
The ongoing dispute between casting directors on pilots and TV studios continues with no end in sight. As we first reported on Thursday, studios have not been able to sign deals with casting directors for the past couple of weeks over the issue of pay for casting assistants. While studios pay for casting directors and associates, casting directors in many cases have to foot the bill for an assistant, a non-union position not covered by the casting directors’ contract with AMPTP. Casting directors now insist that studios cover the cost for that, with the fate of 80+ broadcast pilots that have to be cast in the next 2 months at stake.
I hear the studios are still not budging. ABC Studios, which has received a number of early pilot orders over the past 2 weeks, has begun to cast them internally. Other studios are preparing to do the same. Over the past 48 hours, we also had the first deal with a casting director that closed without the assistant provision. Casting agency La Padura & Hart Casting, whose credits include the High School Musical franchise and such NBC series as Heroes and The Event, has signed on to work on the 20th Century Fox TV-produced NBC drama pilot Playboy. There are reportedly a number of deals with other casting directors on pilots that are closed but not signed by the casting directors since they don’t include assistant pay coverage.
Originally, I had heard that, because the film and TV casting directors are unionized under the International Brotherhood of Teamsters, the teamsters are getting involved in the conflict. A casting director well plugged into the situation now tells me that “this is not an union issue, it’s an individual issue, it’s an individual negotiation between casting directors and studios in order for the casting directors to get the staff they need to meet the demands of studios and networks. Every other department gets adequate staffing to do the job they were hired to do with the exception of the casting department.”
In the past, studios have paid for assistants “when deemed necessary,” the source continued. With growing casts and increasing competition, “It has now become necessary on every pilot.”Since it’s not an union issue but an individual choice for each casting director, there is no mandate for the casting directors to stick together. “But I think the casting directors are going to hold strong,” the source said.
TV Editor Nellie Andreeva - tip her here.


It’s deplorable that LaPadura/Hart sold out their brethren. I cant imagine them getting support from our company or any other of the major agencies.
Appaling.
L/H, not the agencies
This is one of the many reasons why REALITY TELEVISION is taking over TV!
Scripte shows are more expensive, have too many unions and disputes over ASSISTANTS!! Who cares people- get college interns to do it for free. Anyone can press play on a camcorder and read a clipboard.
Think harder Casting Directors. Easy solution s to these BIG problems you face. Enjoy the extra time off this year!
Nice comment. I am casting director that works outside of the LA/NYC system. I cannot join the union. I cast three television series and pay out of pocket to associates and assistants to get the job done right. Angry actors have no place in this discussion.
guess, what? actors are your paycheck!
So KISS IT!
As a former intern, the fourteen plus hours demanded in casting jobs are a blatant abuse of free labor. I worked on a pilot last season with a friend who endured months of working for free for one of the most demanding CDs and one of the most notorious producers. At the end, they didn’t even makes calls for him for jobs, yet they praised his work the whole time.
Casting offices deal with so much scheduling and paperwork- this is about valuing the people who do a good job- something this town could learn to do more often.
Showbiz is one big boat filled with two kinds of people. At one of the boat we have Dreamers/Artists with no business sense what so ever… and at the other end of the boat? We’ve got studios and union reps with money and guns! It’s sad we have created a world where the business people AND the artists EACH spend the most amount of time and energy everyday… simply justifying what it is they DO and why they should get paid, Instead of making art and entertaining people! What are we all thinking right now!
Unfortunately, in my opinion there is no possible end to this madness and it’s unrealistic to expect one. All I can say is this… as a Manager who really believes in the actors I still Rep, I’d do almost anything… no screw that, I’d actually take hostages!!!… to see my clients get ONE normal year of activity. You know… so we can ALL justify the life choice we made to suffer through this crap?
