer a consistent paycheck and extended time to refine and develop a character. The danger, of course, is letting the performance get stagnant. Once the novelty has worn off and you\u2019re deep in your professional routine, how do you keep the performance fresh and yourself present?
\n\n\n\n
Key Insights
\n\n\n\n
\n
Sustaining a long-running role requires both creative renewal and a reliable off-duty routine that supports physical and emotional stamina.
\n\n\n\n
Recognizing personal patterns of burnout or stagnation helps actors prepare for the moments when a performance starts to feel routine.
\n\n\n\n
Reconnecting with inspiration, revising goals, and collaborating with castmates can help keep performances dynamic over time.
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\u2019re 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\u2013identify 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\u2019t forget to include emotional respite and connection with friends and family. You won\u2019t 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.\u00a0\u00a0\u00a0
\n\n\n\n
Identify Your Patterns
\n\n\n\n
Forewarned is forearmed. Once you\u2019ve been in the game for a while, you\u2019ll start to notice patterns. Maybe you always hit a creative wall in the fourth week of a run, or don\u2019t 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\u2019t have many spoons to spare.\u00a0
\n\n\n\n
Re-Connect to Inspiration
\n\n\n\n
If you\u2019re feeling stuck artistically, maybe it\u2019s 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\u2019s time to take risks. Re-invigorating your passion for the story can help rev the engines. Maybe it\u2019s time to re-read source material, or revisit someone else\u2019s performance from which you draw inspiration.\u00a0
\n\n\n\n
Constantly Revise Your Goals
\n\n\n\n
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.\u00a0 The only caveat is that any changes to your performance must still be in line with the director\u2019s 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. \u201cToday, I will focus on listening to and being more present with my scene partner.\u201d\u00a0
\n\n\n\n
Enlist the Help of Your Classmates
\n\n\n\n
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. \u201cHey, I\u2019m struggling with the stakes at the top of this scene\u2013can we talk about our characters\u2019 relationship coming into this?\u201d
\n\n\n\n
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.
\n\n\n\n
Key Takeaways
\n\n\n\n
\n
Long-running roles stay fresh when actors build habits that support both endurance and artistic flexibility.
\n\n\n\n
Small creative adjustments, like shifting goals or tactics, can prevent a performance from becoming predictable.
\n\n\n\n
Maintaining open communication with scene partners and directors is key to refreshing a role while staying aligned with the production.
\n",
"content_text": "Long-running roles can be an actor\u2019s dream. Multi-season television roles, touring productions, or long-running live theatre shows offer a consistent paycheck and extended time to refine and develop a character. The danger, of course, is letting the performance get stagnant. Once the novelty has worn off and you\u2019re deep in your professional routine, how do you keep the performance fresh and yourself present?\n\n\n\nKey Insights\n\n\n\n\nSustaining a long-running role requires both creative renewal and a reliable off-duty routine that supports physical and emotional stamina.\n\n\n\nRecognizing personal patterns of burnout or stagnation helps actors prepare for the moments when a performance starts to feel routine.\n\n\n\nReconnecting with inspiration, revising goals, and collaborating with castmates can help keep performances dynamic over time.\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\nBuild an “Off-Duty” Routine\n\n\n\nPhysical 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\u2019re 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\u2013identify 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\u2019t forget to include emotional respite and connection with friends and family. You won\u2019t 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.\u00a0\u00a0\u00a0\n\n\n\nIdentify Your Patterns\n\n\n\nForewarned is forearmed. Once you\u2019ve been in the game for a while, you\u2019ll start to notice patterns. Maybe you always hit a creative wall in the fourth week of a run, or don\u2019t 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\u2019t have many spoons to spare.\u00a0\n\n\n\nRe-Connect to Inspiration\n\n\n\nIf you\u2019re feeling stuck artistically, maybe it\u2019s 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\u2019s time to take risks. Re-invigorating your passion for the story can help rev the engines. Maybe it\u2019s time to re-read source material, or revisit someone else\u2019s performance from which you draw inspiration.\u00a0\n\n\n\nConstantly Revise Your Goals\n\n\n\nA 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.\u00a0 The only caveat is that any changes to your performance must still be in line with the director\u2019s 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. \u201cToday, I will focus on listening to and being more present with my scene partner.