Zoom Audition

VIRTUAL CASTING TIPS

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Virtual Casting is a whole different ballgame.

By now, y’all know how to use Zoom. You have a great self-tape set-up. You’ve studied audition technique and feel rooted in your acting abilities and experience.

Put ALLLLLLLLLL of those things together, add a bit of on-the-fly-do-it-yourself IT work and you have Virtual Casting.

Virtual Casting is stressful. For you, for Casting, for your roommate or partner who are desperately trying to help you fix whatever has gone wrong in the middle of your session… it’s a whole new skillset and we’re all on the learning curve together. (Remember, Casting wants you to succeed!)

In an effort to help alleviate some of the anxiety around this stuff, I’ve put together a LONG-ASS list of tips for you to reference as you practice Virtual Casting.

 

1. PRACTICE BEFORE YOU HAVE A REAL VIRTUAL SESSION! You will be so glad you did.

    • Important: you can practice and be totally “ready” (mentally, technologically,) and things will STILL go wrong, (mostly technically, but those tech problems will make your audition nerves come roaring out of hiding.) Tech issues are simply the rules of the internet. Expect them.
    • Know that when these things go wrong, there are contingencies: maybe a phone call to talk notes before you self-tape, rescheduling your virtual appt on a different platform, etc. Don’t panic. You won’t lose the opportunity just because you’re having tech problems.

2. WIFI/INTERNET ISSUES ARE COMMON. Do yourself a favor and place yourself near your router (or plug in) for your virtual session. Test your internet speed in different areas of your home to see if there is an ideal location.

    • If you live with someone, kindly ask them to go for a walk or sit quietly and read a book while you are having your virtual session so you can have the full bandwidth. (If they’re scrolling through twitter or checking email it won’t hurt your speed too much, but if they’re watching Netflix or streaming videos, you’re screwed.)

3. PLACE YOUR COMPUTER OR TABLET AT EYE-LEVEL, WHETHER YOU ARE SITTING OR STANDING. I’d recommend using a computer or tablet for the session because the screen is bigger, making it easier for you to see the people with whom you’re speaking/reading. It can be harder to adjust the height of your larger devices so plan to not move it. Instead, you may need to adjust your energy, depending on the scene.

    • Remember: eye level device = fewer chins/nose hairs. (You can thank me later.)

4. CLEAN YOUR LENS BEFOREHAND! I know you’re all getting good at doing this on your phones before you self-tape, but make sure you do it on your computer. (That thing is DIR-TY.) Add streaming and layers of internet to that dirty lens and it is REAL hard to see you.

5. LIGHT: Our computer cameras aren’t as great as our phones. Use the lighting set up that you use for your self-tapes. It will help the camera eye open up more and give you a clearer/sharper look.

    • Ideally you do your virtual casting session in your self-tape space because it’s set-up with a plain BG, good light, quiet, etc. Just make sure the internet speed is up-to-par there. (See above.)

6. FRAME: Avoid the instinct to step back/away from your computer to give yourself more space. It’s already hard to see you with these computer cams, streaming issues, etc. Don’t make your face even tinier in the frame than necessary. Aim for the same frame as your self-tapes (about mid-bust or clavicle to just above your head.)

7. SOUND: Have your earbuds/AirPods handy. You may want to try doing your scene without them for the “look” but they may be the exact tool you need to mitigate the major sound issues (ambience, echo, low volume, etc.) Have them at arm’s length or just plan to use them.

    • Ambient noise exists and for the most part you can’t do anything about it. If your dog barks in the next room or an ambulance drives by or or or… it’s fine. Virtual casting will never be perfect (a lot of in-person audition scenarios aren’t perfect either, let’s be real.) As long as you’ve taken the precautions of tucking yourself into a quiet space, asking your partners/housemates/kids to keep their voices down, etc. then you’ve done the best you can. All good.

8. THERE’S INTERNET “ECHO” (hearing ourselves through your speakers, often fixed when you put on earbuds) AND ROOM ECHO. Room echo can be managed by surrounding your space with items that soak up sound (furniture, pillows, etc.)

9. EYELINE: Before you start, ask where they’d like your eyeline. Ideally you‘d look at the reader, but they may want you to look into or near the camera to better see you. Scoot your reader’s box to the top of your screen so they’re as close to the camera as possible. Win-win (hopefully.)

10. If the session is on Zoom, pin the reader and then go to your picture box, click the three dots in the upper-right hand corner and choose “HIDE SELF-VIEW” (You’re welcome.)

