"On Your Side: Nurturing Your Professional Relationship with Casting Directors"

 

[As part of Rick On Theater’s occasional series on the work of professionals in show business with whose jobs most audience members are probably unfamiliar, I’m posting three related articles from SAG-AFTRA magazine, the quarterly publication for members of the union for actors in the film and television industries.  They relate to the work of casting directors, the professionals who help find the talent for roles in film, television, theater, commercials, and other related performance work.  They negotiate contracts, manage a casting budget, and coordinate and hold auditions. 

[Casting directors play an essential role in the entertainment business, providing a short list of candidates for consideration by the director, producer, and, in theater, the playwright, who make the final casting choices.  They coordinate and hold auditions according to the relevant union’s rules and screen the dozens and even hundreds of actors trying out for the roles.  Most casting directors periodically hold their own auditions (or, nowadays, solicit taped auditions—see below) to maintain a file of actors upon whom they can call when a suitable project starts casting.

[As readers can see, developing a good relationship with casting directors is an important part of an actor’s career management.  The article below, from the Summer 2021 issue of SAG-AFTRA (vol. 10, no. 3) is based on the advice of several casting directors who work in film and television (though most casting agencies work in all performing media, including theater) on establishing and maintaining that professional relationship.]

For today’s working actors, cultivating and maintaining professional relationships is as important as it’s ever been, none more so than the ones with casting directors. At times, it may feel like this dynamic is one-sided, but the truth is casting directors greatly value their relationships with actors. Not only will they advocate for performers, but also some remain invested in a performer’s career well beyond the duration of an initial project.

“When we meet someone and see something in them, we more actively follow that actor’s career to see what they’re doing and where they’re getting hired,” said former Casting Society of America [CSA] Co-President Russell Boast. “There are actors who I’ve been trying to hire, literally, for 25 years.”

As in any other field of work, maintaining these relationships requires constant effort. The best way to build a rapport with casting directors is to have great auditions under your belt — after all, casting directors are sought out by directors and producers for their unique connection to talent, and building a positive reputation through auditioning can be a career-changer.

The first thing to remember is that every audition requires preparation. As an actor, it’s easy to focus solely on rehearsing your lines — and taking time to rehearse is important. But take some time to also do a little research. Review the director’s past films or, if auditioning for a television series, be sure to watch several episodes to understand the show’s tone.

Casting directors will be doing this as well, and Angela Peri, CSA, and Lisa Lobel, CSA, of Boston Casting in Massachusetts note that this research helps them better understand a project.

“All directors have a style, and when we’re working with [someone new], we’ll watch two or three of their movies beforehand,” said Peri. She advises actors to, “Really do your in-depth analysis, because the deeper you go, the better the performance.”

For those working in larger markets, it’s a good idea to research the casting director. That may mean looking back at your past work to see if you’ve previously auditioned for a casting director, or even finding articles and interviews about them. Taking these extra steps can prevent you from committing certain faux pas and lets you know more about what casting — and, ultimately, the director — is looking for.

Said former CSA Co-President Rich Mento, “Social media is a really good way that actors can get to know casting directors. There are a lot of us doing podcasts and interviews now, and there’s so many things I learned from listening to my colleagues, [and] actors can really make use of what’s out there.”

Auditions are the best way casting directors get to know you. But to make the most of your professional relationship with casting directors, it’s important that you also take time to get to know them as well.

No two auditions are alike, and every type of role — television, film and commercial — requires a different approach. But the one thing that every casting director is looking for is connectivity: Do you understand the character? In what ways are you bringing yourself into the role? And how quickly do you show that in your audition?

“I always say to actors that it’s about the first five seconds,” said Atlanta casting director George Pierre, CSA. “Whether it’s a live [audition] or even via Zoom, I should be able to turn my back to you and feel what you’re presenting.”

