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"id": "https://www.castingnetworks.com/?p=331971",
"url": "https://www.castingnetworks.com/news/out-the-kitchen-tv-series-target-commercial-casting-alert/",
"title": "Casting Alert: TV Series \u2018Out the Kitchen,\u2019 Target, and More Seek Talent!",
"content_html": "\n
Current opportunities include a Target commercial, a mockumentary-style short film, and the television series ‘Out the Kitchen’ shooting in New York City.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
Grant Wilfley Casting is seeking background performers and stand-ins for multiple SAG-AFTRA-covered shoots on the television series ‘Out the Kitchen,’ filming in New York City.
This mockumentary-style short film satirizing modern political consulting and media influence is casting a wide range of talent \u2014 from a deadpan committee leader to family members, clergy, and background performers \u2014 to populate its absurdist political world.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
CLERGYMEN Ages 40\u201370. Faith community leaders appearing at a public rally in support of Carolyn’s initiative. Warm, grounded, and authentic presence preferred. Featured background/supporting role.
\n\n\n\n
FOSTER BABY Age 1. Appears in warm family moments helping establish Carolyn’s home life and compassionate nature. Calm temperament preferred; must be comfortable being held during simple family scenes. Non-speaking featured role.
\n\n\n\n
CAROLYN’S KIDS Ages 8\u201317. Warm, natural, and expressive kids appearing in family scenes that establish Carolyn’s home life. Non-speaking or minimal dialogue role; authentic, comfortable performers sought.
\n\n\n\n
COMMITTEE CHAIR HEAD Ages 41\u201370. A composed and professional legislative committee leader attempting to maintain order as bizarre political personalities derail the hearing. Strong deadpan reactions and subtle comedic timing preferred.
\n\n\n\n
RALLY / HEARING EXTRAS Ages 41\u201380. Seeking a wide variety of faces and personalities for featured background roles. Looking for authentic, real-world energy and diverse types for political rally and hearing scenes.
\n
\n\n\n\n
Rates:
\n\n\n\n
\n
Clergymen: $100/10 hrs
\n\n\n\n
Foster Baby: $300/1 hr
\n\n\n\n
Carolyn’s Kids: $200/4 hrs
\n\n\n\n
Committee Chair Head: $500/10 hrs
\n\n\n\n
Rally / Hearing Extras: $100/10 hrs
\n
\n\n\n\n
Work Location: Multiple Locations (Dallas, Houston, San Antonio, Austin)
\n",
"content_text": "Current opportunities include a Target commercial, a mockumentary-style short film, and the television series ‘Out the Kitchen’ shooting in New York City. \n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘Out the Kitchen’ Seeks Background and Stand-In Talent!\n\n\n\nGrant Wilfley Casting is seeking background performers and stand-ins for multiple SAG-AFTRA-covered shoots on the television series ‘Out the Kitchen,’ filming in New York City.\n\n\n\nRoles being cast:\n\n\n\n\nPEDESTRIANS \u2014 TENT. WORK 5/28 (SAG-AFTRA COVERED)Ages 18\u201399, all genders. Paid background work portraying pedestrians. SAG-AFTRA covered.\n\n\n\nPEDESTRIANS W/ CARS \u2014 TENT. WORK 5/28 (SAG-AFTRA COVERED)Ages 18\u201399, all genders. Paid background work portraying pedestrians. SAG-AFTRA covered.\n\n\n\nPHOTO DOUBLE FOR WHITE MALE ACTOR, 6’2-6’4, GREY/BROWN HAIR \u2014 TENT. WORK 6/1 (SAG-AFTRA COVERED)Ages 40-60, male. Stand-in for a White male actor, 6’2-6’4 with grey/brown hair. SAG-AFTRA covered.\n\n\n\nPHOTO DOUBLE FOR BLACK MALE ACTOR, 6’2-6’4, BALD \u2014 TENT. WORK 6/1 (SAG-AFTRA COVERED)Ages 30-55, male. Stand-in for a Black male actor, 6’2-6’4, bald. SAG-AFTRA covered.\n\n\n\n\nRates: \n\n\n\n\n$224/8 hrs (background)\n\n\n\n$262/8 hrs (stand-ins and fit model)\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: August 01, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nTarget Seeks Commercial Talent!\n\n\n\nA Target commercial is casting males and females to portray pedestrians and football players in outdoor shoots in Los Angeles.\n\n\n\nRoles being cast:\n\n\n\n\nPEDESTRIANSAges 25\u201350, all genders. Males and females to portray pedestrians in an outdoor shoot.\n\n\n\nMALE FOOTBALL PLAYERS 18-25Ages 18\u201325, male. To portray football players in an outdoor shoot.\n\n\n\n\nRates: \n\n\n\n\n$300/10 hrs\n\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: June 08, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘The Cutout’ Seeks Actors and Extras!\n\n\n\nThis mockumentary-style short film satirizing modern political consulting and media influence is casting a wide range of talent \u2014 from a deadpan committee leader to family members, clergy, and background performers \u2014 to populate its absurdist political world.\n\n\n\nRoles being cast:\n\n\n\n\nCLERGYMENAges 40\u201370. Faith community leaders appearing at a public rally in support of Carolyn’s initiative. Warm, grounded, and authentic presence preferred. Featured background/supporting role.\n\n\n\nFOSTER BABYAge 1. Appears in warm family moments helping establish Carolyn’s home life and compassionate nature. Calm temperament preferred; must be comfortable being held during simple family scenes. Non-speaking featured role.\n\n\n\nCAROLYN’S KIDSAges 8\u201317. Warm, natural, and expressive kids appearing in family scenes that establish Carolyn’s home life. Non-speaking or minimal dialogue role; authentic, comfortable performers sought.\n\n\n\nCOMMITTEE CHAIR HEADAges 41\u201370. A composed and professional legislative committee leader attempting to maintain order as bizarre political personalities derail the hearing. Strong deadpan reactions and subtle comedic timing preferred.\n\n\n\nRALLY / HEARING EXTRASAges 41\u201380. Seeking a wide variety of faces and personalities for featured background roles. Looking for authentic, real-world energy and diverse types for political rally and hearing scenes.\n\n\n\n\nRates: \n\n\n\n\nClergymen: $100/10 hrs\n\n\n\nFoster Baby: $300/1 hr\n\n\n\nCarolyn’s Kids: $200/4 hrs\n\n\n\nCommittee Chair Head: $500/10 hrs\n\n\n\nRally / Hearing Extras: $100/10 hrs\n\n\n\n\nWork Location: Multiple Locations (Dallas, Houston, San Antonio, Austin)\n\n\n\nDeadline: June 19, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: TV Series ‘Out the Kitchen,’ Target, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-05-26T10:19:24-07:00",
"date_modified": "2026-05-26T10:20:23-07:00",
"authors": [
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"name": "Casting Networks",
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{
"id": "https://www.castingnetworks.com/?p=330146",
"url": "https://www.castingnetworks.com/news/nobody-wants-this-casting-directors-how-we-role-podcast/",
"title": "What Makes Actors Pop with \u2018Nobody Wants This\u2019 Casting Directors | \u2018How We Role\u2019",
"content_html": "\n
The casting team behind Netflix’s Nobody Wants This is here to make sure “everybody” wants to cast you.
\n\n\n\n
Casting Directors Brett Greenstein and Collin Daniel join host and actor Robert Peterpaul to chat through what actually gets actors hired, from self-tape prep to how tiny choices can make a co-star role feel alive.\u00a0
\n\n\n\n
In this episode:
\n\n\n\n
\u2022 What \u201cbeing prepared\u201d looks like in practical audition terms \u2022 If you need to be off book or not \u2022 How many actors are typically called in for co-star roles \u2022 How props can help or hurt you \u2022 What makes a performance feel specific, natural, and real \u2022 How they scout new talent on Instagram and TikTok \u2022 What they learn from working with legendary talent like Kristen Bell, plus much more!
\n\n\n\n
BRETT GREENSTEIN, CSA, and COLLIN DANIEL, CSA, launched Greenstein/Daniel Casting more than 20 years ago. Together, they have cast hundreds of hours of entertainment.