\u201d\u00a0\n\n\n\nEnlist the Help of Your Classmates\n\n\n\nReconnecting 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. \u201cHey, I\u2019m struggling with the stakes at the top of this scene\u2013can we talk about our characters\u2019 relationship coming into this?\u201d\n\n\n\nBuilding 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.\n\n\n\nKey Takeaways\n\n\n\n\nLong-running roles stay fresh when actors build habits that support both endurance and artistic flexibility.\n\n\n\nSmall creative adjustments, like shifting goals or tactics, can prevent a performance from becoming predictable.\n\n\n\nMaintaining open communication with scene partners and directors is key to refreshing a role while staying aligned with the production.\n\nThe post From Routine to Renewal: How Actors Can Keep Long-Running Roles Fresh appeared first on Casting Networks.",
"date_published": "2026-03-20T10:26:56-07:00",
"date_modified": "2026-05-22T12:11:03-07:00",
"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/2024/07/shutterstock_700715500.jpg",
"tags": [
"Acting Advice",
"Actors"
]
},
{
"id": "https://www.castingnetworks.com/?p=306507",
"url": "https://www.castingnetworks.com/news/dark-winds-cast-interview-advice-for-actors/",
"title": "What \u2018Dark Winds\u2019 Teaches Actors About Preparation and Building the Right Relationships",
"content_html": "\n
Dark Winds is a psychological thriller series on AMC that recently began its fourth season. Based on Tony Hillerman\u2019s novel series Leaphorn & Chee, the show is set in the 1970s and follows three Navajo tribal police officers, Lt. Joe Leaphorn, Jim Chee and Bernadette Manuelito, as they solve crimes on their reservation amid a surge of increasingly violent cases.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Professional relationships often open doors, as many Dark Winds cast members landed roles through years of collaboration and industry connections.
\n\n\n\n
Preparation remains a defining factor in booking work, with actors emphasizing memorization, training and arriving fully ready for auditions.
\n\n\n\n
Casting Indigenous talent can require creative approaches, including discovering new performers directly from Native communities.
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.
\n\n\n\n
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\u2019s novelist daughter Anne Hillerman.
\n\n\n\n
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.
\n\n\n\n
Finding talent within the Native community can be challenging, McClarnon acknowledged, saying that production aims to hire Indigenous actors, specifically Din\u00e9 (Navajo), but that has presented its share of difficulties. \u201cThere\u2019s not a big pool of native talent out there,\u201d he noted.
\n\n\n\n
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.
\n\n\n\n
\u201cIt can be difficult to do, but we’ve been successful at it, and found some on the reservations, especially the young kids,\u201d McClarnon offered, adding that younger actors can be refreshingly unencumbered. \u201cI think kids have a lot more freedom and allow themselves to play a lot more,\u201d he continued.
\n\n\n\n
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. \u201cHe 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.\u201d
\n\n\n\n
Gordon\u2019s 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.
\n\n\n\n
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\u2019t hurt that Gordon had previously worked with McClarnon on two Jason Momoa-led series, Frontier and TheRed Road.\u00a0
\n\n\n\n
\u201cIt\u2019s always tough to get a series regular gig as an actor,\u201d he said. \u201cI 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.\u201d
\n\n\n\n
Matten, who also worked with McClarnon and Gordon on Frontier, equally stresses the importance of professional relationships. \u201cThe three of us had worked together before, and had known each other for a decade prior, so people pay attention to that,\u201d she pointed out.
\n\n\n\n
She echoes McClarnon\u2019s view on the limited Native pool in casting and what that means for an actor\u2019s reputation.
\n\n\n\n
\u201cOur Indian country is small, so we kind of all know each other, and our reputation does matter,\u201d she emphasized. \u201cAre 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.\u201d
\n\n\n\n
Matten, who landed her Dark Winds role \u201cafter a second taping on my broken ring light,\u201d also states that auditioning can often be harder simply because she\u2019s a woman, which is why she believes female actors must always bring their A game.
\n\n\n\n
\u201cYou’re not necessarily competing against other women,\u201d she observed. \u201cIf 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.\u201d
\n\n\n\n
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.
\n\n\n\n
\u201cI know they say \u2018hold your sides\u2019 and read off it, but everything I’ve booked has been off being super prepped, and being completely off book,\u201d she stated.
\n\n\n\n
McClarnon underscores the value of preparation for any actor, and credits it in part to his own success.
\n\n\n\n
\u201cI studied my butt off,\u201d he revealed. \u201cI 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.\u201d
\n\n\n\n\n\n\n\n
Key Takeaways
\n\n\n\n
\n
Build and maintain genuine relationships across the industry because collaborations often circle back years later.