Connectivity is even more important when it comes to self-taped auditioning [see article below]. Casting directors are aware that self-taping presents some difficulties, including fewer opportunities to give actors direct and timely feedback. But Boast and Mento note that remote auditioning offers opportunities as well.

“If you’re in the room with me, I’m probably redirecting you — and even if you get the job, you’re [following the director’s cues]. So, really, that first self-taped audition is the only time in the entire process you’re completely in control,” said Mento. “There’s power in that, and I think that actors should be more excited about [having that aspect] than disappointed that they can’t be in the room.”

Mento’s words should be taken to heart when it comes to aspects of your delivery such as your emotional range and character choices. But for all other aspects of your self-tape — lighting, background and clothing — remember that the opposite is true: Keep things simple and subtle.

“People start to get really elaborate with their auditions, but less is more,” said Lobel. “Give nods to the world that you’re portraying through your clothing, but don’t go all-out with costuming, don’t try to recreate the set and stick to your lines — don’t improv!”

Added Boast, “And remember that, in addition to the business of it all, this audition is another opportunity to act; be bold and try to enjoy the creative process! Don’t get too caught up in the technology of self‑taping; we’ll see beyond the setup if you’re doing great work.”

Above all, remember to review the tape before you send it!

Still, even with research and preparation and taking the proper steps to deliver great in-person and self‑taped auditions, you can still be passed up for a role. Handling rejection isn’t something only actors experience; casting directors also face rejection, whether it’s being turned down for a project or having an actor they recommended ultimately not be chosen. But what’s important is to not let a setback affect you too strongly. Always be looking ahead.

“[Auditioning] is a constant interview,” said Pierre. “Don’t let one rejection — or 100 rejections — deter you from pursuing what it is that you love. There’s eventually going to be a ‘yes,’ and that one will turn into [more work].”

Instead of focusing on the part you didn’t get, take effective steps to ensure you’re ready for the next opportunity that can — and will — present itself.

“I’m a retired actress, so I really know what [experiencing rejection] is like, and, if I can, I try to [advise] actors on what they can do moving forward,” said Peri. “Really become a contender and be your own manager. Start actively looking for work and peacock a little bit: Change your headshot and update your resume, get on two or three online services, and look for an agent.”

“And if you’re constantly being asked to audition for multiple projects at the same office, take that to mean a casting director sees something in you and is choosing to spend [their] time on you,” added Mento.

There will come a time when a “no” becomes a “yes,” and you’ll find yourself working on-set, but that doesn’t mean your professional relationship with a casting director is over. Your conduct on set is not only a reflection of your professionalism, but that of the casting director. Instances of poor “set-iquette,” whether to the director or crew, can make its way back to casting and lead to long-lasting consequences.

“If I hear word from the set that [someone I cast] was actually rude and disrespectful for no reason, that hits home, /because I’ve had that done to me as a [production assistant],” said Pierre. “Don’t just show the producers and directors respect because you feel they’re the ones that are going to make it happen for you. You’re only as good as your last project, and the PA on set one day can end up being a producer [on another set] the next day.”

There are few constants in the industry, but one thing that remains true is that casting directors are invested in actors’ successes.

“We miss the actors and [in-person] sessions; I miss giving that direction,” said Lobel. “But auditioning is part of the process and I think that . . . us calling you in should show you that we are on your side and believe that this role could be perfect for you.”

[CSA is the professional association for casting directors in all media.

[Russell Boast is a former president of CSA and the head of its Equity in Entertainment and Training and Education committees.  As co-founder and owner of Manwiller/Boast Casting, his television and film credits include FX’s The Fix and No Ordinary Man.

[Richard Mento is also a former co-president of CSA.  In a career of over 20 years, Mento has cast theater, film, television, music videos, and new-media projects.  He’s best known for Remember Me, Dear John, the Step Up franchise, and U2’s “Song for Someone” video.

[Angela Peri and Lisa Lobel, both members of CSA, are co-owners of Boston Casting, the New England region’s largest casting agency.  Boston Casting specializes in film, television, commercials, and more.  Their previous projects have included Knives Out, American Hustle, and The Equalizer movies.