    • An excellent lo-fi solution if you are struggling to find that option is just to grab a little sticky note and put it up over your box so you aren’t watching yourself.

11. TURN NOTIFICATIONS OFF or put your devices on Do Not Disturb (airplane mode is ok but you have to turn your WiFi off on your phone otherwise it’ll still ring.) Those dings and rings that come in on your computer are UNBELIEVABLY loud on Zoom. Also, if you’re recording separately on your phone and a call comes in, it will stop the recording. (See #15 for more on this.)

12. EVERY VIDEO CONFERENCING PLATFORM IS DIFFERENT. Y’all know Zoom by now but have you tried Google Meetings, Microsoft Teams, WeAudition, WebEX, GoToMeeting, Eco-Cast Live, etc? If your virtual session is on a platform that’s new to you, make sure you check it out in advance… You might need to download an app or use a certain browser or create a free profile. Don’t discover these things a minute or two before your appointment time, (stress city!)

    • Every Zoom issue I’ve ever had was solely because I needed to update my app. Make sure you have the most current version of whichever system you’re using.

13. SIGN ON TO YOUR SESSION A FEW MINUTES EARLY. If we’re running ahead of schedule, we’ll be glad to see you pop into the waiting room. It also alleviates a LOT of stress on our end to see you in the virtual waiting room.

14. NO VIRTUAL BACKGROUNDS. (I bet you thought that goes without saying, but I’m going to leave it here as a reminder juuuuuust in case.) Fight the urge to pop one up. They’re unbelievably distracting.

15. SET A BACK-UP RECORDING. This is the best way to alleviate your Virtual Casting-related anxiety. Sh*t will unquestionably go wrong (on your end, on their end,) and there is no bigger bummer than thinking you may have had a really great take and the director saying “oh no! You froze there for a second!”

Do your heart a favor and place a phone or camera as close to your computer lens as possible (ie JUST behind the screen.) Start recording right before you start the session. You do not need to play/cheat to it or start/stop the recording. Let it run and end the recording once you hang up – it is simply a BACK-UP. Even if you never need the recording, you will feel so much less stress knowing you’re covered if they say “we think that was good, it was just really glitchy.”

    • If you forget to set a back-up recording and there’s some obvious glitchiness, plan to self-tape as soon as you can with the notes you were just given.

16. IF IT’S A CALLBACK, YOU MIGHT GET NOTES AHEAD OF TIME. OR NOT. Sometimes we say, “we’ll just chat/play when we get on.” Sometimes we just want to see you do it live and don’t have any specific notes.

    • If you’re getting a CB, it’s because we like what you did in your initial tape. If we want to run a take before giving notes, aim for what got you the callback. Doesn’t have to be exact, obviously. You’re not a robot. But those choices are a good jumping-off point.

17. BE FULLY IN YOUR BODY. Remember: even though we’re seeing you from the chest up, you should still feel your toes, breath should still come from your diaphragm, etc. If you’re in your head, we can see it, (always, but especially in self-tapes/virtual casting where the camera is close.)

 

And that, my friends, is the tip of the iceberg.

Virtual Casting WILL get easier. It’s new, it’s weird and the anxiety we feel around it is compounded with the stress we feel living in America in 2020. It’s a lot. But this situation is doable. And if a little effort and newness/weirdness means you can get back to set sooner, then we can all buck up and figure it out together.

Start here. And for the love of all things, START PRACTICING.

 

Self-Tape

Five Common Self-Tape Mistakes (and how to fix them!)

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Hey Actors! When it comes to self-tapes, these are some of the more common issues I see, (and how you can avoid them!):

#1: EYE LINE

It’s easy to overthink where you should be looking when faced with car scenes or a scene with multiple characters, but the easiest solution is to keep it simple. We (and the camera) need to see your face. You can acknowledge the entrance of another character by looking slightly off camera/to the opposite side of the camera, and then bring your eye line back to the reader. For car scenes, keep your face forward and engage with the reader in the moments when you feel you would’ve turned sideways to look at them. If you’re not looking at/engaging with your reader, your performance will start to feel one-sided. Always bring your eye line back to the person who is in the room with you.

#2: FANCY EDITING TRICKS

Title cards, cross fades, fade in/out, 4K are all not necessary. Casting Directors don’t use them… you don’t have to either. If we need to edit your tape, those fancy-looking tools can make it difficult for us to find a clean cut. They also add to your file size (significantly.) If you’re wondering why it takes forever to upload your tape, this could be why. Keep it simple with hard cuts and a slate instead of a title card.