\n\n\n\n\n\n\n\n
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
Brett Goldstein: I think keeping it simple, keeping it minimal, is the way to go. Certainly we’ve seen props where they totally work and it makes us laugh and they nail it. Other times we see people who just get so bogged down by a costume or props or too much blocking, working the room. For the sake of [auditions], keep it easy, keep it simple, keep it grounded.
\n\n\n\n\n\n\n\n
Ready to find your next role with Casting Networks? Sign up for a free trial today!
\n",
"content_text": "The casting team behind Netflix’s Nobody Wants This is here to make sure “everybody” wants to cast you.\n\n\n\nCasting Directors Brett Greenstein and Collin Daniel join host and actor Robert Peterpaul to chat through what actually gets actors hired, from self-tape prep to how tiny choices can make a co-star role feel alive.\u00a0\n\n\n\nIn this episode:\n\n\n\n\u2022 What \u201cbeing prepared\u201d looks like in practical audition terms\u2022 If you need to be off book or not\u2022 How many actors are typically called in for co-star roles\u2022 How props can help or hurt you\u2022 What makes a performance feel specific, natural, and real\u2022 How they scout new talent on Instagram and TikTok\u2022 What they learn from working with legendary talent like Kristen Bell, plus much more!\n\n\n\nBRETT GREENSTEIN, CSA, and COLLIN DANIEL, CSA, launched Greenstein/Daniel Casting more than 20 years ago. Together, they have cast hundreds of hours of entertainment.\n\n\n\n\n\n\n\nSubmit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!\n\n\n\n\nListen to How We Role on Apple Podcasts, Spotify or anywhere you stream podcasts.\n\n\n\n\n\n\n\n\n\n\n\n\nBrett Goldstein: I think keeping it simple, keeping it minimal, is the way to go. Certainly we’ve seen props where they totally work and it makes us laugh and they nail it. Other times we see people who just get so bogged down by a costume or props or too much blocking, working the room. For the sake of [auditions], keep it easy, keep it simple, keep it grounded.\n\n\n\n\n\n\n\nReady to find your next role with Casting Networks? Sign up for a free trial today!\n\n\n\n\nThe post What Makes Actors Pop with ‘Nobody Wants This’ Casting Directors | ‘How We Role’ appeared first on Casting Networks.",
"date_published": "2026-05-26T09:12:00-07:00",
"date_modified": "2026-05-20T10:54:00-07:00",
"authors": [
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"name": "Casting Networks",
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"tags": [
"Podcast: How We Role"
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{
"id": "https://www.castingnetworks.com/?p=331469",
"url": "https://www.castingnetworks.com/news/netflix-aig-hulu-alls-fair-season-2-casting-alert/",
"title": "Casting Alert: Netflix\u2019s \u2018AIG,\u2019 \u2018All\u2019s Fair\u2019 Season 2, and More Seek Talent!",
"content_html": "\n
Current opportunities include the Netflix feature film AIG, All’s Fair Season 2, and a short film.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
GWCI is casting background talent for AIG, a SAG-AFTRA covered Netflix feature film shooting in New York City, with roles ranging from a special ability photo double to CSI team members and Red Square pedestrians.
All’s Fair Season 2 \u2014 the Peacock drama following a team of powerhouse female divorce attorneys \u2014 is casting upscale law firm background and a grandmother photo double for production in Los Angeles.
The Waiting Room is a dramatic ensemble short film about five strangers who form unexpected bonds overnight in a hospital waiting room, and the production is seeking actors for several principal roles shooting in New York City.
\n",
"content_text": "Current opportunities include the Netflix feature film AIG, All’s Fair Season 2, and a short film. \n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘AIG’ Seeks Background Talent!\n\n\n\nGWCI is casting background talent for AIG, a SAG-AFTRA covered Netflix feature film shooting in New York City, with roles ranging from a special ability photo double to CSI team members and Red Square pedestrians.\n\n\n\nRoles being cast:\n\n\n\n\nSPECIAL ABILITY HAND PHOTO DOUBLE FOR PRINCIPAL MALE ACTOR – FILLETING FISH (SAG-AFTRA COVERED)Ages 30\u201350, men. GWCI is seeking a special ability photo double for the hands of a principal male actor performing fish filleting. SAG-AFTRA covered\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: May 27, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘All’s Fair’ Season 2 Seeks Background Talent!\n\n\n\nAll’s Fair Season 2 \u2014 the Peacock drama following a team of powerhouse female divorce attorneys \u2014 is casting upscale law firm background and a grandmother photo double for production in Los Angeles.\n\n\n\nRoles being cast:\n\n\n\n\nMULTIPLE ROLESAges 19-75. Any gender. Any ethnicity.\n\n\n\n\nRates: Varies\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: May 31, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘The Waiting Room’ Seeks Actors!\n\n\n\nThe Waiting Room is a dramatic ensemble short film about five strangers who form unexpected bonds overnight in a hospital waiting room, and the production is seeking actors for several principal roles shooting in New York City.\n\n\n\nRoles being cast:\n\n\n\n\nMULTIPLE ROLESAges 15-70. Any gender. Any ethnicity.\n\n\n\n\nRates: $150/day\n\n\n\nWork Location: New York City\n\n\n\nDeadline: June 19, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\nThe post Casting Alert: Netflix’s ‘AIG,’ ‘All’s Fair’ Season 2, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-05-22T10:38:34-07:00",
"date_modified": "2026-05-22T11:43:47-07:00",
"authors": [
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"name": "Casting Networks",
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{
"id": "https://www.castingnetworks.com/?p=330135",
"url": "https://www.castingnetworks.com/news/casting-director-danny-long-audition-tips-interview/",
"title": "Casting Director Danny Long Shares Audition Tips Every Actor Needs to Know",
"content_html": "\n
With projects like Send Help, Disney\u2019s live-action Moana, and the Tom Hiddleston-led Tenzing on the horizon, Danny Long Casting is having into one of its biggest years yet.
\n\n\n\n
She spoke to us from her office in Sydney.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Danny Long believes the best auditions happen when actors stop performing perfection and lean into authentic, truthful choices.
\n\n\n\n
Self tapes have transformed casting, giving actors more control while still requiring strong instincts, genre awareness, and emotional honesty.
\n\n\n\n
Successful casting depends on collaboration, empathy, and extensive global searches to discover fresh talent and underrepresented voices.
A lot of casting directors start as actors, and there\u2019s inevitably a moment of clarity when you realize you want to be behind the camera instead of in front of it. Did you have that?
\n\n\n\n
I think I loved it immediately. As soon as I started reading and just playing with actors and having all the joy and none of the stress of it, it was like playing tennis with people. You’re riffing on ideas. I immediately wanted to be a casting director. I just chopped off the acting part of myself, and stopped cold.
\n\n\n\n
Was there anything in particular that made it so special for you, besides the playing with actors?
\n\n\n\n
I just found it really freeing. I think my strongest suit is I have a lot of empathy for actors, so I really enjoy making people feel comfortable in the room, and trying to get the best out of people, and also just making it a really collaborative process. I don’t think I received that so much when I was an actor, so I wanted to break the mold.
\n\n\n\n
A bit less of a power play between the casting director and the actor, and make it a little bit more equal. Auditioning should be an enjoyable process. Joel Edgerton actually said the best thing to me about auditioning. When he used to come in and audition for me, he was just flawless. Casual. Relaxed. I asked him his secret, and he said he just treats every audition like a workshop.
\n\n\n\n
I agree. It should be collaborative. No one can operate from a place of fear. To get the best out of someone, you need to make them feel comfortable. And I really enjoyed that part of the process.
\n\n\n\n
Are you able to do that with the way things have shifted to online and self tapes?
\n\n\n\n
We offer both. Always. Actors often prefer self tapes now because they get to do a gazillion takes and they get all the time in the world to perfect it. I give feedback on self tapes I make people re-tape. If I see a kernel of something in there and I think they’ve just missed it or misinterpreted something, I will say you need to go again with these notes.