[George Pierre, a CSA member, is the owner of George Pierre Casting in Atlanta.  He’s been involved in BET’s Being Mary Jane and Creed.]

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“WATCHING YOUNG PERFORMERS GROW”

If you’re a young performer moving away from children’s roles, landing a gig can be especially difficult. At times, it can even feel as though the odds are stacked against you or that your career is ending. But know that casting directors are on your side, even as you’re moving through that phase.

Casting directors understand that you’re in a unique time in your career during which you are developing new skills. Oftentimes, they are using the audition to provide you with feedback to make you better.

“We want to help nurture [young performers] and see how their [performing] changes over time,” said casting director Suzanne Goddard-Smythe, CSA, during SAG-AFTRA’s Audition Tips for Parents and Young Performers livestream on Jan. 5 [2021]. “So, if we keep wanting to see you, that’s good!”

And while many young performers worry that a less-than-stellar audition or taking a hiatus will cause permanent damage to their careers, the casting directors said that’s not necessarily the case.

“If there’s a period of time where an actor feels like they need to take a break or would rather be doing other things, they probably should, and that’s okay,” said casting director Howie Meltzer, CSA. “But if it’s someone we feel passionate about, we’ll likely call [their representative] and find out what’s going on.”

“We want you to feel great about the audition and that it’s a great experience. If you get the part, that’s great — but if you don’t, you’ll be remembered for something else,” added casting director Monika Mikkelsen, CSA.

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“THE CHALLENGES OF SELF-TAPING”

[Self-tapes are what many actors and casting directors refer to when an audition is done through digital casting—rather than trying out in person, performers submit video of their audition.  For some actors, this can be more daunting than an in-person audition while for others, it can be less stressful. 

[At present, self-taped auditions seem to be most popular in the casting of television and film work, but as it increases in popularity with both actors and casting directors, it will most likely become common in stage casting as well.  There are many websites, including SAG-AFTRA’s, with tips and advice for making audition self-tapes.]

In the entertainment and media industry, change has always been the one constant. While it would be nice if performers could focus on their craft to the exclusion of all other concerns, actors have always had to be flexible, as the profession demands they run their careers like a business.

Over the past year, with social distancing and lockdowns, audition self-taping has risen in prominence. But the pandemic only accelerated a trend that was already on the rise, and it’s clear that self-taping is unlikely to go away completely. While there are certainly advantages of self-taping, SAG-AFTRA has heard from members about the artistic, technical, financial and time-related challenges self-taping poses for many of them.

The union understands those challenges and is engaging with industry partners at Directors Guild of America [DGA] and Casting Society of America to determine a path forward that works best for all parties, because it’s clear that there will be a hybrid model going forward, with some casting directors preferring self-tapes and some projects requiring them.

The union understands that fighting technology is not a winning strategy; SAG-AFTRA wants to make it work in your favor and help you to be as competitive as possible in this new reality. That’s why SAG‑AFTRA and the SAG-AFTRA Foundation have offered numerous panels and workshops on the topic, as well as articles in SAG-AFTRA magazine and on the website.

Whether it is self-taping, the threat of deepfakes, the dramatic increase in the use of streaming services or any of the thousand other ways technology is impacting the industry, the union will continue to do everything it can to work on your behalf and provide tools to help you adapt.

[The importance of self-taping auditions was already on the rise before the pandemic, but it’s now becoming an ever‑more-critical skill for actors.  Additionally, you can edit your video on your phone.  There are a lot of resources online that offer advice on how to make a great self-tape, including some SAG-AFTRA-sponsored panels.  View them at https://www.sagaftra.org/videos.

[DGA is the professional association for directors in television and film; it should not be confused with the Stage Directors and Choreographers Society (SDC), formerly known as Society of Stage Directors and Choreographers (SSDC), the association of theatrical directors and choreographers.]