Casting Directors and Actors are Collaborators!

Casting Directors and Actors Share a Common Goal

Repeat after me: “Casting Directors and Actors are COLLABORATORS. (Not enemies.)” Recently, one of my Casting colleagues lamented that she wished actors knew how hard we work for them. It made me realize… there’s a whole mountain of activity we Casting Directors do that actors (and other industry folk) really aren’t privy to. NOTE: This […]

Dealing with Rejection

You WILL Survive the Rejection

Let’s talk about rejection. [Insert sad trombone noise.] You all know that if you’re an artist, rejection is part of the gig. And even though you may be FULLY aware of that fact, every “no” from Casting can still feel personal. At best, rejection will (always) sting a little, and at worst, will feel utterly […]


Five Useful Mantras for Pilot Season (and Beyond!)

It’s a stressful time of year. Many of us cling to whatever form of sanity (read: chocolate) to help us survive until mid-April. But as you all know, the more we let anxiety and stress into our bodies, the harder it is to function. Here are a few helpful mantras or mindsets to aid your […]


Five Useful Mantras for Pilot Season (and Beyond!)

It’s a stressful time of year. Many of us cling to whatever form of sanity (read: chocolate) to help us survive until mid-April. But as you all know, the more we let anxiety and stress into our bodies, the harder it is to function.

Here are a few helpful mantras or mindsets to aid your sanity this pilot season, and beyond.


And here’s how you can apply them, (these are just a few examples. There are MANY ways you can connect these phrases to your careers and lives):

1. ENCOURAGEMENT MANTRA: “Casting WANTS me to be the one!”

  • Seriously, we are ON YOUR SIDE. If you are the one, that means that A. You’ve validated our creative choice to see you in the first place, and B. Our job is done (at least on that character.) Walk in to every Casting office and remember (no matter how cranky we are,) we are ROOTING FOR YOU. Feel the love, y’all.

2. ENTHUSIASM MANTRA: “I love a challenge!”

  • Pilot season is hard, the audition process (any time of year!) can be stressful, things move quickly, sides change at the last minute, self-tapes are due in a matter of hours, etc. Prepare for these opportunities as if you’re running towards a hurdle; put your heart and energy into it and then fly, my friends. The immediate moment after can feel like a MAJOR “fuck yeah!! I did it!”

3. PASSION MANTRA: “Every audition is an opportunity for me to do what I love.”

4. TEAMWORK MANTRA: “Every Casting office that sees me sets the course for a new relationship or strengthens an old one.”

  • It’s a business of relationship folks! If you go into a room or send in a tape and nail that read while behaving/communicating professionally, you will UNDOUBTEDLY audition for that Casting team again. Strengthen the connection, make Casting fall in love with your talent and attitude, and you will be back before you know it.

5. GRATITUDE MANTRA: “I’m grateful I have a strong team that works hard to get me these opportunities.”

  • In signing you, your reps have said “yes, I believe in your talent.” They’re working hard, doing their part to provide opportunities so you can go shine. Remember to acknowledge them in your heart, AND out loud.

Work hard, stay positive, and use these mantras to help calm your nerves! You got this.

10 Things to Remember as We Enter Pilot Season

As we head in to pilot season (aka the craziest time of year,) here are ten things for actors to remember:

1. Practice patience with appointments and sessions:

Appointments or self-tape requests may not be flooding in yet. Stay calm and read this blog post.

And please be patient with Casting when we run an hour or more behind during our sessions. We are trying to spend ample time with each actor and sometimes have to step out for various reasons. If you get in a time bind, instead of silently (or loudly) freaking out, tell a member of our staff and we’ll either squeeze you in (with the permission of others) or reschedule you.

2. Be kind to the Casting Assistant.

These amazing people work SO hard, ESPECIALLY during pilot season. They are multitasking their brains out, are wildly underpaid, and often have to cover an overflowing (restless, cranky) waiting room while trying to do ten other things. Be good to these people. They could be the future of our craft and they might have long memories for being mistreated by guests in our office. Plus, karma yo.

3. If you’re sick, reschedule.

Pilot season is also THE season for the sniffles (or worse.)  We tend to work in tiny rooms, with dozens of people per day; an illness can FLY through a Casting office. And if WE get sick during pilot season, we get zero days off to recuperate. So if you feel even a WHIFF of an illness, stay home, rest and reschedule or self-tape. Everyone will appreciate it.

4. Don’t be offended if we tell you we’re not doing one of the scenes you prepped.

Things change RAPIDLY during pilot season. We may have noticed that the tone/emotion of a scene is redundant, the scene may have gotten cut and no one feels the need to keep it in the audition rotation, the character may have changed and that scene no longer reflects the role… If we pull a scene, there’s a creative/logistical reason and it’s never because you’re not a worthy-enough actor to read an extra few pages.

