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EXCLUSIVE: The broadcast networks are starting to pick up drama and comedy pilots for next fall. But who will cast them? I hear no deal with casting directors for the pilots ordered since the beginning of the year have closed as casting directors and TV studios are in a bitter standoff. The issue at hand is who will pay for casting directors’ assistants and associates, with casting directors demanding that the studio pick up the tab. I hear in the past TV studios would sometimes cover those costs on a case-to-case basis but this time, casting directors have banded together to demand that this becomes a standard industry-wide practice. The TV studios have refused, and the two sides are now at a standstill.
In 2005, the film and TV casting directors became unionized, joining the International Brotherhood of Teamsters. So I hear the teamsters have now gotten involved in the conflict and are meeting with the studios. “It will be very interesting,” one talent agent said. The timing of the action seems carefully chosen as it jeopardizes the broadcast networks’ pilot season, the most intense production period on the TV calendar. Some 80+ pilots are cast from January to March every year by the broadcast networks and delaying the start of that process could wreak havoc in the networks’ upfront plans. (The last time the networks’ pilot season was pushed was during the 2007-08 writers strike, with some networks, like CBS rushing to cast and shoot pilots in record time after the strike was over, and some, like ABC, pushing all pilot production to after the upfronts.) According to sources, this is not an issue for casting directors who work on a movie or have multiple shows as they already have staffs. The problem is for casting directors who do pilots as a one-off.
If the issue is not resolved soon, I hear TV studios are considering going all-in-house with pilot casting, which could overwhelm their casting departments.
TV Editor Nellie Andreeva - tip her here.
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To have to cast a pilot in record breaking time spending late nights and weekends with not enough help has been crazy!! With all the new technology they are required to have someone tape the auditons, spend hours uploading and then emailing…so who is there to answer the hundreds of calls, set up all the sessions, check out avails? It has killed them for years and they have had to go out of pocket to bring help on or grab interns just to get it all done. If they had enough help the cds could spend more time doing their job thoroughly and creatively.
Oh for heaven sakes. Not paying for assistants and associates? These people make dirt. Seriously, they are slaves. Not to mention all the free labor CDs rely on to open the endless submissions, fax and email the endless sides, etc.
Frankly, the gross practice of paid actor ‘workshops’ (paying $$ to get in front of said associates and read) at places like Reel Pros, In the Act, Act One, TVI, etc., etc., stems from the fact that most of these people can’t make a living. So basically out of work actors subsidize their salaries.
Workshops are hardly a gross practice. Stop spreading that nonsense. First of all, need I remind you that no one is forcing aspiring actors to take workshops. It is their choice. Strictly voluntary. And, of course, the casting director or associate, should be paid. Their time is valuable. When I first moved to Los Angeles and knew no one in the industry, I took many terrific casting director workshops and found them to be a tremendous resource for an unknown, new actor to get exposure and experience and acquire practical advice about the audition process. I’ve been called in for auditions numerous times by casting directors that I met at workshops. Get your facts straight Paloma.
Thanks Jake. Frankly I am insulted. When I do workshops I teach a 2 hour acting class. I give adjustments, direction, I tell stories and answer questions. I prep before the class and go through the actors pic & res and “cast” each scene so the balance is right. I do not just show up 5 minutes before we start and sit there and have actors do scenes for me. It is a workout and my time and effort expended should be compensated. Actors spend money every day on acting classes, my workshops are no different. So take your insults and bitter attitude and place it somewhere else please.
I meant to post this further down where the attack on CD/CA workshops was more vitriolic. But the thought remains the same…..
Sorry, but I’ve been to a couple hundred CD workshops and they are NOT acting classes. I have not yet met a CD who knows how to teach acting. Redirect, yes. Acting, no. What is most valuable for me in these workshops is getting to know the likes/dislikes of his/her office and then getting a chance to showcase myself and create the beginning of a business relationship. Most CD’s don’t go to theatre here and they rarely do generals, so this is my only way to get a leg up in a literal sea of faces.
And, I don’t do cold reading workshops anymore. I only go to places where I present something I fully prepare AND get a chance to have a one-on-one conversation with the CD, as though it were a general.
This new generation of CD’s that do cold-reading-only workshops are doing themselves a disservice in that they are witnessing actors who just do line readings well — that is not a good actor. And far too many actors in this town are line readers only, which is why when they pull actors into real auditions most of them sound and look exactly the same.