#3: FLAT ENERGY

“Doing less” because the proximity of the camera makes you feel like you can be small is a trap into which MOST actors fall. However, your energy will come across as completely flat if you’re not projecting it past that device to your reader. If there is an energetic void between you and your reader, we will sense it in your self-tape.

#4: SPENDING OODLES OF TIME ON A SELF-TAPE

If you’ve done your prep and are as ready to audition as you would be if you went in for a live read, then your self-tape shouldn’t take long. Do not do more than three takes before you watch it back to see if you have it. (You probably do.) If nothing else, you will be able to see EXACTLY what you’re aiming for in the 4th Any more than that, the performance will start to dissolve. If you spend hours on your self-tape, you’ll either end up sending one of your very first takes or you will send a take where we can see your choices coming a mile away. (Also: preserve your relationship with your reader and be efficient with your time.)

#5: IGNORING DIRECTIONS FROM CASTING

This. Happens. CONSTANTLY. Be one of the actors we admire for their professionalism and follow directions, (and for the love of all that is holy, adhere to deadlines!) Also, we put important performance notes in our self-tape requests. Look there before you read through your sides for extra context and notes.

 

All of these things are easy traps to fall into because of timing, technical issues, trying to “stand out”… but when it comes to self-tapes, all Casting wants is for them to look like an audition that took place in our office.

Keep things simple, focus on your prep and read the notes from Casting.

Cut the Unnecessary Stress…

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I’d like to let you in on a little secret…:

 

it does NOT matter when you turn your tape in, or whether you go first or last during an audition session.

 

It matters, of course, that you turn your tape in by the deadline or show up at your scheduled time, but it TRULY doesn’t matter where/when we see your performance in comparison to the others reading for that role.

 

The reason being: if you’re right for the role and you’ve clicked with it, (you know the feeling I mean,) then you will stand out, no matter what.

 

There is a big propensity (especially during pilot season) for actors to shy away from being in the first “wave” of auditions for a particular role. (Meaning they don’t want to come in on the first day or two, or even the first week sometimes.) I’m sure this is partly due to the fact that things change rapidly during pilot season and they’d rather wait until some kinks have been ironed out. However, I know MANY an actor who is just plain superstitious about reading first. They’ll read second, third or even last, but they will run and hide in the bathroom if they think we’re going to call their names first.

 

Additionally, actors are constantly asking me when they should turn in their self-tapes. My answer (always): by the deadline. We give you those deadlines for a reason (logistics on our side, time to prepare on yours…) so if you need to take the time we’ve given and turn your tape in a few minutes before the deadline, so be it! If you’re the kind of actor who likes to get ‘er done and turn it in 24 hours early so you can move on, then do! The complaint I usually hear about tapes is that 1. If an actor turns their tape in early, the CD will sometimes extend the deadline making the actor believe they could’ve/should’ve done something different or weren’t good enough, or 2. If they don’t turn their tape in early, they may lose the opportunity if Casting decides to send videos forward before the deadline.

 

There is no science to any of this timing. Partly because, like every other craft, casting is organic. The process is never the same because the role/circumstance/creatives/budget involved are always different. The only true constant is this question: “does this person fit the role in an interesting and truthful way?” And if you can remember that THAT is the key, not whether yours is the first tape we see or the last, you’ll shed a lot of audition anxiety.

 

Here are a few real examples from my own personal Casting history:

 

On a pilot, the first actress we read for the role, (literally… she was the first person to say the words out loud,) became the instant favorite and the producers worked very quickly to hire her.

 

On a series, we read a million women for a role and were struggling to find the “right” person. So we went back and re-watched everyone we had seen. We decided to try one woman again. She came back in, nearly three months after her first read, and ended up booking the role.

 

On a major feature film, we read a zillion people for a lead role and then decided to try an out-of-the-box idea. This actor’s tape was literally the LAST one to come in and he ended up booking it.

 

On a mini-series, we wanted to read a specific actor for a role. The EP knew this actor, really felt he wasn’t right and encouraged us to cancel the read. We said we’d like to see what he could do with it – he nailed it. Nailed it so hard that we hired him the next day and his performance quickly became one of our favorites in the whole project.

