Notes from a Casting Director to Actors
The Fastest Ways to Get Passed On (and What to Do Instead)
I’m going to be honest with you, because it will help you book more work.
When I’m casting, I’m moving fast. Really fast. I might go through hundreds—sometimes thousands—of submissions. That means I’m not looking for reasons to say yes right away… I’m often looking for reasons to say no.
And most of the time, those reasons are simple.
Your Headshot Matters More Than You Think
If you don’t have a headshot, I’m not considering you. Full stop.
And not just any headshot—a clean, simple, professional one.
If your image is:
Poorly lit
Too dark
Black and white
Taken from too far away
Has more than one person in it
Weirdly cropped or cut off
Or feels unprofessional in any way
…I’m probably moving on.
Not because you’re not talented—but because I don’t have time to figure it out.
Your headshot is your first impression, and it needs to be clear, current, and easy to understand immediately.
Think:
Good, even lighting
A simple, clean background
Framed so I can clearly see your face
Properly cropped (no awkward cuts or distractions)
Just you in the shot
And here’s something a lot of actors overthink:
A simple, approachable smile will take you further than you think.
It works for the widest range of roles. It makes you feel castable. It makes it easy for me to picture you in something.
When you push too much personality in a headshot—too stylized, too intense, too specific—you can actually limit yourself. Sometimes I’ll move on simply because I can’t easily place you.
Make It Easy for Casting
This is the thread through all of this: don’t make casting work harder than they need to.
If I have to guess which person you are… I move on.
If I have to squint to see you… I move on.
If I’m confused at all… I move on.
Clarity wins.
Let’s Talk About Your Audition
Once you get the audition, the goal is the same: make it easy for me to say yes.
Start with this:
Read the sides carefully
Follow the self-tape instructions exactly
You’d be surprised how many people lose the opportunity right there.
When it comes to your takes:
Do as many takes as you need to feel good about it. Explore it. Try different approaches. That’s part of the process.
But when you submit:
Edit your takes down into 1–3 videos total
You can absolutely include multiple takes—I just don’t need them as separate files
Make it easy to watch. Make it curated. Show me your best work without making me dig for it.
And this is where you can stand out:
After you’ve given me what I asked for, feel free to include one take that’s a little different. Maybe it’s bigger, maybe it’s more grounded, maybe it’s just your interpretation of the role.
Sometimes, seeing your take can actually influence the creative direction.
Be Realistic About Logistics
This one matters more than people think.
If the role is local to a city, be local—or be able to work like a local.
Don’t plan to:
Fly in the morning of the shoot
Drive 6 hours to make an 8am call time
We need you at your best—rested, prepared, and reliable.
If there’s a high chance travel could delay you, stress you out, or make you late, that becomes a risk for production. And productions don’t like risk.
Being talented isn’t enough—you also have to be dependable.
Know the Details Before You Submit
Take a minute to actually understand what you’re submitting for.
Know if the rate includes agency fees or if that comes out separately
Be aware of union vs. non-union work and what that means for you
Make sure the project aligns with your expectations
These aren’t small details—they matter.
Size Cards Matter (A Lot)
There is nothing worse than casting you, getting you to set, and wardrobe doesn’t fit.
If wardrobe has sourced clothing based on your sizes and:
You’ve lost 50 pounds
You guessed your measurements
Or your sizes are just wrong
…it creates a real problem for production.
Always provide accurate, current sizes.
It makes everything smoother, more professional, and keeps you in good standing for future jobs.
Communication Is Everything
If you take nothing else from this, take this:
Be easy to communicate with.
Respond to emails and texts in a timely manner
Let casting know immediately if you have an agent that needs to be looped in
Keep everyone informed—don’t create confusion
If you’re bad at email or texting, fix it. This is part of the job.
And a small but real note:
Have a professional email address (Gmail is preferred)
Avoid outdated or unprofessional domains
This is your business. Treat it like one.
Professional Boundaries (Read This Twice)
Do not reach out to me directly on other platforms like email unless I’ve asked you to.
And absolutely do not reach out to my clients.
That is the fastest way to ensure you will not be considered—not just for this project, but potentially for anything moving forward.
It’s extremely unprofessional, and it puts everyone in an uncomfortable position.
There is a process. Respect it.
Final Thought
Most actors are closer than they think.
But small things—your photo, your framing, your lighting, your choices, your professionalism—are often what separate the people who get considered from the people who don’t.
Keep it simple. Keep it clear. Keep it professional.
And most importantly—make it easy for casting to see you.