My question is, how is it that the now-retiring CD’s rarely did workshops (if they existed), offered generals on a weekly basis, and still made a living? What has changed since then?
Oh, boo hoo that assistants don’t get paid. Actors haven’t been paid and toil in obscurity on the stages all over Los Angeles and have been forever. Why don’t the casting agents go out to the theatre or send their assts instead of charging for what is basically their job! Discovering new talent! Cry me a river…
Relax, Jake. The point Paloma was making is totally valid. A Casting Director does not make much money and therefore relies on workshops to help pay the bills. That is not how it should have to be. They work hard and should be compensated well for it. That is not a point you should be arguing against.
Great attitude Jake – if I had your last name I’d bring you in to read! I don’t choose to do workshops but I definitly see their value especially for an actor new to town.
Casting director workshops are TV & Films version of Payola. Casting directors use to spend more nights at comedy clubs and theater openings, now many are spending multiple nights a week doing casting workshops.
And that’s great Jake that you got “called in for auditions numerous times” by CDs you met at workshops. You know who didn’t get called in? The other guy who thought it was a sham.
And did it occur to you that the way you phrased your experience with Casting Director workshops lends credit to the concept that they should be prosecuted as an illegal practice by the Labor Board as you are not allowed to charge people for job interviews?
They try to fall under the umbrella of “instruction” but every associate knows that if you don’t call in a certain number of people from your workshop, you won’t get called back as frequently and it will be harder to book your future workshops, as actors expect to get called in if they go.
Once upon a time, casting directors would actually do more generals and spend time knowing actors FREE! because its essential to their profession. Now, all their scouting is paid for. They fill their files with new talent with only those who pay them.
That’s equivalent to payola.
How is that a good thing?
Under your logic, that its “their choice,” should casting directors begin charging for auditions? How about agents start charging for meetings?
We keep these practices illegal for a reason. It ultimately subsidizes the studios, as casting directors can bid lower for their next project since a large portion of their livings come from the upwards of $2,500 a month that they get from CD workshops.
Do you know part of the reason its so hard to get seen by a casting director now compared to 20 years ago? Because many are dedicating 16 hours a month to casting director workshops and then dedicating 50%+ percent of the slots they give to new talent to those who took their workshops!
They end their sessions an hour earlier (thus seeing 5-10 fewer talents if they were running Guest Star session) to brave rush hour traffic to go make $1,000 for 3 hours at a workshop.
And why SAG hasn’t intervened is beyond me. This is slowly making acting a zero sum game for character co-star actors.
So go get your facts straight Jake.
Get your facts straight “Ryan.” I’ve booked CD’s before, and there is no way they are getting paid $1000 for 3 hours. NO WAY. Between $175-250 is the correct amount.
Oh please save that garbage response. Your all are selling dreams to people (aspiring actors) who may never wake up so keep chasing and buying them. We are in an industry where the MOST TALENTED actors go un noticed because of favoritism. CD workshops are a scam and should be outlawed. Different story if there was a set road to becoming an actor but the journey of success is different for everyone. That’s why we invest in these last resort type of opportunites, because we bust our tails off in class and feel we are ready.
As far as casting assistants & associates, tell them to save the money they are scamming out of us hungry actors who go to workshops because this industry wouldn’t know talent if they saw a horse use the public restroom on his own.
They are so worried about getting fired from picking the wrong actors to send to producers, they might as well be eliminated from the process. If the job weren’t so time consuming, I’m sure that would happen.
Maybe if they stop waisting time seeing random half decent cold readers in a workshop that they try to leave early to beat traffic. And use that time bringing in people that at least “might be” right for the role. Jobs wouldn’t be as difficult, since everything they need is right in front of them. Stop being lazy!
If I am not mistaken we ALL have to start somewhere. When I did my first 99 seat play, it was for $27 a week and only during the run of the show.
I didn’t just walk into a pay rate that would make me more comfortable. We all have to struggle in the beginning and if you don’t thank who you know!
Hilarious video that sums up casting directors to a T:
http://www.youtube.com/watch?v=kuo5M-LG0D4
“TV studios are considering going all-in-house with pilot casting, which could overwhelm their casting departments.”
Which is bullshit, is what that is. A transparent studio threat that will never happen. Stay strong, casting directors!
The truth is Casting Directors are responsible for paying part of the salary of their associates and do not get an assistant during Pilot Season.
The demands of the studios increase every year as the studios become more and more desperate to find the perfect casts.