\n\n\n\n
I love both. I love being in the room and I love getting self tapes, because you get to see what an actor will organically bring without any interference, instinctually. It’s pretty fascinating, and sometimes when you get self tapes, you’re like, \u201cOh shit, that’s the way it’s supposed to be.\u201d
\n\n\n\n
I don’t know that I would have got that in the room, but then you have the inverse to happen when they are in the room and you you tweak something, and you know that wouldn’t have been possible with a self tape.
\n\n\n\n
Do you think your background as an actor gives you an advantage?
\n\n\n\n
It\u2019s definitely helpful, for sure. You understand the craft. You’ve been in their shoes. Yeah, you have a better language base to be able to direct from, but you can learn that as well without having been an actor. You could be working with someone for six years, watch them and learn by via osmosis.
\n\n\n\n
I think having been an actor, it’s definitely a bonus.
\n\n\n\n
Working on a studio film like Send Help, do you find your reach as a casting director has extended beyond Australia?
\n\n\n\n
Well, [Dylan O\u2019Brien and Rachel McAdams] were cast by the studio and Nancy Nayor, but the rest of the roles are all mine. But obviously, boots on the ground in the territory that you’re working in is the best way to cast so yes, we all cast globally. We all come up with ideas globally.
\n\n\n\n
I think if you’re actually in that territory, of course, you’re going to have greater knowledge, greater capacity to come up with ideas than somebody who’s on the other side of the world. I do like working collaboratively with another casting director. I find that really useful.
\n\n\n\n
I worked on a film called Tenzing, about Tenzing Norgay, which is all Tibetan and Sherpa speakers. So we did a global search for that during COVID, my associate Ryan Madden and I, auditioning in a foreign language. Casting in communities is my favorite thing. I think people know me for that. Moana was another one where we cast globally in the Pacifica community all around the world.
\n\n\n\n
That was fun. We just did a series last year [where] everyone in it is living with a disability. That was amazing. You get to learn so much about the communities. It’s probably my passion \u2014 research and learning about different cultures, and different people with different backgrounds and trying to find the unicorns to be in series that are telling stories that are different [from] the mainstream.
\n\n\n\n
Unicorn finder is a good reputation to have.
\n\n\n\n
I guess so. I think that’s project related, though. I don’t think you can cast unicorns in everything. You often need to attach a name, and in a way that’s tougher when you’ve got a clean slate and you’re finding a Tibetan man to play Tenzing.
\n\n\n\n
How many Tibetan actors do we all know? We probably auditioned over 1,500 people globally for 10 roles in that project. In a way, that’s easier, because when you’re casting attaching names, it’s availability and money, all of that juggle.
\n\n\n\n
It’s a completely different stress to wide searches.
\n\n\n\n
That seems like a good segue into our final question, which is what piece of advice, or wisdom, would you give to somebody coming in to audition for you?
\n\n\n\n
Look, I don’t think I’m going to tell you anything you haven’t heard, but one of my pet things is to make sure you know the genre that you’re taping for. Bring your authentic self to the role. When I say authentic self, I don’t mean the homogenized, shiny version of yourself that you think we want to see.
\n\n\n\n
We want to see the warty, real human aspects. That’s what’s going to set you apart, what makes you you. It doesn’t have to be pretty. Sometimes, it can be left of center, and that’s what makes us sit up and notice your tape or watch you in an audition room where you’re like, \u201cWhat? What just happened there?\u201d
\n\n\n\n
That’s fresh, but it’s also truthful and authentic.
\n",
"content_text": "With projects like Send Help, Disney\u2019s live-action Moana, and the Tom Hiddleston-led Tenzing on the horizon, Danny Long Casting is having into one of its biggest years yet.\n\n\n\nShe spoke to us from her office in Sydney.\n\n\n\nKey Insights\n\n\n\n\nDanny Long believes the best auditions happen when actors stop performing perfection and lean into authentic, truthful choices.\n\n\n\nSelf tapes have transformed casting, giving actors more control while still requiring strong instincts, genre awareness, and emotional honesty.\n\n\n\nSuccessful casting depends on collaboration, empathy, and extensive global searches to discover fresh talent and underrepresented voices.\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\nA lot of casting directors start as actors, and there\u2019s inevitably a moment of clarity when you realize you want to be behind the camera instead of in front of it. Did you have that?\n\n\n\nI think I loved it immediately. As soon as I started reading and just playing with actors and having all the joy and none of the stress of it, it was like playing tennis with people. You’re riffing on ideas. I immediately wanted to be a casting director. I just chopped off the acting part of myself, and stopped cold.\n\n\n\nWas there anything in particular that made it so special for you, besides the playing with actors?\n\n\n\nI just found it really freeing. I think my strongest suit is I have a lot of empathy for actors, so I really enjoy making people feel comfortable in the room, and trying to get the best out of people, and also just making it a really collaborative process. I don’t think I received that so much when I was an actor, so I wanted to break the mold. \n\n\n\nA bit less of a power play between the casting director and the actor, and make it a little bit more equal. Auditioning should be an enjoyable process. Joel Edgerton actually said the best thing to me about auditioning. When he used to come in and audition for me, he was just flawless. Casual. Relaxed. I asked him his secret, and he said he just treats every audition like a workshop. \n\n\n\nI agree. It should be collaborative. No one can operate from a place of fear. To get the best out of someone, you need to make them feel comfortable. And I really enjoyed that part of the process.\n\n\n\nAre you able to do that with the way things have shifted to online and self tapes?\n\n\n\nWe offer both. Always. Actors often prefer self tapes now because they get to do a gazillion takes and they get all the time in the world to perfect it. I give feedback on self tapes I make people re-tape. If I see a kernel of something in there and I think they’ve just missed it or misinterpreted something, I will say you need to go again with these notes. \n\n\n\nI love both. I love being in the room and I love getting self tapes, because you get to see what an actor will organically bring without any interference, instinctually. It’s pretty fascinating, and sometimes when you get self tapes, you’re like, \u201cOh shit, that’s the way it’s supposed to be.\u201d\n\n\n\nI don’t know that I would have got that in the room, but then you have the inverse to happen when they are in the room and you you tweak something, and you know that wouldn’t have been possible with a self tape.\n\n\n\nDo you think your background as an actor gives you an advantage?\n\n\n\nIt\u2019s definitely helpful, for sure. You understand the craft. You’ve been in their shoes. Yeah, you have a better language base to be able to direct from, but you can learn that as well without having been an actor. You could be working with someone for six years, watch them and learn by via osmosis. \n\n\n\nI think having been an actor, it’s definitely a bonus. \n\n\n\nWorking on a studio film like Send Help, do you find your reach as a casting director has extended beyond Australia?\n\n\n\nWell, [Dylan O\u2019Brien and Rachel McAdams] were cast by the studio and Nancy Nayor, but the rest of the roles are all mine. But obviously, boots on the ground in the territory that you’re working in is the best way to cast so yes, we all cast globally. We all come up with ideas globally. \n\n\n\nI think if you’re actually in that territory, of course, you’re going to have greater knowledge, greater capacity to come up with ideas than somebody who’s on the other side of the world. I do like working collaboratively with another casting director. I find that really useful. \n\n\n\nI worked on a film called Tenzing, about Tenzing Norgay, which is all Tibetan and Sherpa speakers. So we did a global search for that during COVID, my associate Ryan Madden and I, auditioning in a foreign language. Casting in communities is my favorite thing. I think people know me for that. Moana was another one where we cast globally in the Pacifica community all around the world. \n\n\n\nThat was fun. We just did a series last year [where] everyone in it is living with a disability. That was amazing. You get to learn so much about the communities. It’s probably my passion \u2014 research and learning about different cultures, and different people with different backgrounds and trying to find the unicorns to be in series that are telling stories that are different [from] the mainstream.\n\n\n\nUnicorn finder is a good reputation to have.\n\n\n\nI guess so. I think that’s project related, though. I don’t think you can cast unicorns in everything. You often need to attach a name, and in a way that’s tougher when you’ve got a clean slate and you’re finding a Tibetan man to play Tenzing. \n\n\n\nHow many Tibetan actors do we all know? We probably auditioned over 1,500 people globally for 10 roles in that project. In a way, that’s easier, because when you’re casting attaching names, it’s availability and money, all of that juggle. \n\n\n\nIt’s a completely different stress to wide searches.\n\n\n\nThat seems like a good segue into our final question, which is what piece of advice, or wisdom, would you give to somebody coming in to audition for you?\n\n\n\nLook, I don’t think I’m going to tell you anything you haven’t heard, but one of my pet things is to make sure you know the genre that you’re taping for. Bring your authentic self to the role. When I say authentic self, I don’t mean the homogenized, shiny version of yourself that you think we want to see. \n\n\n\nWe want to see the warty, real human aspects. That’s what’s going to set you apart, what makes you you. It doesn’t have to be pretty. Sometimes, it can be left of center, and that’s what makes us sit up and notice your tape or watch you in an audition room where you’re like, \u201cWhat? What just happened there?\u201d \n\n\n\nThat’s fresh, but it’s also truthful and authentic.\n\n\n\n\n\n\n\nLooking for auditions in your area?\n\n\n\nBrowse casting calls in:\n\n\n\n\nHollywood\n\n\n\nAtlanta\n\n\n\nChicago\n\n\n\nSydney\n\n\n\n\n\nThe post Casting Director Danny Long Shares Audition Tips Every Actor Needs to Know appeared first on Casting Networks.",
"date_published": "2026-05-22T09:10:00-07:00",
"date_modified": "2026-05-22T12:06:20-07:00",
"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/DANNY-LONG-BLOG.jpg",
"tags": [
"Casting Directors",
"Interviews"
]
},
{
"id": "https://www.castingnetworks.com/?p=330758",
"url": "https://www.castingnetworks.com/news/netflix-13-going-on-30-dexter-resurrection-season-2-casting-alert/",
"title": "Casting Alert: \u2018Minivan,\u2019 \u2018Dexter: Resurrection,\u2019 and Netflix\u2019s \u201813 Going on 30\u2019 Seek Talent!",
"content_html": "\n
Current opportunities include the streaming series ‘Minivan,’ background roles for ‘Dexter: Resurrection’ Season 2, and Netflix’s reboot of \u201813 Going on 30.\u2019
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
Netflix’s feature film reboot of the Jennifer Garner classic \u201813 Going on 30\u2019 is seeking talent for a variety of roles, including stand-ins and DJs.