Striking now? A… to put it simply? It’s been done to death and the shock and awe factor has lost it’s punch. Now, CLEARLY even talking about it just makes people hate you and get all unsupportive. B… the fact is that the disrespectful nature of the Show-BIz Beast will mean that you are all simply replaced by more desperate people with an eye for the prize AND a stomach for the carnage that is your careers.
So I beg the Money and Guns People…. Please think this through and remember that we all suffer together in this boat… but some of us suffer a LOT more than others bitches!
Dear CD’s… Stop and Take a look around you at the people who have been REALLY supportive over the years while you built your careers, and then stop punching us in the taco! Hey studios… stop being such cheap bastards and share the wealth THAT WE ALL KNOW YOU HAVE! FACT: If everybody payed and played fairly… non of this would be an issue. Come on darn it! Let’s all try to make showbiz what it SHOULD BE… a Business where dreams happen, and where the ONLY people who are unhappy… are the non-union extras! Screw those guys!
I can’t wait to see the networks and studios cast ALL their pilots in-house.
Good luck being in sessions all day on a pilot AND trying to do your job as a casting exec. There simply aren’t enough hours in the day.
As for LaPadura/Hart…shameful. I hope you know that all your colleagues will treat you as the pariah that you have shown yourselves to be. You have NEVER thought of anyone else but yourselves throughout our negotiations to Unionize and this latest betrayal was no surprise to me.
Hope you both can sleep at night.
I have been a casting director for nearly 28 years. I have always had a full time, year-round assistant (sometimes more than one) to assist me in my work for all that time. Being in a partnership, there are two of us to divide the work. We work with an associate paid by the production company and whose salary we augment. This is the way I have been running my company for nearly 3 decades. We were asked to be a part of a job action and refuse any pilot contract that did not include a second assistant. Initially, after speaking with a colleague about this, I agreed. On further reflection, I did not feel this was right. I feel I am amply compensated and I know how to properly staff the office to get the job done with maximum efficiency. I did not feel I was entitled to a second assistant. I already have a hard working and trust-worthy staff, all of long employ. My partner and I called the colleague who had contacted me to inform her that we were not going to make contractual demands that we did not feel necessary for us and that phone call was returned by a different casting director. In a long phone call, where there was no agreement between us, we went our separate ways and were told, essentially, that there were no hard feelings, this wasn’t personal, we should do what we felt we had to do. We entered into a contract with 20th TV after hearing that another casting director had closed a deal without the 2nd assistant demand at another studio. I now read a somewhat distorted version of the events and see some vitriol in the comments. It is difficult to swallow. We have always been a hard working company that enjoys the art of casting and loves and supports actors. I am sorry other casting directors are angry at us for a perceived “betrayal” but so be it. We are all on our own path. I was told, when we became a part of Local 399 that there would be no interference with our individual needs and requests in contract negotiations yet here, 5 years later, there is one. Honestly, we just want to be left alone to do our job the best we can.
You’ll be left alone, alright.
Wow. Look at the number of times you use “I”, “My”, “Mine”, etc.
The CSA position re: reasonable assistance on pilots isn’t about victimizing you, it’s about helping the entire casting community. And that’s precisely how you got the medical benefits you now enjoy — not by being selfish but by being selfless.
Jason,
This isn’t about helping YOUR office, it’s about helping ALL OF OUR offices. I can’t help but feel that your decision was incredibly selfish.
im responding anonymously because i dont want any backlash. Jason and Natalie did what they needed to do under intense pressure from their casting brethren and have that right. No one should or can tell anyone else to turn down work over a principle that they may not deem necessary. They are not the only ones who have deals closing and i hope that their peers do not harass everyone who is trying to make a living.
I agree with the position that an assistant needs to be paid for but again, why is that the studio’s responsibility? There are many producers who can dig a bit into their own pockets to help out their casting directors.
Or perhaps casting directors should just upload once and let the studio/network executives deal with it?