An assistant would cost the studio $6500 per pilot in total. $650.00 per week.
Against the cost of a 10 – 12 million dollar pilot it seems inconceivable that the studios would be so intractable over this tiny cost which would only help them get the best work out of the casting directors they hire.
Penny wise and pound foolish policies hurt everyone.
Even if the pilots cost less than that… what other department has to pay for their own staffs out of pocket? It’s bagel money.
Glad to see someone in this town finally has the backbone to stand up for what they deserve.
The studios and networks have gotten away with under staffing CD’s for years. Who else in this industry subsidizes their staff the way casting directors have been made to do?? Studios will only pay so much for casting associates so CD’s are forced to dip into their own pockets to make up the difference between what the studio pays and what associates make in the real world. It’s outrageous that for the price of a guest star on a pilot the studios are balking at providing casting directors with the staff they need in order to get the job done. It truly is ridiculous. You’d think the studios would want to help their CD’s as opposed to hindering them. Doesn’t make much sense to me.
Maybe if Casting Directors spent less time Tweeting and more time doing actual work, there’d be no massive backlog of work that requires ten assistants to come in and complete. I’ve noticed that ever since social media like Twitter and Facebook became prevalent, Casting Directors have begun to think of themselves as celebrities in their own right and spend ample time burning daylight & basking in the attention that comes through those online outlets.
CD’s do not need, nor are they asking for, 10 assistants. Just one.
Oh puleeze SP, celebrities? CDs dont’ even get recognized in the Academy Awards category. Maybe you haven’t been around many CDs that cast pilots, they are lucky if they have time to go to the bathroom, pay their bills or see their families when they are casting a pilot. Who isn’t tweeting and facebooking these days it certainly is not just casting directors.
How else are they supposed to sell their “classes”? I mean, er, um, wink, wink, “NETWORKING OPPORTUNITIES”!!
of course they dont have enough time to get it all done, they are to busy making money doing casting director workshops!! some of these cd’s do workshops 5 3 or more days a week , f them!@!!!!!!!
maybe if you spent more time learning how to spell and educating yourself on how many days there are in a week (last I checked, it wasn’t 53 idiot)you might be less bitter and hostile. get a clue about what you’re talking about before spouting off on something you clearly know nothing about.
Guess I will say it again here in response to GLASS – Frankly I am insulted. When I do workshops I teach a 2 hour acting class. I give adjustments, direction, I tell stories and answer questions. I prep before the class and go through the actors pic & res and “cast” each scene so the balance is right. I do not just show up 5 minutes before we start and sit there and have actors do scenes for me. It is a workout and my time and effort expended should be compensated. Actors spend money every day on acting classes, my workshops are no different. So take your insults and bitter attitude and place it somewhere else please.
While I don’t agree w/ most of your post, I must say that there are many CDs who do not respect the actor’s time. For example, keeping actors waiting for almost an hour in the waiting room as you type meaningless Facebook comments w/ other CDs (you know who you are Casting peeps, and we see your comments and know what time you send them, duh) is unacceptable. Also, showing up five minutes late for a session THEN going into the office and having a casual conversation on the phone for 20 mins as actors wait to audition is ridiculous. The rub is that we can never call bull**** on you because you will never call us in again.
Just like there are plenty of actors who waste the CD’s time by showing up late, canceling at the last minute, coming unprepared etc etc etc. I am not defending the rude behavior of CD’s that conduct their business in that manner, but I for one am ACUTELY aware of not keeping actors waiting WHEN I CAN HELP IT and being mindful of their time. But we are all human. No one is perfect. How and why this thread has devolved into petty name calling and rants on workshops and general rudeness is beyond me. The article is about CD’s and associates for YEARS not being properly staffed and therefore overworked and how little it would take to be staffed properly so we are able to do a better job in a reasonable amount of time.
Wow, it certainly seems like there is and HAS been a SMOLDERING ambivalence between Actors and casting directors(duh)(Im trying like hell to be civil, like obama said) for a long time, and thank goodness for the internet we can all VENT.
Casting directors should NEVER, NEVER, EVER charge an actor to be seen. It reeks of payola no matter how you cut it and it reduces actors to desperation. It creates yet another cottage industry, like we don’t have enough of that. I have never, ever felt comfortable going to workshops, and even though I was called in, I was never cast for anything through a workshop.
Let the networks pay CD’s and assistants for pilot season. I’ve worked in CD’s offices, and it is non stop all the way, 24/7. They need help during pilot season.
