I’m not an actor—I'm an independent director/producer who regularly casts for projects.
Here are some tips I think can really help actors, whether you're new or experienced:
1. Use a current headshot.
Avoid sending photos from 10 years ago or ones that are overly retouched. We need to see what you actually look like—wrinkles, blemishes, and all. Authenticity matters.
2. Avoid generic cover letters.
It's obvious when you've copied and pasted a canned response. Take the time to personalize your submission—it shows you're genuinely interested in the role.
3. Read the casting call carefully.
If the listing says "must work as a local," don’t ask for travel or lodging. If it's a non-union project, don’t try to get it flipped to SAG. Just don’t apply if it doesn’t fit.
4. Don’t pass off the job to your manager or agent.
If you're not a name actor and the rate/location are clearly listed, there's nothing to negotiate. Third-party involvement just complicates things.
5. Be on time and bring a good attitude.
No drama. No ego. Be someone people want to work with again.
6. Don’t hound producers for demo clips.
Most films go through a festival run or seek distribution first. Instead, ask before booking when you might receive a clip—then wait patiently.
7. Show gratitude.
A simple thank you to those who gave you a shot goes a long way.
Hope this helps. I’d love to hear from actors—what draws you to a project, and what turns you off?
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Great tips, Stephen Folker!
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Stephen Folker I appreciate your to-the-point way of giving these tips. It's refreshing and clear. Always good to hear from 'the other side' about what you are looking for/not looking for when casting. Helps to think there are concrete things I can do to give myself an advantage. Not making a drama stands out to me. I remember a Method teacher once saying to our class at the time, are you here to act or act out?
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Alexandra Stevens that's a true and powerful statement from your method teacher. Thank you for sharing that!!
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Thank you! It's always nice to be given helpful tips to succeed in the business!
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I think it's true of any job, be someone people want to work with again. I appreciate you sharing these tips Stephen Folker , I am kind of laughing though because one would think these are a given. After doing extra work for four years, nothing surprises me. I've seen all these mistakes and more. I actually was just messaging RB at this topic, having some kind of headshot feedback forum.
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You'd think it was a given Suzanne Bronson. But the last one (show gratitude) is overlooked the most. I've given roles to many new actors who had little to no experience that didn't so much as say 'Thank you.' I don't call those people again.
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This is such valuable, no-nonsense insight, Stephen Folker, thank you for taking the time to share it from the director’s perspective. I’ve had several actor friends tell me how much they appreciate when directors and producers are transparent like this. It sets clear expectations and opens the door for more respectful collaborations.
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Great tips for actors Stephen Folker, and some of them are generally for all of us! Good points :))
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Sandra Isabel Correia - thanks!
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Stephen Folker great advice, Stephen. Thanks for sharing.
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Geoff Hall thanks for checking it out! :)
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Hi Stephen Folker, great tips thank you! I just want to clarify: when we run a job through our agent it isn't that we are passing anything off. And it's not just for negotiation. It's for a few reasons:
1. Checking the contract: Most actors aren't adept at reading contracts, so we need to make sure they look over everything as there are a few shady 'in perpetuity' things or other clauses that can be added sometimes.
2. Safety: They may know something about a filmmaker or project that we don't know. It's important to run things through someone more connected than we are.
3. Career strategy: We want them to read the script and assess the attachments to make sure it's not a bad career move. Even actors without strong resumes want to avoid attaching to bad films.
4. We have to: When you have an agent or manager, the contracted deal is that all paid film & TV jobs go through them. No matter who brings the work in, it needs to be approved and commissioned through your rep. We quite literally do not legally have a choice.
5. Yea look sometimes a bit of negotiation... there's a 'modified local hire' option that very frequently comes into play but may not be in the breakdown. Production may cover hotel if you can get yourself there and forego per diem.... etc... but we don't know if production has the bandwidth for that until we ask. Also nudity riders / billing order / trailer size etc... there are non-financial negotiations that matter too.
Again, great tips and thank you so much for taking the time to share them - just didn't want actors being scared to go through their reps for fear of annoying filmmakers.... and don't want you thinking all these actors you've hired were passing things off... They're just doing things the right way.
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Kym Jackson, thank you so much for sharing this thoughtful perspective. These are such important clarifications, and your breakdown adds so much context and nuance to the conversation. It’s a vital reminder of how many layers go into the actor–rep dynamic and why those systems are in place to protect the performer and the integrity of the project. We’re incredibly lucky to have you as a Stage 32 Thought Leader & Educator, your insight is always invaluable to the community.