\n\n\n\n
Roles being cast:
\n\n\n\n
\n
Dj With Equipment Looking for males and females, any ethnicity, who can portray 18-25 year olds and have experience being a DJ.
\n\n\n\n
Ollie Stand-In Looking for Caucasian males with brown hair and are around 5’9″ tall.
\n\n\n\n
Grace Stand-In Looking for Caucasian female brunettes who have stand-in experience and are around 5’4″ tall.
\n",
"content_text": "Current opportunities include the streaming series ‘Minivan,’ background roles for ‘Dexter: Resurrection’ Season 2, and Netflix’s reboot of \u201813 Going on 30.\u2019\n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘Minivan’ Seeks College Students!\n\n\n\nGrant Wilfley Casting is seeking people to play new college students for various scenes in the streaming series ‘Minivan’ with tentative work on 5/22.\n\n\n\nRoles being cast:\n\n\n\n\nNEW COLLEGE STUDENTS (SAG COVERED)Ages 18-29. Man, Woman, Non-Binary Person, Trans Man, Trans Woman.\n\n\n\nNEW COLLEGE STUDENTS (NON SAG COVERED)Ages 18-29. Man, Woman, Non-Binary Person, Trans Man, Trans Woman.\n\n\n\nUPSCALE HOTEL GUESTS (NON SAG COVERED)Ages 18-99. Man, Woman, Non-Binary Person, Trans Man, Trans Woman.\n\n\n\n\nRates: \n\n\n\n\n$224/8hrs (SAG Covered)\n\n\n\n$187/10hrs (Non-SAG Covered)\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: May 21/May 26, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Dexter: Resurrection’ S2 Seeks Background Talent!\n\n\n\nNow casting for ‘Dexter: Resurrection’ S2!\n\n\n\nRoles being cast:\n\n\n\n\nMULTIPLE UNION + NON-UNION ROLESAges 18-99. Any gender. Any ethnicity.\n\n\n\n\nRates: \n\n\n\n\nSAG-AFTRA $224 / 8\n\n\n\nNON-UNION $187 / 10\n\n\n\n\nWork Location: Manhattan, NY\n\n\n\nDeadline: May 24, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nNetflix’s \u201813 Going on 30\u2019 Seeks Talent!\n\n\n\nNetflix’s feature film reboot of the Jennifer Garner classic \u201813 Going on 30\u2019 is seeking talent for a variety of roles, including stand-ins and DJs.\n\n\n\nRoles being cast:\n\n\n\n\nDj With EquipmentLooking for males and females, any ethnicity, who can portray 18-25 year olds and have experience being a DJ.\n\n\n\nOllie Stand-InLooking for Caucasian males with brown hair and are around 5’9″ tall.\n\n\n\nGrace Stand-InLooking for Caucasian female brunettes who have stand-in experience and are around 5’4″ tall.\n\n\n\n\nRates: \n\n\n\n\n$224/8hrs (SAG Covered)\n\n\n\n$234/8 Union // $154/8 non-union + $100 bump\n\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: June 2/June 5, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\nYou can find these roles and many more on Casting Networks! Sign up now to find your next role.\n\n\n\n\nThe post Casting Alert: ‘Minivan,’ ‘Dexter: Resurrection,’ and Netflix’s \u201813 Going on 30\u2019 Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-05-21T10:03:06-07:00",
"date_modified": "2026-05-21T10:07:40-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"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=330738",
"url": "https://www.castingnetworks.com/news/hulu-alls-fair-season-2-casting-confidential-tv-series/",
"title": "Casting Alert: Hulu\u2019s \u2018All\u2019s Fair,\u2019 Confidential TV Series, and More Seek Talent!",
"content_html": "\n
Current opportunities include Hulu’s ‘All’s Fair,’ a confidential TV series, and a Grammy Award-winning artist’s music video!
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
\n\n\n\n\n\n\n\n
Roles Available Now
\n\n\n\n
‘All’s Fair’ Season 2 Seeks Background and Extras!
\n\n\n\n
Ryan Murphy’s ‘All’s Fair’ Season 2 seeks upscale party guests, security guards, waiters, and more.
\n",
"content_text": "Current opportunities include Hulu’s ‘All’s Fair,’ a confidential TV series, and a Grammy Award-winning artist’s music video!\n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘All’s Fair’ Season 2 Seeks Background and Extras!\n\n\n\nRyan Murphy’s ‘All’s Fair’ Season 2 seeks upscale party guests, security guards, waiters, and more.\n\n\n\nRole being cast:\n\n\n\n\n\n\nMULTIPLE CHARACTERS\n\nAges 21-50. Any ethnic appearance. Any gender.\n\n\n\nPlease see listings for role-specific details.\n\n\n\n\n\n\nRate: \n\n\n\n\n$224 / 8 Hours SAG-AFTRA | $144 / 8 Hours NON-UNION\n\n\n\n\nWork Location: Los Angeles, CA\n\n\n\nDeadline: May 24, 2026\n\n\n\nRegister or log in to view more.\n\n\n\n\n\n\n\nUntitled TV Series Seeks Couples, Families, & More Talent!\n\n\n\nA confidential television series is now seeking real people and specialty background talent for upcoming scenes filming in Los Angeles.\n\n\n\nRoles being cast:\n\n\n\n\nReal Couples\n\n\n\nReal Families\n\n\n\nJapanese Men & Women\n\n\n\n\nRate: \n\n\n\n\n$224 / 8 Hours SAG-AFTRA | $144 / 8 Hours NON-UNION\n\n\n\n\nWork Location: Los Angeles, CA\n\n\n\nDeadline: May 21-Jul 22, 2026\n\n\n\nRegister or log in to view more.\n\n\n\n\n\n\n\nGrammy Award-winning Artists’ Music Video Seeks Talent!\n\n\n\nA major music video for a Grammy Award-winning artist is now casting featured talent for emotionally driven scenes filming in Los Angeles.\n\n\n\n\nYoung African American Girl (Ages 6\u20138)\n\n\n\nYoung African American Mother\n\n\n\nMan in Casket\n\n\n\n\nRate: \n\n\n\n\n$350 / 10-12HRS\n\n\n\n\nWork Location: Los Angeles, CA\n\n\n\nDeadline: May 22, 2026\n\n\n\nRegister or log in to view more.\nThe post Casting Alert: Hulu’s ‘All’s Fair,’ Confidential TV Series, and More Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-05-20T10:11:31-07:00",
"date_modified": "2026-05-20T10:11:33-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"id": "https://www.castingnetworks.com/?p=330120",
"url": "https://www.castingnetworks.com/news/how-to-become-a-background-actor-get-started-extra-advice/",
"title": "How to Become a Background Actor: What Casting Directors Actually See",
"content_html": "\n
What does it really take to get noticed, booked, and rehired as a background actor in today\u2019s film and TV industry?
