To audition for a TV show you need to be submitted on the role, usually by an agent or manager through the breakdowns the show's casting director releases. Then you self tape or pre-read, get called back to a producer session, and for big roles test for the studio and network. TV moves fast, so be ready to tape well at short notice and match the show's tone. We asked 18 casting directors how many actors they show producers for each role; here is what they and the directors in our library told us.
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Each show has a casting director who releases breakdowns for every role. Agents and managers submit their clients, and the casting office chooses who to see. Bigger roles often start with offers: casting director Scot Boland described three tiers, the name actors who will take an offer, then actors who might, then everyone who read or taped.
Director Kate Dennis said offers go out first; if none land, the role goes to auditions. Be wary of anyone who wants money to get you seen: Kym Jackson's rule is that real agents and managers earn commission and never charge a fee to sign you.
Pilots are cast slowly and widely; episodes are cast fast. Lisa Beach said her office auditions at least 200 people for each bigger role on a feature or pilot. Deborah Barylski said a pilot gives her four to ten weeks, and before COVID it could easily reach 500 people for one role. Bonnie Zane sends producers dozens of pilot tapes a day.
On a running series, Lisa Beach said a new script can arrive every five to seven days with 25 characters to cast, so producers might see about 10 people a role. On a pilot, Ronnie Yeskel said your work goes to the studio first, then the network. See what pilot season is.
The audition itself is much the same. What can change is the path. Wikipedia's history of the TV pilot notes that ordering a whole season without a pilot, known as straight to series, has become more common since Netflix popularised it. When there is no pilot, there is no pilot season scramble for that show.
What doesn't change is how many people weigh in. Amanda Mitchell said the bigger US series have far more cooks in the kitchen and an in-depth approval process. For how streaming productions cast, see how to audition for Netflix.
Lisa Zambetti said submissions for a co-star or guest role can run to a couple of thousand. She might pre-read about 50 and show producers seven to nine. Anya Colloff sees 10 to 15 for a co-star and presents five or six. Deborah Barylski presents five to eight for a guest star and three to five for a co-star.
Don't underrate a co-star. Manager Chris Roe said many co-stars are guest roles trimmed for budget, and pushing to skip them too early can box you in. See co-star vs guest star for the difference.
Most first auditions are now taped. During the 2020 shutdown, Deborah Barylski predicted in-person auditions would become rare and self tapes would be how actors are cast, and the industry was already heading that way.
Make the first seconds count. Josh Einsohn said that in pilot season the volume forces him to fly through tapes. He has learned to watch on when a tape starts rough, but a tape that grabs him from the start is always better. Tips in self tape tips.
Watch it. Anthony Brandon Wong said that for an existing show you should watch previous episodes and notice how serious it gets, and how drama and comedy are mixed. A show he worked on for three seasons always followed a serious moment with a laugh.
For a new show, ask your agent to get as much as possible from casting about the tone. You can also ask in the room which existing show it is closest to. Kym Jackson notes you will rarely get a full episode script for a guest role, so the tone is often your best clue. Comedy has its own rules: see sitcom acting.
A callback where producers, and often the director, see you. The rule from casting is clear: do what got you there. Deborah Barylski said she called you back because she liked what you did. Change it, and she worries you can't repeat it. Small beats can shift; the arc and the big decisions should not. Ricki Maslar said the same: unless you are redirected, they want what they saw at the pre-read.
Seth Yanklewitz asks for hard copy headshots and resumes for producer sessions and tests, so bring them. More on callbacks.
The final stage for series regulars and big roles. Kate Dennis described it: once the producers and showrunner agree, they take their choices to the studio, sometimes playing tests on a big screen to discuss a batch. Then it goes to the network for the same again. You can get through the studio and still fall at the network.
Barylski's rule holds all the way up: pre-read, producers, studio, network, the same audition unless someone directs you otherwise.
Not the casting director alone. Risa Bramon Garcia listed who weighs in on a pilot: studio executives, network executives, executive producers, producers, the writer, the showrunner and sometimes the star. She called the idea that casting directors have the big say a myth.
On a running show, Kate Dennis said the episode director shares the decision with the showrunner, who can overrule. Lisa Zambetti said choices can come down to things you can't control, like your height next to a series regular, so don't try to work out why you missed out.
Usually through an agent or manager who submits you on the casting director's breakdown. Self-submission sites list some smaller and non-union roles.
A callback where the producers, and often the director, watch you read. Casting directors told us to repeat the audition that got you there unless you are redirected.
The final audition for a series regular or big role, where your work is shown to studio and then network executives after the producers have chosen you.
It varies widely. Our casting directors described a couple of thousand submissions for a co-star or guest role and hundreds of auditions for a big pilot role.
No. Casting directors said to keep the same arc and choices, adjusting only small beats or what you are directed to change.
No. Real casting does not charge you to audition, and legitimate agents and managers earn commission rather than charging a fee to sign you.
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