The point is not to demonize any casting director – but if one cd caves it makes it MUCH harder for the cd’s that DO want the studios to pay for the assistant. A producer go into their own pocket? Not gonna happen. And why should THEY cover payroll company fees & taxes etc. THAT’S why we need the studios to pay it – if you are paying your assistant a salary of $500.00/week you then have to additionally cover the employer cost which the studios WILL NOT reimburse for. EVERY other department on a pilot gets staffed. It’s not about cd’s needing help or being lazy. It’s about cd’s NOT assuming the costs of an employer. The studios CONSISTENTLY pit us against each other – they continue to say “well this cd will do it if you won’t”. THAT’S why we have to stick together.
“We are not put on earth for ourselves, but are placed here for each other. If you are there always for others, then in time of need, someone will be there for you.”
Unfortunately it was no surprise to anyone – hard to imagine two more selfish individuals. So incredibly DISGUSTING.
This just in – the studios are calling casting assistants all over town to see if they are available to come help the STUDIO EXECS cast pilots. So they are willing to hire assistants for themselves, but not for CD’s. The hypocrisy is STUNNING.
In anticipation of further comments from embittered actors who have no clue what the demands of pilot casting are, and who will invariably blather on again about non-sequiturial “casting workshops”…….I respectfully request you keep those comments to yourself, and try to realize that Casting Directors ARE ON YOUR SIDE!!! We aren’t the ones who cut your pay in negotiations with your Union, we aren’t the ones who have kept you from making the living that many of you enjoyed when residuals were residuals. As Union members, you should stand behind Casting Directors during this difficult time, in fraternity. Making incendiary comments about workshops is insulting, inflammatory, and inane, and has no place in this arena.
It is clearly stated this is not a Union issue but an individual one based on the c.d. Unfortunately once one chooses to sign without the assistant provision there will be more to follow and the “fraternity” has already been compromised based on that. Actors or anyone else can be supportive but have no inkling what your PERSONAL decision/needs will be down the road. I dont think LaPadura/Hart are evil for signing but it does create a lack of morale for the whole situation.
ˆCasting Directors ARE ON YOUR SIDE!!!
Oh, really….
How can they be “on your side” if they’ve never ever met you or seen your work in the theatre??? And I’m not talking newbies. I’m talking scores of actors who never see the light of a cd’s office after decades in the business doing play after play after play. Many with major credits and critic picks year after year after year.
No sympathy…
Karma’s a bitch.
Jen…this is an issue for office assistance, not an issue about what actors get in for auditions! Yes, us CD’s know and understand how frustrating it is for actors…unfortunately,that’s the nature of the beast right now and until someone comes up with some new way to see as many people as possible, with an extremely minimal amount of time given to do so, this will continue. HOWEVER, THIS IS NOT AN ISSUE ABOUT ACTORS…THIS ISN’T THE FORUM TO BITCH AND COMPLAIN ABOUT ACTORS GETTING AN AUDITION…IT’S ABOUT STAFFING AN OFFICE SO AS MANY ACTORS AS POSSIBLE CAN BE SEEN INSTEAD OF USING THAT TIME TO PICK UP THE SLACK OF WHAT FALLS THRU THE CRACKS BECAUSE OF LACK OF OFFICE SUPPORT!
“But I think the casting directors are going to hold strong,”
So did the poor souls on TITANIC…..
i have always liked lapadura hart. i cant believe they are actually going to screw over the rest of the community.
TRUE.
Debra Zane passed because they would not pay for the additional staff member. LaPadura/Hart then took the job, without asking for additional staff because Natalie said “that she didn’t really care and that she and Jason had to look out for themselves.”
There is simply no way to cast a pilot with *just* an associate or assistant. The studios offer us salary for EITHER an assistant $650 OR an associate $725 per week. The CD then has to supplement their salaries because a good associate doesn’t work for $725…more like $1,000- $1,200 per week. Then we have to pay for the salary + payroll taxes for the assistant. We’re already out of pocket AT LEAST $1,000 per week so that we can cast the show. At at critical time when we need all hands on deck, we are out of pocket to staff our offices.