Actors, I say to you: with the internet now available, buy yourself a canon HD recorder, raise or find money, get up off your lazy asses and write, direct & produce yourselves. Market yourselves up the ladder to create your own buzz online, worldwide, and thus your own fame. There is NO EXCUSE to fail, or to run after Casting Directors. We do not need the old system anymore. THINK AHEAD. And you will never have to be beholden to anyone in this industry ever, ever again.
And in response to my response, I’d also like to say to those out of work actors: got a few hours a week? Volunteer for one of your friendly neighborhood CDs during pilot season…Maybe just maybe, you’ll get cast in something, or at the very least, you’ll learn SOMETHING else besides what we learn in one of 1000′s of acting classes around town (the OTHER cottage industry).
Ha! Very true. I love hearing actors talk about going to casting director workshops. Best scam running. I should have gone that route with my career.
Casting directors aren’t eligible for Academy Awards because in that sector, they don’t do sh*t. In your typical Academy Award nominated film, the leads are lined up and locked in by deals directly between their agents and production. In most cases to ensure funding/distribution in the first place. The point where a casting director is called in is when production needs to find the one-line co-stars. They send out a breakdown for a “stripper type”, and if you’re not really an actual honest-to-god fresh-off-the-pole stripper, then forget it. Don’t expect a casting director to use any sort of imagination. If you’re auditioning for a fireman, you better show up with the hat and hose. The entire process might as well be automated.
My suggestion: outsource. it would do just as well.
SP,
Whatever your career is (my guess, bitter, out of work actor), clearly you know nothing about casting. Your comments are absurd and ignorant.
Even if your point about casting was right, you still spoke only of casting films. This is a television issue, and if you don’t recognize the difference then perhaps yet another “Actor Marketing Workshop” would do you some good. Or maybe you’re just not good enough to do what you fell in love with in high school as a profession.
dear sp hudson you couldn’t be more wrong….it is the casting directors that bring the talent to the producers in order to get projects funded in film. in tv it is a different story, some actors have deals with the studios that is a given, but it is the casting director along with the producers that select the leads, but the rest of the cast is brought in by the casting director and cast by them with the rest of the producers and the director, it is a team. Casting Directors have always been treated like crap, put in the worst offices, told to keep the actors away from the prod offices, never included in meetings, or if the crew is getting lunch they are not included…….they work their buts off to make the show work on a weekly basis. and on film they do all the work the producers now sit at home and watch the auditions online……any one who has ever cast (and i have for years) has felt the pinch of the production company and the lack of thank yous when the project is a success. Our guild is a joke, no one to take care of our deals or problems unless we hire our own lawyers. think about all the people you see on screen everytime you watch something even reality shows……..they all got there because of a casting director….who makes no money after the show is shot, no % no accolades just hard work and agents that are not always nice…and btw everyone is tweeting and FB’ing……don’t call us out for that. we make less money than anyone on the projects and work our butts off. but even more our assts and assoc work the hardest and get no benefit from it……….
I’m sorry SP, you are obviously an actor who is not getting callbacks. Casting Directors on pilots work more than 12 hour days and then go home and work some more. Seven days a week. Pilot CD’s must work at a furious pace to compete with the multitude of pilots calling on the same talent pool. They could spend more time pre-reading actors if they weren’t pitching in and helping their associates who are doing the work of two or more people. Studios rely on well cast pilots to sell their shows – it is beyond ridiculous to dig in their heels over such a small sum of money.
Amazed the Teamsters are backing this. I’m an actor. When I book a series, should I insist the studio pay my assistant? I know some actors get that perk, but would other unions back a SAG strike over the issue?
Mustard – you misunderstood.
It’s not a PERSONAL assistant. It’s a CASTING assistant.
It is critical that our offices are properly staffed to do the job correctly and to the best of our ability.
Mustard…lamest post ever. You have no idea what you are talking about.
As a CD, reading the posts on this blog, it is amazing to me how many actors are taking the side of the networks and studios. Do you understand that these are the same entities who for the last decade have been slowly and methodically putting actors out of work by doing away with MOW’S and scripted series in favor of cheaper to produce reality shows. Thank God for the Teamsters because many of you actors don’t have our backs.