\n\n\n\n
There are some general misconceptions about background acting. Legendary casting director Rose Rosen walks us through the process of how you can become a background actor.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Casting directors care more about reliability, professionalism, and adaptability than trying to \u201csteal the scene.\u201d
\n\n\n\n
Your behavior on set, wardrobe choices, and ability to follow direction directly affect whether you get booked again.
\n\n\n\n
Successful background actors treat extra work like a real industry job and use it to build connections, experience, and opportunities.
Depending on where you live, do some research about who hires background. Is it agents? Is it casting directors? \u201cFollow them on social media,\u201d Rosen says. \u201cGet involved. Then sign up. We all love a list. This is how we live.\u201d If there\u2019s more than one such service, sign up for all of them. \u201c
\n\n\n\n
There’s no exclusivity on this,\u201d she reassures. \u201cNobody cares. If you happen to live in a bigger city and there’s more than one or two of them, sign up with all of them. Go deep.\u201d
\n\n\n\n
Know How To Dress
\n\n\n\n
Plain wardrobe is your friend here. Anything with a logo? Lose it. Can\u2019t use them. \u201cI was at a film festival,\u201d Rosen recalls, \u201cI’m watching the shorts block, and in this cute little movie, the girl had a Barbie T-shirt on in featured background. I thought, \u2018Really? You couldn\u2019t turn that inside out?\u2019\u201d
\n\n\n\n
What You Should Be Thinking About With Your Headshots
\n\n\n\n
The simple truth is that they should look like you. Not too airbrushed or altered, just nice photos of you, as you really look. \u201cPlain is your friend here,\u201d Rosen says. \u201c
\n\n\n\n
And make sure it represents you well. When I was working with Tim Burton, we were choosing featured background, and had these photo arrays. He wanted to pick them out one by one, because these people would recur at their homes. Mowing their lawn, doing the things people do. He would literally sit there, look at the photos, then at the people, and say, \u2018Wait, is this you?\u2019 So many people don’t look like their headshots, and that’s a big problem.\u201d
\n\n\n\n
This was a bigger problem before, when headshots cost a lot of money. Now, you can take quality shots with your phone. \u201cUse a plain background, look like yourself, wear something clean and nice, a simple outfit, that’s it,\u201d she advises.
\n\n\n\n
\u201cAs light makeup as you can and still be comfortable. No characters, nothing. We want to just see that you’re you, and then the proof is in the pudding when you show up, right?
\n\n\n\n
Showing Up: Know the Rules of Being on a Set
\n\n\n\n
One of the best ways to be noticed on a set is to not be noticed. Ask your agent or casting directors what the rules are before showing up, but also use common sense. Don\u2019t eat before the principal actors. Don\u2019t take up the director\u2019s time with questions.
\n\n\n\n
Find out the rules ahead of time, and follow them, and understand that they want to move you out, so go there as quickly as possible. \u201cSometimes you’re going to be pissed because you don’t get the same food as other people,\u201d she says.
\n\n\n\n
\u201cThey’ll brown bag the extras if there are a lot of them, and serve hot food to the crew. It\u2019s common sense, mostly, but definitely have somebody run you through this stuff ahead of time. Once you\u2019re there, the less questions, the better. Show up and do your job. If they’re calling for you on set and somehow you’re not available, or not within earshot [and] nobody can find you, that\u2019s a problem.\u201d
\n\n\n\n
Using Background as a Springboard To Something Bigger
\n\n\n\n
Background acting and principal acting are, in fact, two different kind of skills and two different kinds of trajectories, so you should approach it in two different ways. \u201cI love the retired people who just decide they want to do background. They get with some agents and certain casting companies that hire background. They’re in a proper city that needs that.\u201d
\n\n\n\n
Of course, if you\u2019re in a smaller community, the opportunities might not be as plentiful, but even if you\u2019re in the middle of nowhere, a movie or TV show could come to town, so you can keep your eyes open for those kinds of things. \u201cThat would be a fun day for you, but typically in a bigger city that’s doing some movies, you could figure this out anyway,\u201d Rosen observes.
\n\n\n\n
For a person who wants to be a speaking actor, starting out in background is an excellent educational opportunity. \u201cYou get to see what everybody does on set,\u201d she says. \u201cYou get to see set etiquette and make sure you are an observational person, not a participating one. Because you need to watch what [everyone] is doing on the set. This is huge, and I recommend every actor do it a couple of times at the beginning, at least.\u201d
\n\n\n\n
Also, if you need money, keep doing it, but don\u2019t put it on your resume if you want to get speaking roles. \u201cI know people trying to make their insurance are doing some background,\u201d Rosen says. \u201cNone of it matters. If you want to be a background actor, great. Do that. If you want to be a principal actor, there are different skill sets to learn, but learning how to be on set is a huge skill set that is the best vantage point.\u201d
\n\n\n\n
The Best Way To Build a Consistent Career in Background Acting
\n\n\n\n
Do all the things: sign up with the agents, follow the casting directors that do that in your area, read the newspapers, or whatever passes for them these days, which will tell you when something is coming to town. \u201cEvery time something happens locally here, people reach out to me,\u201d Rosen says. \u201cThose jobs are out there. Apply for them and show up.\u201d
\n\n\n\n
Building a career, or even an avocation as a background actor is like any other creative endeavor. It takes discipline and attention to detail. It also takes the ability to follow direction and do what you\u2019re told. It\u2019s not for everyone, but if it strikes you as something you want to do, there are plenty of chances to do it in most states.
\n\n\n\n
One way to keep on top of things is with the help of Casting Networks, where your profile could help you get work as well.