We’re in the room during sessions. The CD is usually the reader and conferring with the producers and director. The associate is operating the camera. We need an assistant to be in the outside office dealing with the phones, the arriving actors, checking quotes, scheduling the next session, uploading auditions, receiving pitches…to name but a few of their duties. It’s a 3 person job at the very least.
It is really a shame Lapadura Hart are so self serving and selfish. They didn’t want the union to happen and now they are reaping the benefits of it. If they felt so strongly against the union, why did they jump in to get the benefits, once we did all the work to get there? It is a hard enough business to be in without supporting each other, just wish they had it in them to show that support to their fellow casting directors. It’s really sad especially for Debra Zane who lost a job because she had the strength and integrity to pass knowing she would be hurting her fellow cds and herself by taking it.
As a manager who deals with casting offices virtually every day, I’m shocked that the studios find paying for pilot assistants too much financially for them to handle. What’s going to be too much to handle is casting these in-house. Good luck with that! You’ll be getting my calls and e-mails, and so will you be hearing from EVERY ONE else that wants to cast their clients. So get ready internal departments! (I’ll send vodka and chocolate…)
You know its one thing to take a job that they are the first to be offered. That’s bad enough. But to TAKE AWAY a job from another CD?? Wow. Just wow. These people must have no conscience whatsoever. Totally blown away by this.
Unfortunately, having been an Associate for over 5 years, no CD has ever offered to supplement my salary. I only get $725
Still totally support the CD’s, but I’m just saying…
$650 to $725 per week?!? I was an assistant casting on two pilots simultaneously and they were only given $250 to pay me for each 40+ hour week (works out to the minimum wage in 2001 if it were only a 40 hour week). My bosses supplemented that out of their own pockets by $50 (works out to the minimum wage in 2007). By the way, my bosses fought hard just to get me the $250.
I commend the CDs for sticking up for their assistants. It’s a virtually thankless never-ending job – the least they deserve is a livable wage.
OMG…isn’t this just the cost of being in business for yourself? It’s called “overhead”. Do the CD’s want the studios and networks to pay for their lights and office rentals too? Shouldn’t that come out of their salaries? Seems to me this is what all areas of independent contractors in the entertainment business have to do – that’s what being independent means. You are on your own and pay your bills/costs out of the fees you negotiate. Why should one CD who runs a efficient business hold out for others who may not or just want more of a bottom line? If their union as a whole decided to make paying for an assistant part of their contract, then they should do that and everyone should stand as a whole or leave the union.
SAG should immediately bar its members from working with scabs like Padura / Hart.
I know our agency isn’t going to make it easy on them.
I’m honestly asking these questions out of pure ignorance… You know, the real meaning of the word.
So hopefully, someone will give a legitimate and educated answer to help alleviate said ignorance.
But are CDs hired by the studio or the network? And how does that work? I mean, is it like an exec just calls up a CD and says, “Hey, we want to hire you for this pilot.” And it’s a set fee…
Or do CD’s compete with each other to get the same shows?
How’s it work?
Good questions, I was wondering the same thing. While Deadline is an industry-insider site that doesn’t need to explain stuff like that in the articles, for use outsiders looking in articles like this cause me to glance over rather than read.
Well it depends on the situation. It varies – sometimes a CD is requested by the writer/producer of the pilot and then has to be approved by the studio. Sometimes the studio will present a list of CD’s to the writer/producers that they recommend, the producers meet a bunch of CD’s and then decide who they want to hire. So yes sometimes CD’s compete for shows and sometimes they work with writer/producers that they have relationships with. Once someone is approved by the studio and writer/producers, they enter into negotiations with business affairs at the studio. It is the studio that actually hires the CD. There is no set fee, everything is subject to negotiation – including staffing needs.
Hope this helps.