 

On MANY pilots, we have gone in to test a role at studio or network when a last minute tape arrived that blew us away and we’ve quickly added that actor to the mix. Sometimes that last-minute person got it, sometimes they didn’t…

 

All of this is to show you that it doesn’t matter at what point we see your audition (live or tape.) If you’re the one, you’re the one. Remember that the next time you’re stressing about the “perfect” time to upload your tape or the ideal time to walk in the room. Drop that anxiety and instead focus on the things that do matter for every role, every audition: your preparation, professionalism and craft.

CALL MY MOM FOR A “MOMTRA”!

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Hello actors, friends, dreamers, doers!

As a very fun and different treat before the end of the year, my fantastic Mama and I have collaborated on something special for y’all:

Check out our interview all about MOMtras! (CLICK HERE TO WATCH!)

What’s a “MOMtra” you ask? It’s a highly-personalized mantra, meant to help you quell anxiety, unblock your energy and put you in the right frame of mind to accept the wonderful things that will undoubtedly come your way.

Watch our chat for much more information, examples and lots of talk on energy, (including the importance of “negatives” in our life, how there’s no real such thing as “rejection” and how to let your light SHINE in the new year!)

As we say in our house, some people have normal mothers, I don’t. And now you’ll all get to see why that’s a truly spectacular thing!

ENJOY!

xo

Erica and Robin (aka “Mom”)

Casting Directors and Actors are Collaborators!

Casting Directors and Actors Share a Common Goal

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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 post is not for the sake of accolades or martyrdom but to show just how very truly Casting Directors are ON YOUR SIDE.

So here is a brief list, specific to the things Casting Directors (and their hard-working staff) do to help actors get the job.

By no means is it limited to the below, nor do we do all of these things on a daily basis. This list also doesn’t include the obvious: run auditions, watch tapes, provide direction, etc.

Without further ado… Casting loves you. Let us count the ways.

Before your audition, Casting Directors:

  1. Advocate for more roles to be open to gender-identity, ethnicity, physical ability, etc.
  2. Provide other deeply talented, realistic options when our wide-eyed, passionate director says they want Anthony Hopkins to do a scale role.
  3. Keep files of actors FOREVER (online, hard copy, in our brains, etc.) And keep tabs on our favorite people.
  4. Strenuously recommend fewer pages of sides for the first rounds of auditions.
  5. Scrutinize your materials over and over via endless pitches (phone calls/emails/texts at all hours,) from your reps. We allow ourselves to be open-minded to these ideas, but clear in our concept so no one’s time is wasted.
  6. Set expectations and discuss process with our team to make sure you get enough time with (and info about) the material.

In/Around/After your audition, Casting Directors:

  1. Edit your reel/self-tape/audition clips to best present you to producers.
  2. Pull photos of you from the internet that are character/world appropriate to replace a generic headshot (and help folks with their imagination.)
  3. Make collages of you with other cast members for the sake of family resemblance. Also to help our team see the full puzzle.
  4. Re-style you in the audition room, (change your hair, remove your jewelry, have you put on our jacket, etc.) to better reflect the character.
  5. Download your tapes and reels. Upload your tapes and reels. Sync or flip clips. Check that the video plays. Re-order your scenes so the first clip up is the strongest. Follow up on the info you left out of your slate. Etc. Repeat – all day, every day.
  6. GUSH about you to our producers and to your reps.
  7. Liaise between studio/network execs, our producers and your reps CONSTANTLY. This is to make sure everyone is looped in on interest and availability, and nobody loses an opportunity or an actor they love.
  8. Provide constructive, workshop-like notes for re-tapes when the director says, “Just have them tape again,” and leaves it at that.
  9. Make sure you have all the information possible to succeed when you go in to meet/read. This includes, but is not limited to: parking instructions, all producer names/titles, word pronunciations, a page of terminology and references when you can’t have a full script, a phone call/audition/meeting with us beforehand to answer questions and so you know you have an advocate in the room.
  10. Tuck our feelings away when we are having a super shitty day, because we know that you feed off of our energy in the room.
  11. Show up on a Saturday because we KNOW you are the right person and that’s the only day you have available to read/meet.

Outside the Casting office, Casting Directors:

  1. Write blog posts/tweet/do panels/teach classes to help demystify the process. Casting Directors want you to have confidence when you go to audition.
  2. Look up flights online to prove to our line producer that there IS a way to get you to set in time.
  3. Educate ourselves on union rules and contracts so actors are never put in an uncomfortable or unsafe position.
  4. Work with our production and your other project to make sure you can logistically work on both projects. And that both shoots are protected from flight delays/weather issues/etc.
  5. Push production for more money for you. (We don’t always win this one, but we do try!)
  6. Don’t mention the things on this list because it’s part of our job and we don’t think of any of this as out of the ordinary.