\n",
"content_text": "What does it really take to get noticed, booked, and rehired as a background actor in today\u2019s film and TV industry?\n\n\n\nThere are some general misconceptions about background acting. Legendary casting director Rose Rosen walks us through the process of how you can become a background actor.\n\n\n\nKey Insights\n\n\n\n\nCasting directors care more about reliability, professionalism, and adaptability than trying to \u201csteal the scene.\u201d\n\n\n\nYour behavior on set, wardrobe choices, and ability to follow direction directly affect whether you get booked again.\n\n\n\nSuccessful background actors treat extra work like a real industry job and use it to build connections, experience, and opportunities.\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 First Step: How To Get Into Background Acting\n\n\n\nDepending on where you live, do some research about who hires background. Is it agents? Is it casting directors? \u201cFollow them on social media,\u201d Rosen says. \u201cGet involved. Then sign up. We all love a list. This is how we live.\u201d If there\u2019s more than one such service, sign up for all of them. \u201c\n\n\n\nThere’s no exclusivity on this,\u201d she reassures. \u201cNobody cares. If you happen to live in a bigger city and there’s more than one or two of them, sign up with all of them. Go deep.\u201d\n\n\n\nKnow How To Dress\n\n\n\nPlain wardrobe is your friend here. Anything with a logo? Lose it. Can\u2019t use them. \u201cI was at a film festival,\u201d Rosen recalls, \u201cI’m watching the shorts block, and in this cute little movie, the girl had a Barbie T-shirt on in featured background. I thought, \u2018Really? You couldn\u2019t turn that inside out?\u2019\u201d\n\n\n\nWhat You Should Be Thinking About With Your Headshots\n\n\n\nThe simple truth is that they should look like you. Not too airbrushed or altered, just nice photos of you, as you really look. \u201cPlain is your friend here,\u201d Rosen says. \u201c\n\n\n\nAnd make sure it represents you well. When I was working with Tim Burton, we were choosing featured background, and had these photo arrays. He wanted to pick them out one by one, because these people would recur at their homes. Mowing their lawn, doing the things people do. He would literally sit there, look at the photos, then at the people, and say, \u2018Wait, is this you?\u2019 So many people don’t look like their headshots, and that’s a big problem.\u201d \n\n\n\nThis was a bigger problem before, when headshots cost a lot of money. Now, you can take quality shots with your phone. \u201cUse a plain background, look like yourself, wear something clean and nice, a simple outfit, that’s it,\u201d she advises. \n\n\n\n\u201cAs light makeup as you can and still be comfortable. No characters, nothing. We want to just see that you’re you, and then the proof is in the pudding when you show up, right?\n\n\n\nShowing Up: Know the Rules of Being on a Set\n\n\n\nOne of the best ways to be noticed on a set is to not be noticed. Ask your agent or casting directors what the rules are before showing up, but also use common sense. Don\u2019t eat before the principal actors. Don\u2019t take up the director\u2019s time with questions. \n\n\n\nFind out the rules ahead of time, and follow them, and understand that they want to move you out, so go there as quickly as possible. \u201cSometimes you’re going to be pissed because you don’t get the same food as other people,\u201d she says. \n\n\n\n\u201cThey’ll brown bag the extras if there are a lot of them, and serve hot food to the crew. It\u2019s common sense, mostly, but definitely have somebody run you through this stuff ahead of time. Once you\u2019re there, the less questions, the better. Show up and do your job. If they’re calling for you on set and somehow you’re not available, or not within earshot [and] nobody can find you, that\u2019s a problem.\u201d\n\n\n\nUsing Background as a Springboard To Something Bigger\n\n\n\nBackground acting and principal acting are, in fact, two different kind of skills and two different kinds of trajectories, so you should approach it in two different ways. \u201cI love the retired people who just decide they want to do background. They get with some agents and certain casting companies that hire background. They’re in a proper city that needs that.\u201d \n\n\n\nOf course, if you\u2019re in a smaller community, the opportunities might not be as plentiful, but even if you\u2019re in the middle of nowhere, a movie or TV show could come to town, so you can keep your eyes open for those kinds of things. \u201cThat would be a fun day for you, but typically in a bigger city that’s doing some movies, you could figure this out anyway,\u201d Rosen observes. \n\n\n\nFor a person who wants to be a speaking actor, starting out in background is an excellent educational opportunity. \u201cYou get to see what everybody does on set,\u201d she says. \u201cYou get to see set etiquette and make sure you are an observational person, not a participating one. Because you need to watch what [everyone] is doing on the set. This is huge, and I recommend every actor do it a couple of times at the beginning, at least.\u201d \n\n\n\nAlso, if you need money, keep doing it, but don\u2019t put it on your resume if you want to get speaking roles. \u201cI know people trying to make their insurance are doing some background,\u201d Rosen says. \u201cNone of it matters. If you want to be a background actor, great. Do that. If you want to be a principal actor, there are different skill sets to learn, but learning how to be on set is a huge skill set that is the best vantage point.\u201d\n\n\n\nThe Best Way To Build a Consistent Career in Background Acting\n\n\n\nDo all the things: sign up with the agents, follow the casting directors that do that in your area, read the newspapers, or whatever passes for them these days, which will tell you when something is coming to town. \u201cEvery time something happens locally here, people reach out to me,\u201d Rosen says. \u201cThose jobs are out there. Apply for them and show up.\u201d\n\n\n\nBuilding a career, or even an avocation as a background actor is like any other creative endeavor. It takes discipline and attention to detail. It also takes the ability to follow direction and do what you\u2019re told. It\u2019s not for everyone, but if it strikes you as something you want to do, there are plenty of chances to do it in most states.\n\n\n\nOne way to keep on top of things is with the help of Casting Networks, where your profile could help you get work as well.\n\n\n\n\n\n\n\nReady to get started in background acting?\n\n\n\nExplore current:\n\n\n\n\nBackground Actor Casting Calls\n\n\n\nLos Angeles Extras Auditions\n\n\n\nNew York City Background Acting Opportunities\n\n\n\nAtlanta Extra Jobs\n\n\n\n\n\nThe post How to Become a Background Actor: What Casting Directors Actually See appeared first on Casting Networks.",
"date_published": "2026-05-20T09:05:00-07:00",
"date_modified": "2026-05-21T09:51:35-07:00",
"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/iStock-2230248715-scaled.jpg",
"tags": [
"Acting 101",
"Acting Advice"
]
},
{
"id": "https://www.castingnetworks.com/?p=330110",
"url": "https://www.castingnetworks.com/news/netflix-the-woods-tv-show-vertical-short-casting-alerts/",
"title": "Casting Alert: Netflix TV Series, Feature Film, and Vertical Short Seek Talent!",
"content_html": "\n
Current opportunities include the Netflix TV show ‘The Woods,’ a feature film, and a vertical short.
\n\n\n\n
If you fit the descriptions and want to experience dynamic sets, give it a go!
\n\n\n\n
For more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!
This Netflix TV show is casting camp kids, high school types, and background talent for 1970s-themed scenes filming in the Newburgh, NY and Hudson Valley areas.
Ages 18-40, any gender identity. Long hair and unkempt facial hair preferred. May-June in Newburgh/Harriman NY. Transportation from Manhattan provided.
This feature film follows a 10-year-old girl left alone during spring break as her mother works a kidnapping case. Production is casting for lead and supporting child and adult roles.
This vertical short drama about a billionaire’s late regret and a mother’s sacrifice is casting background talent for multiple scenes across Los Angeles area locations.
Ages 25-50, all genders. Background talent to portray church goers in Yorba Linda area. Must have reliable transportation and self-report to set. Please note “Yorba Linda” in submission.