The network also has to approve the CD before they are hired
Thanks Caster — nice clear explanation.
So if I’m reading this situation right, then it’s sort of akin to the writer’s strike in that…
What you’re asking for is a guaranteed “minimum” level of support.
Because there are probably some CDs (as there were writers) for whom the minimum is irrelevant. They are always going to negotiate higher and more favorable packages.
But for the majority of CDs (as is the case with writers) the studios will try to nickle/dime those doing the work and pay as little as they can get away with.
Which means for less established or “smaller” CDs, they will be denied the assistant provision, while that same studio may turn around and give it to a CD on a different show just because of long-standing relationships or a “perceived” higher level of talent or some such?
Why is it that “equity” always seems like such a difficult concept for studios to grasp. Even when it’s only hurting themselves?
Ok, so there is no set fee. But what’s the range? thanks
Please resolve this. 2008 was a nightmare. The studios have to stop being so parsimonious. They are squeezing us. I hear they say they are low on money. Then I find out executives took a private jet to San Diego to watch a comedy show.
Can someone tell me the pay scales for casting directors, film and TV? Are they paid weekly or per job?
CD’s get a weekly paycheck but are paid per job and the total fee is divided into how many weeks we work. On a pilot it is 10 weeks. There is no pay scale per se, it depends on what your previous quotes are.
THanks Caster. But what is the range, like 50,000 to 80,000 per pilot, including associate and assistant?
Casting directors make in the range of 40k-55k per pilot. They also get their associate and office space paid for. This fee might be split by two casting directors if it’s a team. This is for 10 weeks of work.
Hollywood, Networks, Studios, Producers please take note. I’ve listed below from my experience where the house needs to be cleaned and who really works. I’ll let you all be the judge of who is good who is not. I’d like to know in the last two years if any from that list have discovered new talent or merely been phone operators taking messages as to who the networks want to see? There was a time, some 20 years ago, casting directors not only called up established talent to come in and read but searched and prided themselves on discovery and making a difference in the process. The producer or network who hired these folks always likes them because basically they are secretaries today. They do paper work or grunt work or simply make appointments. We need to clean house of one of these groups. These people are overpaid for what they actually do. I think you’ll see if you bring in some young blood as your casting directors you will see new and exciting talent and a higher quality of art and craft. One list are those who have been terrific in seeing new people, as well as calling up the actors we all know. One list works hard to think outside the box. One list is the NO CAN DO. They simply do not care about what they do. So as a filmmaker you have the faulty confidence based on that CD’s name that you are getting a great casting director. But what are you getting? Someone who calls CAA to see so and so actor on a project. Anyone can do that. What they don’t do is search out the new talent. When I mean new I don’t mean doing favors for Brillstein by seeing their new client who just signed with UTA. Again, brainless. A brick could do that. What I’ve seen the second group do is seek out talent that doesn’t even have a manager and really pushed and worked hard. I’ve seen them see a client of mine when I’m part of a no name “agency” and happily see the client. You have nasty secretaries answer the phones for their nasty secretary bosses in one group. In the other you may even speak directly with the CD. Please, we don’t all these people. In fact, Networks, promote some of your young people to do jobs as coordinator in-house CD’s and I bet these folks start coming up with interesting ideas and choices. Not going down UTA’s list or seeing only the top manager or attorney’s clients. AND, just because they don’t know them, if they are with a top agency this is not seeking out new talent. WHY? Because your back is covered. You can have someone seen from a UTA and if the network or producer thinks they stink you can always say “well, they’re a UTA client so maybe you are missing something.” How about putting your own ass on the line! “This is who I like. They have a no name agent, a no name manager, and they are terrific.” This doesn’t happen anymore. AND YES, I know a lot of people and many of the big names and have worked for many of the big names. I see a complete lack of interest and laziness on the part of many CD’s if not 90% today. Is it short attention span? Simply that what they say doesn’t matter anymore anyway? I don’t know. But it needs to change. The casting world is a complete sham. Let’s put it this way. For fun I went to one of these events where CD’s speak. “Oh, we love new talent.” I called and left messages 12 times for the CD the day after, regarding a client. They had a few small credits and no tape online. I left a message over and over I’d be happy to send tape and you must see this person. If nothing else they will give you a good read. Never even a call back. Client booked the pilot because I went around casting directly to a producer. That’s the world of casting today. It needs to change. The world of CD’s is how do I get around them so the real decision makers will see talent or hear ideas.