\n\n\n\n
Treat every audition like a rare opportunity by preparing thoroughly and arriving completely off-book whenever possible.
\n\n\n\n
Approach acting as both an art and a business by maintaining professionalism, protecting your reputation and committing to ongoing training.
\n",
"content_text": "Dark Winds is a psychological thriller series on AMC that recently began its fourth season. Based on Tony Hillerman\u2019s novel series Leaphorn & Chee, the show is set in the 1970s and follows three Navajo tribal police officers, Lt. Joe Leaphorn, Jim Chee and Bernadette Manuelito, as they solve crimes on their reservation amid a surge of increasingly violent cases. \n\n\n\nKey Insights\n\n\n\n\nProfessional relationships often open doors, as many Dark Winds cast members landed roles through years of collaboration and industry connections.\n\n\n\nPreparation remains a defining factor in booking work, with actors emphasizing memorization, training and arriving fully ready for auditions.\n\n\n\nCasting Indigenous talent can require creative approaches, including discovering new performers directly from Native communities.\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\nNative 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.\n\n\n\nMcClarnon 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\u2019s novelist daughter Anne Hillerman. \n\n\n\nCasting 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. \n\n\n\nFinding talent within the Native community can be challenging, McClarnon acknowledged, saying that production aims to hire Indigenous actors, specifically Din\u00e9 (Navajo), but that has presented its share of difficulties. \u201cThere\u2019s not a big pool of native talent out there,\u201d he noted.\n\n\n\nDue 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. \n\n\n\n\u201cIt can be difficult to do, but we’ve been successful at it, and found some on the reservations, especially the young kids,\u201d McClarnon offered, adding that younger actors can be refreshingly unencumbered. \u201cI think kids have a lot more freedom and allow themselves to play a lot more,\u201d he continued. \n\n\n\nMcClarnon 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. \u201cHe 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.\u201d\n\n\n\nGordon\u2019s 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. \n\n\n\nAfter 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\u2019t hurt that Gordon had previously worked with McClarnon on two Jason Momoa-led series, Frontier and The Red Road.\u00a0\n\n\n\n\u201cIt\u2019s always tough to get a series regular gig as an actor,\u201d he said. \u201cI 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.\u201d \n\n\n\nMatten, who also worked with McClarnon and Gordon on Frontier, equally stresses the importance of professional relationships. \u201cThe three of us had worked together before, and had known each other for a decade prior, so people pay attention to that,\u201d she pointed out. \n\n\n\nShe echoes McClarnon\u2019s view on the limited Native pool in casting and what that means for an actor\u2019s reputation.\n\n\n\n\u201cOur Indian country is small, so we kind of all know each other, and our reputation does matter,\u201d she emphasized. \u201cAre 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.\u201d\n\n\n\nMatten, who landed her Dark Winds role \u201cafter a second taping on my broken ring light,\u201d also states that auditioning can often be harder simply because she\u2019s a woman, which is why she believes female actors must always bring their A game. \n\n\n\n\u201cYou’re not necessarily competing against other women,\u201d she observed. \u201cIf 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.\u201d\n\n\n\nDespite 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. \n\n\n\n\u201cI know they say \u2018hold your sides\u2019 and read off it, but everything I’ve booked has been off being super prepped, and being completely off book,\u201d she stated. \n\n\n\nMcClarnon underscores the value of preparation for any actor, and credits it in part to his own success.\n\n\n\n\u201cI studied my butt off,\u201d he revealed. \u201cI 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.\u201d\n\n\n\n\n\n\n\nKey Takeaways\n\n\n\n\nBuild and maintain genuine relationships across the industry because collaborations often circle back years later.\n\n\n\nTreat every audition like a rare opportunity by preparing thoroughly and arriving completely off-book whenever possible.\n\n\n\nApproach acting as both an art and a business by maintaining professionalism, protecting your reputation and committing to ongoing training.\n\nThe post What ‘Dark Winds’ Teaches Actors About Preparation and Building the Right Relationships appeared first on Casting Networks.",
"date_published": "2026-03-06T09:33:14-08:00",
"date_modified": "2026-05-22T12:15:35-07:00",
"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/2026/03/Dark-Winds.jpg",
"tags": [
"Acting Advice",
"Actors"
]
}
]
}
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