5. No excuses, please.

Casting Directors know pilot season is wild and you may have four auditions a day, all over town. We know you also have lives and families and day jobs, etc. Our team is also fully aware that sometimes we give you material only a few hours before your audition. Walk in to every pilot audition with a GOOD attitude and an open mind. If you’re there, ready and willing to play and have prepped to the best of your abilities with the time you were given, then we’re all going to have a good time.

6. A self-tape request is JUST as valuable as an in-person audition.

This and many other important things can be further extrapolated from this blog post.

7. If you are given a script, read it.

It has become increasingly rare for scripts, particularly drama scripts, to be sent out for auditions. (We know this is frustrating. It drives us crazy, too.) If you are the lucky soul who receives a script along with your sides, we expect you to read it. Nothing is more frustrating to have provided all of that wonderful information and have actors come in and say they didn’t have time to read the script. (Wanna know why our session is backed up? We are CONSTANTLY providing context/backstory to actors because they haven’t read or weren’t given a script.)

8. Stay in town!

(Unless you book a gig/have a family emergency.)

Seriously. Pilot season is 100% NOT the time to take a vacation/extended weekends in places that have bad cell/internet reception. (Sundance falling right in the midst of pilot season is the BANE of every CD’s existence.) If you need further explanation on this topic, speak to your reps. I’m sure they’ll have plenty to say.

9. It is ABSOLUTELY cool to share your passion if you love a script or really resonate with a character.

Actors will often apologize for being effusive about a script/role. We LOVE that feedback! It validates OUR creative choice to be part of that project! Plus, we pass that feedback along to our writer and producers and it helps make for a very bright spot during a very stressful time. Don’t ever apologize for sharing your true passion or fighting for an opportunity.

10. It’s not ok to purposely show up several hours early for your in-person audition.

Mistakes happen, especially when you’re juggling so many appointments. But if you deliberately show up to our office two hours early because you were “close by and thought we could squeeze you in,” it can throw off our whole day. TWO actors who show up for the morning session when they were scheduled for the afternoon could mean that we don’t eat lunch that day. If you need to change your appointment time, have your reps call and we will find a time that works for everybody.

And one more for the road…

11. Pilot season doesn’t define you as an actor.

Say it with me: “PILOT SEASON DOES NOT DEFINE YOU AS AN ACTOR.” Repeat as needed.

Go get ’em, pals.

My Casting Origin Story

My Grandmother can easily be credited with kick-starting my Casting career.

When I was 15 or 16 years old, we were watching a movie together and as the end credits rolled, I saw “Casting By Ronnie Yeskel.” I turned to my Grandma, “Are we related to Ronnie Yeskel?” (My Grandma’s sister married a Yeskel.) “Yep! Distantly,” she answered.

My interest was piqued. I had ZERO idea what “Casting” meant, what it involved, how you did it or how you became someone who had a career in it, but I had a good guess that Casting was related to actors. And through Ronnie, I sort of “knew” somebody who did it. Those two things seemed pretty awesome to me. My Grandma, ever the educator and go-getter, saw my interest, (and also saw that I was in North Dakota where I was unlikely to gain any sort of relevant experience or find any information on the career,) and set out to help me learn more about it.

During one visit to Manhattan, she bought me an issue of the Ross Reports. There was a big article listing that year’s “Top 10 Casting Directors” with interviews and the occasional (gasp!) email address. (This was the late 90s… Casting was still very much a messenger/snail mail field.) I wrote to every CD who listed an address, asking how they became Casting Directors and what I should do to follow in their footsteps. One of them wrote back. I don’t remember much about our exchange (and those emails have gone the way of my aol account,) but I do remember him saying that there’s nothing you could study in school to be a CD and that I should start interning immediately.

Thus, my NJ-based Grandma set out on a quest to find me an internship. She doesn’t have any direct connection to the industry herself, but she has friends who have friends and she’s not afraid to ask. A few months before I graduated high school, my Grandma called to tell me that she had gotten me an internship at a NY talent agency for the summer. If I wanted it, I had to call this number and say I was Marion Landew’s granddaughter and yes, I’d be thrilled to have the opportunity.

So I did exactly that. I was 18 years old, taking the train from my grandparents’ house in Jersey into Manhattan every day. After a few weeks doing all kinds of tasks from calling to release clients after a commercial hold (ugh,) to sorting head shots, to working the front desk, some kind agents asked me what I REALLY wanted to do. “I think I want to be a Casting Director,” I said. The next day, one of the assistants called to tell me that instead of coming in to the office, I should go to this other building. I was going to help out a commercial Casting Director for a day while she had a session.

I sat in that hot waiting room, (July in New York with maybe a whiff of window AC,) checking actors in, taking their Polaroids, answering phones, pointing people in the direction of the bathroom… it was a (sweaty) three hour day of work and it might’ve been the most exciting three hours of my life. After that, I had no doubt that I wanted to be a Casting Director.

Flash forward a few years… I’ve just graduated from USC and I’m trying to find a job as a Casting Assistant in Los Angeles. By now, I’ve had about eight different internships, many of them coming by way of the previous thanks to that very first Grandma-supplied opportunity in New York. Lo and behold, one day I see a notice that Ronnie Yeskel is looking for an assistant. I’m literally panting with anticipation as I shoot her an email and not-so-subtly say that “if nothing else, it would be great to meet a member of my family.”