Folks, you decide. Love to hear your thoughts. Be well.
Ulrich/Dawson/Kritzer
April Webster
Marcia Ross
Cami Patton
Valko Miller
Stiner Block
Greenstein Daniel
Felicia Fasano
Juny Lowry Johnson
Carol Goldwasser
Nan Dutton
Donna Rosenstein
Bialy Thomas
Jeff Greenberg
Barden Shnee
Romano Benner
Roger Mussenden
- – - – - – - – - -
Alyssa Weisberg
Julie Ashton
Lisa Miller Katz
David Rappaport
Allison Jones
People who smear others (by name) but hide behind anonymity show real cowardice.
And what’s your beef with UTA? Obsessed, much?
I assume this is the list of casting directors you think should be kept around. I say this because most of these CDs have called me in, some of them multiple times, and several have hired me. And I am absolutely nobody in this big pond.
Penny-Wise, Pound-Foolish. If this isn’t settled soon, won’t the result be a rush to get all these pilots cast? If I watch a pilot and it stinks, I won’t watch the show again, even if it’s recast. The exception being if a new role is created and an old role eliminated. To put a new actor into a role already familiar to the viewer is at best distracting. Considering the state of the economy, I’d think I would want the casting done right the first time.
Couldn’t agree more. It’s time for the Networks to cast in-house. Unless a casting director has shown themselves in the last couple of years finding new talent, what is the difference? Just saying.
This issue is like if the owner of a restaurant hired a manager and said I know you will need extra staff–some waiters, maybe a bus boy and a hostess, if you want this job, you can either hire them yourself out of pocket or do all that work yourself–no one would take that job…it just isn’t possible for one person to do the work of an entire staff and to hire them in that manner is insanity! I am with the casting community on this one, it shouldn’t even be an issue!
How can actors get the impression that anyone is on their side when the only time they ever even see a casting director or agent is when that person is looking to make extra money moonlighting as a “workshop instructor”?
How can actors get this impression when endless celebrities take jobs in voiceover and television that they would not have deigned to take 15 years ago? Let’s not forget the nepotism cases. What ‘auditions’ took place for those projects?
The execs have all the power. CD’s are upset because they won’t subsidize for assistants. They don’t care–because they will continue to cry poverty while taking those private jets. They will find scabs. Let them cast in-house. Let them skip the middle man and hire their friends and family to act in these sitcoms. They can’t do any worse than the current system.
Why don’t you CD’s wait tables, tend bar and work in offices? You think it’s hard to cast pilot season? Try being a struggling actor.
Seriously? Who are all the people on TV shows and in movies if they’re not actors? Casting directors live for great acting and want to see the right person in parts. It’s not their fault if you’re not right.
You’re struggling now, but just about everyone has struggled at some point. Many casting directors started out as actors themselves.
You need to stop your whining, quit your finger pointing, and contemplate whether YOU are the problem with your career.
Whew…that was a bit harsh. Guess anger is especially keen in the wee hours of the morning. You have to admit–the system is trickle-down oppressive. Actors aren’t ‘embittered’ when they make comments about the workshop system–they’re understandably frustrated by this whole rigged racket.
Why would you pay an associate $1000 a week to videotape auditions?
I expect they do a lot more than that , but it sounds to me like another gravy train. Unfortunately, the business of film and tv production still had a lot of fat on it. The rights owners and studios are not stupid- they know how much comparable skills in other industries are worth.