\n",
"content_text": "Current opportunities include the Netflix TV show ‘The Woods,’ a feature film, and a vertical short.\n\n\n\nIf you fit the descriptions and want to experience dynamic sets, give it a go!\n\n\n\nFor more opportunities, visit Casting Billboard\u00ae, where new roles are released every day!\n\n\n\n\n\n\n\nRoles Available Now\n\n\n\n‘The Woods‘ Seeks Multiple Talent Types!\n\n\n\nThis Netflix TV show is casting camp kids, high school types, and background talent for 1970s-themed scenes filming in the Newburgh, NY and Hudson Valley areas.\n\n\n\nRoles being cast:\n\n\n\n\nCAMP KIDS – JUNE 8 FILMING DATE, NEWBURGH, NY\n\nAges 9-15, any gender identity. See listing for role-specific details.\n\n\n\n\n\nHIGH SCHOOL TYPES WITH MUSTACHE\n\nAges 18-25, men. SAG Theatre Waiver if eligible. Works June 8, 9, 15.\n\n\n\n\n\nBG_1970S ECCENTRIC ARTISTS & PRETTY WOMEN AT GARDEN PARTY\n\nAges 23-65, any gender identity. May-June filming in Newburgh NY/Hudson Valley.\n\n\n\n\n\nBG_1970S HIPPIE TYPES\n\nAges 18-40, any gender identity. Long hair and unkempt facial hair preferred. May-June in Newburgh/Harriman NY. Transportation from Manhattan provided.\n\n\n\n\n\nBG_1970S HOUSE STAFF/SERVERS & KITCHEN STAFF\n\nAges 25-65, any gender identity. May-June in Newburgh/Hudson Valley NY. Transportation from Manhattan provided.\n\n\n\n\n\n\nRates:\n\n\n\n\nPAID SAG / NU SCALE\n\n\n\n\nWork Location: Philadelphia, Boston, New York City, Buffalo\n\n\n\nDeadline: September 30, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Alone in the Hood’ Seeks Young and Adult Talent!\n\n\n\nThis feature film follows a 10-year-old girl left alone during spring break as her mother works a kidnapping case. Production is casting for lead and supporting child and adult roles.\n\n\n\nRoles being cast:\n\n\n\n\nMELODY\n\nAges 9-11, female. A quiet, smart 10-year-old who keeps to herself.\n\n\n\n\n\nJAZZY\n\nAges 10-12, female. A street-smart 11-year-old girl who takes charge.\n\n\n\n\n\nBIG Z\n\nAges 11-12, female. A school bully with a bad attitude.\n\n\n\n\n\nKIDS\n\nAges 8-10. Kids at school in classroom and park scenes.\n\n\n\n\n\nLA QUNDA\n\nAges 20-25, female. An athletic woman with a bad temper who takes charge.\n\n\n\n\n\n\nRates:\n\n\n\n\nNot specified\n\n\n\n\nWork Location: New York City\n\n\n\nDeadline: May 30, 2026\n\n\n\nRegister or log in to apply.\n\n\n\n\n\n\n\n‘Stitched Hearts’ Seeks Background Talent!\n\n\n\nThis vertical short drama about a billionaire’s late regret and a mother’s sacrifice is casting background talent for multiple scenes across Los Angeles area locations.\n\n\n\nRoles being cast:\n\n\n\n\nCHURCH GOER (MAY 21)\n\nAges 25-50, all genders. Background talent to portray church goers in Yorba Linda area. Must have reliable transportation and self-report to set. Please note “Yorba Linda” in submission.\n\n\n\n\n\n\nRates: \n\n\n\n\n$108/6hr day\n\n\n\n\nWork Location: Los Angeles\n\n\n\nDeadline: May 20, 2026\n\n\n\nRegister or log in to apply.\nThe post Casting Alert: Netflix TV Series, Feature Film, and Vertical Short Seek Talent! appeared first on Casting Networks.",
"date_published": "2026-05-19T10:19:33-07:00",
"date_modified": "2026-05-19T10:19:35-07:00",
"authors": [
{
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
}
],
"author": {
"name": "Casting Networks",
"url": "https://www.castingnetworks.com/news/author/casting-networks/",
"avatar": "https://www.castingnetworks.com/wp-content/wphb-cache/gravatar/200/200444408742b2af675bc62d4765cbe4x512.jpg"
},
"image": "https://www.castingnetworks.com/wp-content/uploads/2025/07/CN_castingAlert_blog-2.webp",
"tags": [
"Casting Alert"
]
},
{
"id": "https://www.castingnetworks.com/?p=328674",
"url": "https://www.castingnetworks.com/news/how-to-get-your-child-into-acting-guide/",
"title": "How to Get Your Child Into Acting: A Parent\u2019s Real-World Starting Point",
"content_html": "\n
When a child wants to act, the most important job for parents is learning how to support that dream safely, realistically, and without losing sight of the fact that kids should still get to be kids.
\n\n\n\n
There are plenty of do\u2019s and don\u2019ts that are helpful to know as you encourage your child to pursue their dream.
\n\n\n\n
Legendary casting director Rose Rosen has lots of experience in this area, and discusses it in her podcast, \u201cCasting Confidential.\u201d She dedicated a 2025 episode of the podcast to this subject, and was more than happy to talk to Casting Networks about everything parents should know about their child\u2019s journey and, of course, their own.
\n\n\n\n
Key Insights
\n\n\n\n
\n
Legitimate child acting opportunities start with vetted agents, not expensive \u201cstar-making\u201d schools or upfront fees.
\n\n\n\n
Parents should focus on supporting their child\u2019s enjoyment of acting rather than chasing bookings or careers.
\n\n\n\n
Successful child actors thrive in safe, well-managed environments where authenticity, protection, and fun come first.
Truthfully, the buffer between that talent agent and the job is what you need to make sure you’re not getting scammed. Avoid schools for children that advertise they\u2019ll turn your kid into a star. \u201cIf you want to take theater [classes] depending on your age, that’s fine,\u201d Rosen advises, \u201cbut don’t ever take from a place that says they’re going to make you a star. That’s ridiculous.\u201d
\n\n\n\n
How do you get an agent? Well, for starters, avoid anyone who wants to charge you money for anything. \u201cThat’s scam 101,\u201d she says. \u201cThe best thing you can do is go to the SAG-AFTRA site, then find your area and check the list of agents. Then only go to those agents because at least they’re vetted.\u201d Those approved agents will usually have portals for kids and offer specific ways for you and your child to sign up with them.
\n\n\n\n
Headshots Should Look Like Your Child
\n\n\n\n
If it seems crazy that this is an actual sentence, it\u2019s because some headshots are airbrushed into something not even resembling a real human person. Your child\u2019s headshots should properly represent your child\u2019s look, and make them as current as possible, even if that means updating them every few months.
\n\n\n\n
\u201cThe quality doesn’t matter nearly as much as exactly what they look like today, exactly what their age is, exactly what their height is, so we have an idea what we\u2019re getting,\u201d Rosen says. \u201cWe love a smaller child, an older kid who plays younger, because they have a bit more maturity and sometimes they can work a couple more hours.\u201d
\n\n\n\n
Make Sure You Know Local Child Labor Laws
\n\n\n\n
Do your due diligence and check your local ordinances. \u201cI know Florida has a very good site for that,\u201d says the Florida-based Rosen, \u201cand you want to make sure that the production is is adhering to these laws. This is so important.\u201d Teams are important, but you cannot expect anyone else to do this for you.
\n\n\n\n
There Is No Right Age To Start
\n\n\n\n
Babies get hired for photo shoots, commercials, TV shows and films, but if you\u2019re talking about cognizant acting, kids as young as five can start to understand what they\u2019re doing and be brilliant at it.
\n\n\n\n
\u201cEvery kid is different,\u201d Rosen says about the desire to perform. \u201cI’ve seen kids hit their marks and do the thing, but that is completely dependent upon the director and the environment they put these kids in.\u201d That\u2019s why having an agent is important, and also why it\u2019s good to have a casting director attached.
\n\n\n\n
\u201cWe do a lot of vetting to make sure that the kids are taken care of,\u201d she says. \u201cParticularly a commercial that comes in for a day, and they need kids, and they want this, that and the other, and I tell them, these are your rules, these are the things you must do, you must avoid. I think it’s really, really important. Point is, try to have different layers of protection for your child, regardless of their age.\u201d
\n\n\n\n
Classes Can Be Good, But Are Not Necessary
\n\n\n\n
\u201cI think if they want classes, then they should have them,\u201d Rosen says. But she also cautions, \u201cI really think kids needing anything in this process is a problem. I think we have to let kids be kids, and if they want to do anything within the scope of theater and acting, they should lead this train. Once I see the mom leading the train and the kid clearly not wanting to do it, I won’t hire him. I won’t even put that audition forward, to be quite honest.\u201d
\n\n\n\n
Don\u2019t Be the Problem
\n\n\n\n
Don\u2019t push when they don\u2019t want to be pushed. Don\u2019t make it be more important to you than to them. Don\u2019t be an issue with casting directors or agents who will then take it out on your child.
\n\n\n\n
\u201cI’m very into enabling kids to do things \u2014 go ride that bike, take a chance, you know what I mean?\u201d Rosen advises. \u201cWhen it comes to that stuff, it\u2019s okay to push, obviously. But if it comes to acting, that has to come from them, because I feel like there’s a lot of parents that have their own issues to work out through their kids.\u201d
\n\n\n\n
Most importantly, those kids with problem parents don’t generally get that far. \u201cIf the parents are terrible, we as professionals see that and somehow throttle it,\u201d Rosen says. \u201cSometimes bad parents get through and the kid’s a good actor, but it\u2019s rare.\u201d
\n\n\n\n
Take the Sting Out of the Rejection That Goes With Acting
\n\n\n\n
Don’t make booking the job the goal. Instead, make it about the audition itself. \u201cIt’s how you frame it,\u201d Rosen suggests.
