1. Send a thank you note. If it’s an email or a card, a short and sweet message of gratitude is always nice to receive. I am still a sucker for handwritten cards. If you feel like you’ve got a good read on what a casting director would like, choose a card that they might actually save. Years ago, an actor gave me a thank you card that I had on my bulletin board for the next two years because I loved the art and bright colors. We cast her in four projects during that time. Subliminal? Perhaps!
But do not send a thank you with an “ask” (unless absolutely necessary). The downside to email thank you notes is that I am more and more often asked for something…and often with a deadline. Yep, a deadline. Don’t be that guy. Go ahead, send a link to your reel or most recent short film, commercial, clips, etc., but please try to avoid asking for feedback, a quote for your website, a recommendation for representation, etc. When I have a good meeting with a potential client/producer, I follow up by thanking them for their time and consideration. An ask can come at a later time.
2. Know and keep track of how individual offices like to receive follow-ups. I am great with snail mail, and would prefer it to email. Other casting directors are, thankfully, greener than I, and hate receiving postcards.
But don’t overdo it. Follow up after an audition or meeting with a thank you. Reaching out every six to eight weeks minimum after that is a safe bet.
3. Send email newsletters, with permission. I recently booked an actor in a commercial because her MailChimp newsletter popped up on my screen as we were casting. It does work. A friend of mine has very funny updates with strange and useful tips one can use in everyday life. I love his emails newsletters.
But don’t bombard me with bi-weekly newsletters or send them to all of my email addresses. Don’t post your updates or links to your most recent trailer on my Facebook timeline or message me on Facebook. Again, that’s my preference. Keep a database of how other casting directors like to be kept in touch with.
4. Respect boundaries when it comes to drop-ins and phone calls. Do not pop into the office unless otherwise invited.
5. Invite us to see your work.
But do not invite us to see something that perhaps you’re great in, but isn’t so great overall. I met an actor at a workshop. He did a great monologue and I loved his energy. He then invited me to absolutely everything he was in and bombarded me with emails and requests. I went to see one of his shows. The play itself wasn’t very good, nor was he. Be very discerning. I was “uninvited” to a show over a decade ago…an all-female rendition of “Romeo and Juliet.” The actor that invited (and later uninvited) me was playing Mercutio. I was excited to see her performance.
After the first preview or two, she removed my ticket from the box office, saying that she’d rather me sit at home and take a nice bath than come see her show, which she wasn’t proud of. She felt good about her own work, but knew the show overall wasn’t up to snuff. She trusted that I already loved her work and would keep her in mind. I have never forgotten how cool that was. I stayed home that night. And took a bath.
6. Find clever ways of getting industry pros to your show, without breaking the bank, of course. Way before John Lloyd Young won a Tony for “Jersey Boys,” he invited me to see an incredible production of “Spring Awakening” (the play) in a basement on the Lower East Side in NYC, which at the time was a little more sketchy and very far from my apartment. The company paid for my taxi. I went and I loved it and I still call the actors in for auditions, nearly 15 years later.
But do not expect industry pros to schlep a good distance to see you in a show. As more actors are self-producing their own content, there are more and more opportunities to work and get your work seen by industry professionals. Patience is difficult but worth it.
7. Focus on building collaborative, mutually beneficial relationships with casting directors. Do not expect casting directors to spend a great deal of time with you in person, on the phone, or over email “managing” your career, no matter how much they like you. I can’t tell you how many times I have picked up a check after giving advice for over an hour. It can be an energy drain.
The bottom line is: Think of auditions as both an opportunity to perform and as a job interview. You wouldn’t make demands after either. Following up simply and professionally builds relationships.
Do not be needy. If you think of interactions in this industry as—to a certain extent—dating, and you think about how those who are successful with dating function, you’ll be more inclined to show us your best self and detach from the outcome.
Brette Goldstein has cast over 40 independent films, 100 commercials, 100 plays, several television and new media projects, and was the resident casting director at Washington, D.C.’s Folger Elizabethan Theatre for 10 seasons. Goldstein has cast films that have won awards and been official selections at most of the major film festivals including Sundance, Tribeca, and Cannes. Additionally, she is the former co-producing director of The Washington Jewish Theatre, production manager at Washington Shakespeare Co., and associate producer of the Washington Theatre Festival. Goldstein teaches audition technique at various NYC studios and several universities, and has done some serious damage at the craft services table in brief stints as an on-set coach. She teaches an on-going film class at Actors Connection.