The harsh reality is that tv and film production had been a golden goose for decades, but as revenues are squeezed by piracy and online viewing, the cost of production is being scrutinised.
The party is over and it is now time for a diet!
Hey Ari “gravy train?” I think not. To clarify….what I meant was that the associate is tied up in the sessions running camera so is not available to do all the other tasks that are expected of them such as:
assisting in creating master lists
pre-reading actors
fielding hundreds of calls a day
scheduling
uploading
editing and burning DVDs
maintaining Master Lists for studio & network
negotiating deals of guest/co-star cast
Those are but a FEW of their daily duties….along with trying to be creative and support the CD to come up with a good cast that will get the pilot picked up.
OH and did I mention that LaPadura/Hart are members of the Union that they obviously don’t believe in but are still reaping it’s benefits? The Union gives us amazing medical insurance and a pension.
yeah but what you and seemingly every other CD who’s come on here have so far refused to mention is a basic question…
What kind of salary range do CDs get for 10 weeks on a pilot. And since many do more than one at a time… What’s the actual monthly nut of a CD look like that they are claiming is too small to supplement their staff with?
LaPadura & Hart… the Jay Leno of the casting director world.
Haha! Nice. Go Team Coco!
This article almost made be throw my laptop through the window. I work in an industry that is making cuts. Many lost their job. My district was furloughed (no pay) for 10 days this last year. One group lost all of their assistants in the second round of job cuts. Please excuse me if I don’t break out the tears for casting directors not being given an assistant. Boo hoo.
Brian,
You don’t understand what the issue is here. This is not like your job you are describing it’s a different work situation.
It helps actors when casting offices have more assistants as they tend to only bring in the same few people they like, unless there is someone there to help navigate the workload. Many of them are freelance and look and compete for work just like actors,writers,and directors and pilot season could be the only job they get all year and they can’t afford to also pay extra for an associate and a assistant. This is a complicated issue and even many actors don’t understand how these offices work when they are not the huge casting companies.
Casting Directors of America. This is a business owned and operated by individual companies who have the right and the freedom to conduct business however they see fit. When companies need to staff up thats what they do. If an ad agency brought in a big client and they needed more manpower they would staff up. No union or jealous competitor is going to stop BMW from outselling Audi. Congratulations to Padura Hart for closing a deal.
To Laila Rose “When an ad agency brings in a big client, the agency staffs up”, CD’s are not “ad agencies” they are either a single person or 2 people splitting one fee, the cd’s big clients” aren’t paying the kind of money a major ad agency client pays esp when the CD’s salary is split between two people so, please don’t compare us to them. Thanks.
If Padura Hart didn’t take the gig, some other CD would have “turncoated” and done the same thing. BTW, I get a crapload of people asking to intern with us, and so I’m sure does every other CD. Time to exploit those (so called) “students” in exchange for the “college credit” they’re (supposed to be) earning, and use interns instead of assistants–the studios will scream!
If actor A was offered a part and could not close a deal and then actor B accepted part for a lesser fee who the industry send out a cry
Congratulations to those casting Offices who understand that tthis is a business and not about a Union that too many of us were forced to join and those jealous of others. Way to go PH
Small screen big picture by Chad Gervich will explain everything you need to know about the pilot process. Highly recommended
I am an actor in LA, I have interned in casting offices and seen part of the process and I feel like they are not getting their due. Can we please remember how much the casting community does for all of us? During the strikes and threats of strike they stood behind us, can we as a community do the same for them? A casting director has to be so many things to so many people:
For Actors—find you, figure out who you are and what you bring to the table, if you are right for a role, setting up appointments, pre reading you, getting you ready for their producers, directors and writers to meet—if you go straight to producers, they trust you enough not to mess it up and know that you are at a level that you can handle that.