 

**Photo courtesy of one very special post-pilot season affair, hosted by the always-wonderful Yesi Ramirez, where a bunch of us stressed Casting Directors and staff got to let loose and show off our goofy sides.**

Dealing with Rejection

You WILL Survive the Rejection

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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 crushing.

Now that we’re through pilot season, (AKA the time of year when “no” is most heavily employed,) let me help put those feelings into perspective:

“No” is not failure; it’s simply, “Not this time.”

My brilliant mother has been my #1 cheerleader and emotional guide as I’ve faced rejection in my career. (And just like you, I’ve endured PLENTY. Casting and actors are not that different. Solidarity, people.) She recently wrote an article wherein she says, “Rejection isn’t because someone doesn’t like you. It’s because they like something/someone else.” (Emphasis mine.)

When it comes to industry rejection, this is WHOLLY accurate. If you aren’t cast in a role, it’s because the team liked somebody else more. And someday, if you work at your craft and behave professionally, YOU will be the somebody else they like more. In the meantime, you’ll face rejection. And in that, you’re never alone. Only one person can be cast per role. That is a single, solitary “yes” to a heaping pile of “no’s.”

The best way to manage the underlying negativity of an artist’s path is to hold on to a little perspective.

I’ve had actors reach out to me, concerned that they’ve been pinned/released for the same Casting office multiple times. They’re worried that because they aren’t having those pins turn into bookings that they MUST be doing something wrong, and surely the Casting office will eventually stop seeing them. But realistically, EVERY pin is a major victory. Their perspective has gotten skewed by the feeling of rejection. Celebrate all the victories (big and small) you achieve while on your path, because those are the yes’s you need to keep coming back to this crazy business.

I’ll finish with this:

Last year, Dave Annable did a pilot. The pilot got picked up to series (yay!) but Annable did not (womp womp.) He wrote a (now famously) thoughtful post about it wherein he celebrates the achievement of so many and forces himself to move on. Here’s a brief snippet, but make sure you read the full post for a true lesson of grace while facing massive disappointment:

“Learning to deal with failure is one of the most important lessons you’ll deal with in your life. Guess what? Failure is mandatory. It’s growth. It’ll never stop. It’s where all the good shit happens that makes you a better person when you are open to seeing the right perspective.”

Hold on to that perspective, my friends. It’s all part of the job. 

Five Useful Mantras for Pilot Season (and Beyond!)

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It’s a stressful time of year. Many of us cling to whatever form of sanity (read: wine) 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. So here are a few helpful mantras or mindsets to aid your sanity this pilot season, and beyond.

Remember these buzzwords: ENCOURAGEMENT, ENTHUSIASM, PASSION, TEAMWORK, GRATITUDE.

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

1. ENCOURAGEMENT: “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. ENTHUASIAM: “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: “Every audition is an opportunity for me to do what I love.”

  • Sure, auditioning isn’t the best part of being an actor, but every chance you get to sink your teeth into a new script, embody a new character and perform or workshop a scene is a big win. Enjoy the ride, my friends.

4. TEAMWORK: “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: “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 and stay positive, my people! You got this.

10 Things to Remember as We Enter Pilot Season

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As we head in to the craziest time of year, here are a few things to remember (in no particular order):

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, just tell someone 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, are multitasking their brains out, are wildly underpaid, and they are always our first line of defense, often manning the overflowing waiting room. They face the abuse of cranky, restless, annoyed, late/about-to-be-late-to-another-appt actors all while trying to do their jobs. 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. ‘Tis the season for the sniffles (or worse.) A sickness can FLY through a Casting office, (we work in tiny rooms, seeing dozens of people a day. Sh*t spreads FAST.) 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. We don’t like having to do this… we know you spent time preparing it and we know you’ll give us sad puppy dog eyes if we pull it at the last moment. But things change RAPIDLY during pilot season. We may discover that the tone of a scene is redundant (we get the same idea from another scene,) 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. We know it’s a busy time of year and you may have four auditions a day, all over town. We know you also have lives and families and day jobs, etc. We are 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 don’t really know what’s going on because 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. This 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. (Even TWO actors showing 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

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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.”

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