A few days later, I go in to interview with Ronnie. She asks me some cursory questions and then after a few minutes blurts, “so, HOW exactly are we related?” I explain: my grandmother is Marion, her sister is Evelyn and she’s married to Stanley. Ronnie nods and then dials someone on speaker phone. A woman picks up and Ronnie says, “Mom… do you know Marion Landew?” “Oh yes!” her mom says. “That’s Stanley and Evelyn’s sister. You’ve met her before at so-and-so’s Bar Mitzvah.” The conversation goes on a few more minutes. Ronnie is smiling ear-to-ear by the end of the call and I leave that meeting having been given a job assisting the woman who first piqued my interest in the field.

If it weren’t for my Grandmother, there’s a decent chance I would be doing something else right now. When I was first interested in Casting, there were not many places I could go to find information. It was at such a pivotal (about-to-apply-to-college) point in my life, that I could’ve just as easily gone on and studied some other part of film (or something else entirely.) She guided my research and knocked on doors when I had no idea where or how to begin doing either.

I name-dropped the hell out of her to get my first internship and my first full-time gig. But then, I have always been proud to introduce myself as “Marion Landew’s granddaughter.”

The Value of Unpaid or Low-Paying Jobs

As the Geoffrey Owens story reverberated around the internet last week, I was literally vibrating with utter rage at this view of actors/artists, and the idea that to work a day job or a second job makes you sad or unsuccessful. Geoffrey is not only a WILDLY talented actor, he is also a massively big-hearted and incredibly professional guy. I know because he’s worked for me, for little-to-no money, when I ecstatically cast him in a web series a million years ago.

And that brings up an important topic: if you are cast in a low-paying or no-paying job, (and supplementing your income some other way,) is that work any less valuable?

I have cast a number of projects that pay $100/day (web series, short films, ULB features,) or $9/performance (LA theatre.) I have cast many projects (including several TV shows,) where the union minimums were all we could pay, and that is sometimes far less than an actor’s earned quote. For ALL of these projects, I and the creative team involved would always want the best possible actor for the job: the actor who will elevate the material in ways we could only dream. So we would reach and hope to not insult anybody by offering a (sometimes laughably) nominal fee.

Of course, for these low-paying offers, Casting will often get passes based solely on the money; some actors prefer not to work for such low rates, and some simply can’t commit the time (child care, time away from other paying jobs, etc.) for that kind of fee. But we can get fabulous actors to come work for very little money because the script is SO good, or the producers all have track records, or because it’s an amazing program/school/cause, etc. In those cases, it is clear that the actor is not there for the money but for the creativity, or for the relationship-building, or to bolster and support a new/young/underrepresented filmmaker, or any other special combination of reasons with emotional value.

And guess what: every craft person in the entertainment industry has at one time or another worked for free or for very little. I have cast numerous plays and I get “paid” in the form of reserved seats to a performance, (and love, so much love.) The web series I cast Geoffrey in… I did that as a favor to the producers. For a number of the series I have worked on, I took a pay cut because I wanted to work on that particular project, with those people. I haven’t regretted any of them. Casting theatre is one of the most precious things I do; it fills my heart every time. All of the jobs I volunteered on or took pay cuts for were worth it for one reason or another. But I couldn’t have committed time to them if I didn’t have a second or third paying job to help cover my expenses. (Day care ain’t free, yo.)

(Addendum: I do RESENT one of these low-paying gigs. I don’t regret this particular project or my work on it, but I object to the way the producers valued my and the actors’ work.)

This is what we, as artists do. We make things work financially because we NEED to be creatively fulfilled. Are there times when we need to say “no” to low-paying/no-paying jobs: absolutely. Not every project or role will pay enough emotional dividends to make it worth the time or energy. It’s ok to pass on those ones.

Here’s an easy list of questions to ask yourself when faced with a low-paying/no paying/”please do me this favor” gig:

Q. Do I LOVE the script/role?

Q. Is there a chance this character could evolve and more work could come from it?

Q. Am I excited and energized to work with the creative team (Casting Directors, Director, Producers, Writer)?

Q. Am I feeling at all resentful because it seems like the project has a big budget but they’re shooting non-union (and paying very little)?

Q. Does the creative team and crew seem professional and respectful?

Q. Will this provide great footage for my reel OR a great relationship for future work?

Q. How much time is required? If it’s a long stretch of time, will I have time for another source of income?

Q. Is this a union job? Will it get me into the union?

Weigh the pros and cons each time so you are fully aware of the financial/emotional cost and payout. If it ultimately feels VALUABLE then it will be, even if it simply serves as a learning experience.

And in the meantime, remember that there is zero shame in working multiple jobs so as to allow yourself the freedom to take class, to write, to perform, to help out friends, to say “yes” when a low-paying acting job feels RIGHT… the freedom to pursue your dream career.