For Writers—they make sure your words are brought to life by a professional who doesn’t butcher them, someone who cares about them, embodies them and makes them sound great. If any of you have ever heard your words being said by someone who didn’t know what they were doing, I think you will agree, this role of the casting director is integral.
For Directors—by the time you see an actor the casting director has already given you a huge boost, they have narrowed the field down, given you people you can direct and that they think would be a good fit to work either with you if they know your tastes well enough (also part of their job) or people who will be easy to work with in general.
For Producers—they watch your budget, they know the numbers on who will ask for what, they know your tastes or how to give you a large enough selection to have choices, but not so large that you are overwhelmed.
For Agents/Managers—a sounding board, to listen to your ideas and decide if they are a good fit. They’re job is to bring people in, and on the rare occasion that you have a client they know is a pain in the butt for the people above to keep those people out. They are not trying to be mean when they won’t see someone, they are trying to save you, your actor and all the people above time and energy by doing their job—getting viable candidates for every role.
Now while they are doing all of this they also need to have sessions—which are taped, so they are usually the reader, the camera operator, the one calling the next person in, managing the lobby, making sure everyone in the room stays on point, listening and remembering comments made about actors that people liked and didn’t like, filing those away to use for the next session to help you see more people that you like. Then going back to their office and start the other part of their jobs, checking that Station 12s are in order, that everyone in the room is happy with the choices, writing the deal memos, agents are called, actors are booked, scheduling isn’t a problem, answering questions from agents and managers who want to know how their clients did in the room…the list of what a casting director does in the hours they are not in session goes on and on. To see the place that these professionals have in our industry, they are so many things to so many people. They know what this town wants, and they help put it together. Even on the issue of making lists, they have to know who is available who is working, who moved to Alaska to have a baby—casting is a BIG job people and one who doesn’t get credited enough for what they do. By the time a tv show airs a casting director for that show has directed more people for those roles than the director will ever have to (8-10 people in a pre read at least), why are we not giving them credit for all that they do AND supporting them when they say to all of us in the industry that they work with “hey guys, we have an issue, can you back us up?” We should be giving these people an unequivocal yes! They are major players in all of our lives, but do it so in the background sometimes that we forget how hard they work and how much support they have given each and every one of us!
Please, please, please support them, they do it for us!
Nice to see SOMEONE gets it. Thank you Support Casting.
Shame shame on you LaPadura & Hart. Not a shock, since you behaved the same way during our Unionization process. How do you justify receiving the awesome health benefits that we are now the recipients of and then behaving this way? Shame shame on you.
You will not have a Casting Director friend in the world after this. Hope you never need to look toward your brethren for anything.
The union contract for CDs expires lets get rid of this nonsense now. Veteran CD’s can no longer have power and control over the younger CD’s moving up…..
Are you kidding me? The “Veteran CDs” did this for YOU!
If we were unionized back when I started I could actually retire WITH A PENSION. I wouldn’t have spent over a hundred thousand dollars in individual medical insurance fees which barely covered my medical needs because the deductible was always so high.
I’ll probably never see my pension because we have to be vested for 15 yrs. At least you will have a pension. Perhaps you’re too young to even glimpse into the future, but know that all of us “vets” did this for YOUR protection down the line.
Furthermore, if you don’t want to be in the Union…you don’t have to.
As an Associate / Young CD who has recently (reluctantly at first – those fees are high!) joined the union – I can tell you that while I understand Pam T’s frustrations at times, she is absolutely wrong about the “Veteran CDs’” motives. They are 100% doing this for us!
Pam – if this works out, you will have them to thank, every time you do a pilot and are given the staff you deserve. Have some gratitude!
Your wrong. Guess you live in a different Casting world. The Entertainment industry is a business and if CD’s don’t start treating it that way they will get left behind. Many offices have full staffs to do the work and hire as needed. If you choose to be on your own or partner up as per project thats your choice. Better get someone to do your deals because there is a lot of large casting fees distributed around.