You didn’t have our backs, Anonymous, when the recent actor de facto strike was happening. All I heard in workshops was “why don’t you actors tell your leadership this is nonsense.” And, by the way, CD’s kept on doing workshops even though they weren’t casting …
I believe the casting executives at the studios understand the need for an additional casting assistant during pilot season. It’s the bottom-line folks in business affairs that that know nothing of the creative process and the demands put on a casting director while casting a pilot. Executives know full well that their urgent calls are rolling to voice mail for 2 to 3 hours while casting sessions are happening, because an extra body is not there to answer the phones. It’s the executives that are receiving emails and audition links after 1am, because that is when their casting directors and associates can finally complete editing, downloading, and uploading auditions. These executives collaborate with casting directors throughout the pilot process, so they know how overwhelming the workload becomes as deadlines draw nearer. If these executives can talk to the business affairs folks and explain that the minimal cost of an additional employee is barely a dent in a pilot budget, perhaps they can see beyond that bottom line.
VERY well said.
As an Associate on a TV pilot, I’m expected to take all calls and pitches, schedule (and reschedule!) appointments, check avails, be in every session, edit and upload those sessions, keep track of the master list, make all the guest deals, and much more.
There’s NO possible way to maintain all of those duties at the same time. Calls go to voice mail, voice mail gets full, and no one (including the studio casting executives) can reach our office. Next day appointments (they’re ALL next-day during pilot season) can’t be scheduled – and in the end, we lose track of actors.
Trust me, assistants don’t get paid much ($650 is high). For the cost of 1 guest star this matter could be resolved. Studios should be ashamed.
I’m betting on the casting directors on this one.
Per pilot…associates make about $650/week with NO BENEFITS and overtime already included…after taxes, that’s not even $500!!
Freelance casting directors work like slaves…60 hour work weeks are not a surprise but more of a required minimum.
At the same time, a lot of the studios, SPECIFICALLY their casting departments, are very under-staffed (a little as 2 to 5 people, including assistants). Understand, it becomes overwhelming for the studio casting departments to oversee a dozen current shows as well as another dozen more that are in the pilot stage. This is a lose-lose situation for casting.
One of the major problems here is that $$$ funded for a pilot primarily focuses on paying the cast. It’s these actors that have the most ridiculous pilot quotes…sometimes anywhere between $75,000 over even more than $100,000 an episode that screws everyone. Here’s the Catch 22. Everyone wants to see a “known” actor for a new TV show because it has a slightly better chance to succeed. So in the end, when the agents/managers are demanding more money for their actor, studios have to cough up all that dough…often times causing breakage on the initial pilot budget.
But many times these actors are getting this amount because they have a quote on a previous series, and/or the rep is trying to up it slightly. After working many years in the business (like some actors), don’t they deserve to be paid for their hard work and career?
A-holes like Charlie Sheen definitely don’t deserve $2M an episode, but the B and C list TV actors making anywhere from $25k – $100k an episode probably deserve it.
And I totally agree with everyone above saying CD’s should get their Assts. paid for if the network can shell out that much for actors.
It’s a shame that our country worships people who dribble balls, take pictures, model clothes, and entertain for a living but totally shits on those who make it all happen for us. The Teacher, the Coach, the CASTING DIRECTORS are all under appreciated. we can’t even respect and admire our elderly (who actually do know it all) as much as we do the young prettys. If you are reading my comment please wake up and smell the coffee. I strongly hope your sake casting directors, and for my own, that the studios grant this wish, and pay the assistants and associates.
With all of the assistants and associates taking money from actors every night of the week to meet them in workshops, why do they need any MORE money? I hope someone will bring this up and bring it up loudly.
Seriously, though, does anyone believe the casting directors will stand together? Not when there is cash to be made!
T.V. C.D.s should be called “Cashing Directors”.
I can honestly tell you, as an Associate – I’ve NEVER taken money from an actor! I don’t do paid “workshops,” and have had every actor that has ever interned for me read for a role in a project I’m working on. Please don’t make sweeping generalizations, they’re ignorant.
After working in this field for over 9 years, I take home $550/week after taxes. I receive NO benefits (including sick/vacation/personal days, insurance, pension – I can’t even get direct deposit!). Meanwhile college friends are making at least 3 times more than me – and I can barely afford my rent.
I negotiate deals for actors who make more money in 1 episode than I make in 1 year.
I put up with all of this because I love what I do. But what I do not love is the crazy hours & stress, and isolation from my loved ones – a necessary circumstance during pilot season.