\n\n\n\n
\u201cWe are going in to act for some people on Zoom, or possibly on self tape. The goal is to do the audition. That’s the fun part. Okay, if you get the job, you get the job. The parent needs to not focus on the job, they need to focus on the audition and make sure that kid is having fun and enjoying the process. And if they are not, they need to tap into that and let them stop.\u201d
\n\n\n\n
That way, if the child doesn\u2019t get the job (and odds are that they won\u2019t), there\u2019s no sense of rejection, or being made to feel like they\u2019re not talented or don\u2019t have something that someone else does.
\n\n\n\n
Ultimately, the Best Thing To Do Is Stress the Show and Not the Business
\n\n\n\n
\u201cNone of this is rejection,\u201d Rosen reiterates, \u201cand if you\u2019re using that word, or if that child is feeling that somebody in the process is mishandling the discussion or the situation, it has to be turned around to focus on fun.\u201d
\n\n\n\n
At this age, it has to be about fun. That\u2019s far and away the most important thing. It\u2019s about creating the right conditions for opportunity, to learn, and to enjoy performance. It\u2019s not about creating a career.
\n",
"content_text": "When a child wants to act, the most important job for parents is learning how to support that dream safely, realistically, and without losing sight of the fact that kids should still get to be kids.\n\n\n\nThere are plenty of do\u2019s and don\u2019ts that are helpful to know as you encourage your child to pursue their dream.\n\n\n\nLegendary casting director Rose Rosen has lots of experience in this area, and discusses it in her podcast, \u201cCasting Confidential.\u201d She dedicated a 2025 episode of the podcast to this subject, and was more than happy to talk to Casting Networks about everything parents should know about their child\u2019s journey and, of course, their own.\n\n\n\nKey Insights\n\n\n\n\nLegitimate child acting opportunities start with vetted agents, not expensive \u201cstar-making\u201d schools or upfront fees.\n\n\n\nParents should focus on supporting their child\u2019s enjoyment of acting rather than chasing bookings or careers.\n\n\n\nSuccessful child actors thrive in safe, well-managed environments where authenticity, protection, and fun come first.\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 First Step Is Finding an Agent\n\n\n\nTruthfully, the buffer between that talent agent and the job is what you need to make sure you’re not getting scammed. Avoid schools for children that advertise they\u2019ll turn your kid into a star. \u201cIf you want to take theater [classes] depending on your age, that’s fine,\u201d Rosen advises, \u201cbut don’t ever take from a place that says they’re going to make you a star. That’s ridiculous.\u201d \n\n\n\nHow do you get an agent? Well, for starters, avoid anyone who wants to charge you money for anything. \u201cThat’s scam 101,\u201d she says. \u201cThe best thing you can do is go to the SAG-AFTRA site, then find your area and check the list of agents. Then only go to those agents because at least they’re vetted.\u201d Those approved agents will usually have portals for kids and offer specific ways for you and your child to sign up with them. \n\n\n\nHeadshots Should Look Like Your Child\n\n\n\nIf it seems crazy that this is an actual sentence, it\u2019s because some headshots are airbrushed into something not even resembling a real human person. Your child\u2019s headshots should properly represent your child\u2019s look, and make them as current as possible, even if that means updating them every few months. \n\n\n\n\u201cThe quality doesn’t matter nearly as much as exactly what they look like today, exactly what their age is, exactly what their height is, so we have an idea what we\u2019re getting,\u201d Rosen says. \u201cWe love a smaller child, an older kid who plays younger, because they have a bit more maturity and sometimes they can work a couple more hours.\u201d \n\n\n\nMake Sure You Know Local Child Labor Laws\n\n\n\nDo your due diligence and check your local ordinances. \u201cI know Florida has a very good site for that,\u201d says the Florida-based Rosen, \u201cand you want to make sure that the production is is adhering to these laws. This is so important.\u201d Teams are important, but you cannot expect anyone else to do this for you. \n\n\n\nThere Is No Right Age To Start\n\n\n\nBabies get hired for photo shoots, commercials, TV shows and films, but if you\u2019re talking about cognizant acting, kids as young as five can start to understand what they\u2019re doing and be brilliant at it. \n\n\n\n\u201cEvery kid is different,\u201d Rosen says about the desire to perform. \u201cI’ve seen kids hit their marks and do the thing, but that is completely dependent upon the director and the environment they put these kids in.\u201d That\u2019s why having an agent is important, and also why it\u2019s good to have a casting director attached.\n\n\n\n\u201cWe do a lot of vetting to make sure that the kids are taken care of,\u201d she says. \u201cParticularly a commercial that comes in for a day, and they need kids, and they want this, that and the other, and I tell them, these are your rules, these are the things you must do, you must avoid. I think it’s really, really important. Point is, try to have different layers of protection for your child, regardless of their age.\u201d\n\n\n\nClasses Can Be Good, But Are Not Necessary \n\n\n\n\u201cI think if they want classes, then they should have them,\u201d Rosen says. But she also cautions, \u201cI really think kids needing anything in this process is a problem. I think we have to let kids be kids, and if they want to do anything within the scope of theater and acting, they should lead this train. Once I see the mom leading the train and the kid clearly not wanting to do it, I won’t hire him. I won’t even put that audition forward, to be quite honest.\u201d \n\n\n\nDon\u2019t Be the Problem\n\n\n\nDon\u2019t push when they don\u2019t want to be pushed. Don\u2019t make it be more important to you than to them. Don\u2019t be an issue with casting directors or agents who will then take it out on your child. \n\n\n\n\u201cI’m very into enabling kids to do things \u2014 go ride that bike, take a chance, you know what I mean?\u201d Rosen advises. \u201cWhen it comes to that stuff, it\u2019s okay to push, obviously. But if it comes to acting, that has to come from them, because I feel like there’s a lot of parents that have their own issues to work out through their kids.\u201d\n\n\n\nMost importantly, those kids with problem parents don’t generally get that far. \u201cIf the parents are terrible, we as professionals see that and somehow throttle it,\u201d Rosen says. \u201cSometimes bad parents get through and the kid’s a good actor, but it\u2019s rare.\u201d\n\n\n\nTake the Sting Out of the Rejection That Goes With Acting\n\n\n\nDon’t make booking the job the goal. Instead, make it about the audition itself. \u201cIt’s how you frame it,\u201d Rosen suggests. \n\n\n\n\u201cWe are going in to act for some people on Zoom, or possibly on self tape. The goal is to do the audition. That’s the fun part. Okay, if you get the job, you get the job. The parent needs to not focus on the job, they need to focus on the audition and make sure that kid is having fun and enjoying the process. And if they are not, they need to tap into that and let them stop.\u201d \n\n\n\nThat way, if the child doesn\u2019t get the job (and odds are that they won\u2019t), there\u2019s no sense of rejection, or being made to feel like they\u2019re not talented or don\u2019t have something that someone else does.\n\n\n\nUltimately, the Best Thing To Do Is Stress the Show and Not the Business\n\n\n\n\u201cNone of this is rejection,\u201d Rosen reiterates, \u201cand if you\u2019re using that word, or if that child is feeling that somebody in the process is mishandling the discussion or the situation, it has to be turned around to focus on fun.\u201d\n\n\n\nAt this age, it has to be about fun. That\u2019s far and away the most important thing. It\u2019s about creating the right conditions for opportunity, to learn, and to enjoy performance. It\u2019s not about creating a career. \n\n\n\n\n\n\n\nLooking for acting opportunities for your child?\n\n\n\nBrowse current:\n\n\n\n\nKids Casting Calls\n\n\n\nCommercial Auditions\n\n\n\nLos Angeles Casting Calls\n\n\n\nFeature Film Casting Calls\n\nThe post How to Get Your Child Into Acting: A Parent’s Real-World Starting Point appeared first on Casting Networks.",
"date_published": "2026-05-19T09:43:36-07:00",
"date_modified": "2026-05-19T09:43:39-07:00",
"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/iStock-1601514686-scaled.jpg",
"tags": [
"Acting 101",
"Acting Advice",
"Career and Craft"
]
}
]
}
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