What Happens at an Acting Callback?

A callback is a further audition for the small group of actors casting liked best, usually in front of the director and producers. Bring back what got you called back unless someone redirects you. We asked 18 casting directors how many actors they put in front of producers, and 16 how much say they have in the final choice.

What is an acting callback?

In our class on how casting works, Kym explains that the casting director is a filter: they audition actors, then choose which auditions reach the filmmakers. A callback is the next round, where you read again for the people who decide.

Casting director Meg Morman told us she and her partner run the first reads, choose who comes back, then sit in on callbacks with the directors and producers. In television, casting director Deborah Barylski described the ladder: pre-read, producer session, studio, network.

Who is in the room at a callback?

For a director's callback, casting director Carmen Aiello said to expect the producer, director, casting director and casting associate. For commercials, Shaan Sharma, who runs commercial casting sessions, said you'll usually see the director and production, sometimes the ad agency, and occasionally the client, sometimes joining by video.

If someone is on their phone, Kym says don't wait. Some producers listen rather than watch.

Should you do the same thing at a callback or change it?

Do the same thing. Deborah Barylski was emphatic: you got the callback because she liked what you did, and if you change it she worries you can't repeat your work. In her words: “You can change a few dots, but no big arcs.” Casting director Ricki Maslar agreed that doing something wildly different may cost you the role.

The exception is when the room redirects you. Seth Yanklewitz told us about an actor he loved who first came in far too theatrical. He sent her home with notes to make it a TV audition, she nailed it the next day and went on to win the role. Casting director Bonnie Zane asks actors to trust her adjustments, because she knows what the producers have asked for.

Should you wear the same outfit to a callback?

It's the safe choice. Shaan Sharma said you can almost never go wrong wearing what you wore the first time, since some clients loved it. Others won't care, so don't panic if you can't. The exception is when casting asks for a change. More on our page about what to wear to an audition.

How many actors get a callback?

Fewer than most actors imagine. We asked 18 casting directors how many actors they usually present to filmmakers per role, and for television the numbers were small. Deborah Barylski said five to eight for a guest star and three to five for a co-star. Lisa Zambetti said nine at most, and she prefers five. John Frank Levey sees eight to 12 people himself and takes four to six to producers.

Bigger roles widen the pool: Lisa Beach said features and pilots can mean showing producers up to 50. Either way, a callback means you made a shortlist.

What are producer sessions, studio tests and network tests?

For TV series regular roles, there are often several callbacks. Casting director Ronnie Yeskel explained that on a pilot you go to the studio first and, if they like you, then the network. Kym describes the network test as the top three or four actors performing for a room of network executives, almost like theatre.

Seth's actor went through a producer session, a director session, a studio test and a network test. Through every step, keep the performance unless you're directed to change it.

What is a chemistry read?

When filmmakers like a few actors for each of two roles, Kym explains, they bring them in together and mix and match pairs, whether love interests or best friends. If you read opposite an actor who is already cast, ask for blocking if you need it, but never give them performance notes.

Producer Shaked Berenson suggests rehearsing with the other actor beforehand if you can. Casting director David Newman said chemistry between two actors is exactly the kind of reason he gives producers when he argues for someone.

Who makes the final decision after a callback?

Rarely the casting director alone. Of the 16 casting directors we asked, almost all said it depends on the project and the people. Scot Boland called it “the power of no”: casting controls who gets seen and argues hard, but doesn't hold the final yes. Risa Bramon Garcia listed the voices on a pilot: studio and network executives, producers, the writer, the showrunner, sometimes the star. Ricki Maslar said on bigger studio projects her input fades by the third round.

Lisa Zambetti added that choices can turn on things you can't control, like your height next to a series regular.

How do you make a good impression at a callback?

Be easy to work with. Shaked Berenson said actors who ask what the director wants show they're collaborative, and friendly, punctual actors get invited back, sometimes without an audition. Kym says it's okay to ask for another take, but read the room in a rushed producer session. For video callbacks, WeAudition co-founder Darren Darnborough says use the fastest connection you can, ideally plugged into your router.

How long until you hear back after a callback?

There's no set timeline, and silence isn't a verdict. Actor Kevin E. West described waiting four or five business days after a series regular callback before learning the role went to a completely different type. Kym notes filmmakers usually have a second choice, so if the first falls through, the role can still come your way.

As Bonnie Zane put it: “It's nothing you've done wrong. It's something someone else has done more right.”

Do you get paid for a callback?

Usually not. Shaan Sharma told us that on union commercials the first audition and callback are normally unpaid, but further callbacks, or being held too long, can trigger payment. Rules change, so check the current SAG-AFTRA commercials contract or ask your agent. This is general information; check with the union for your situation.

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