“Glass Housese and Stones” – please have a little RESPECT
But is it really worth it. You’re making money for a network or studio who doesn’t value your effort, at the expense of what you say is isolation from your loved ones. What do you love about it so much that makes you prioritize it above everything else?
You may want to reevaluate your priorities in life.
‘worth it’….What kind of post is that????? How dare you tell advise someone who is a working professional…working in a business they love…that they should re-prioritize!
This Associate was asking for respect and understanding. You drove the opposite way. Lame.
That Pro Scouts was a laugh. None of these birds are casting because of the standoff and then you have CDs representing MGM TV – Paul Weber , and there is no MGM TV – he’s not there anymore – Scammer!!
I see from Google he does all those John Robert Powers too. Nice way to collect a paycheck, loser!!!
UDK, April Webster, Junie Lowry-Johnson, Leiberman-Patton and 50 other TV CDs have staffs who pay their rent with actor’s money.
TV casting directors for years have skirted the boundaries of ethical propriety by allowing their associates and assistants to get paid by the actors (which they are already paid to do) in these sleazy casting director workshops. Maybe if they cleaned up their act, they’d get the respect from the industry they deserve, but until then, they will find themselves on rather shaky moral ground in any negotiations with the AMPTP.
Frankly I am insulted. When I do workshops I teach a 2 hour acting class. I give adjustments, direction, I tell stories and answer questions. I prep before the class and go through the actors pic & res and “cast” each scene so the balance is right. I do not just show up 5 minutes before we start and sit there and have actors do scenes for me. It is a workout and my time and effort expended should be compensated. Actors spend money every day on acting classes, my workshops are no different. So take your insults and bitter attitude and place it somewhere else please.
I wonder what the percentage is of men to women in CD jobs. Hmmmmm…..
I think it should be understood that these so called unethical, “sleazy” actor workshops are actually something that have been a very useful and lucrative tool for many actors.
CDs and their staffs are usually required to do their work (cast an entire pilot) very quickly, so they don’t always have the time to take a chance on an actor they haven’t already met and/or auditioned in the past (especially since it is a CD taste and discretion that make them hireable). By giving actors a forum (paid or otherwise) to create that relationship, many doors can open for an individual pursuing TV acting as a career.
Many actors are called in and even hired as a direct result of their participating in a workshop with a CD, associate or assistant.
So maybe instead of calling the CDs immoral or claiming that we take cash from actors pockets, you should take a step back and appreciate that by conducting or agreeing to instruct these workshops we are doing so in an effort to get actors work and PAID!
the reason CD’s take $ from actors is because this is just like the gold rush of the late 19th century. most miners made nothing, never saw a nugget and paid through the nose for the privilege. the same is true for actors. the cost is very high to maintain even the most minor of careers. CD’s absolutely take advantage of the situation by charging actors to meet not with the actual CD’s but their assistants or even assistant’s assistant. Ok, I get the point that an actor will make more with an under-five walkon but clearly will often not see another job for months. So the average CD’s assistant’s salary of 40,000. a year is pretty good in comparision. The reason for these workshops is that CD’s decided years ago to stop doing regular readings in their offices once a week or sometimes a month. They realized they could make money off these folks instead. Yup, it used to be you could make an appointment and have a meet and greet so to speak…crazy right? nope. But the lure of $$ is too much for most.
so i have some trouble feeling sorry for these folks. however all the above being written, i am sympathetic to the plight of the assistant. it is a bummer to not make enuf dough.
I wish I made $40,000/year! Even if I work consistently, it’s not that much. If only…
jjj- Please tell me the names of the Casting Directors who OWN workshop facilities.
THEY DON’T!
You sit here and complain about the CDs making money and running scams off actors, when in fact MOST workshop facilities are owned by ACTORS!!!!!
Please get your facts straight before spouting. It’s rather annoying.
Okay, lets say the ones who own their own “schools” or “workshops”
Nancy Nayor
Deb Aquila
Donna Morong
…and multiple commercial casting directors to name a few.
Very well articulated. I’ve read several posts knocking casting workshops and suspect they are all being made by disgruntled, out of work actors who should spend one day working in a casting office during pilot season before slamming us. Either that or they should pack their bags and move back to Iowa.
Dear People w/ All the Money –
Please pay some of it to the people who actually do the work.
Dear Anonymous;
In all fairness, “glass houses” probably has a right to make “sweeping generalizations” in this case. Blessings to you for choosing not to augment your income doing CD workshops, but the fact is that you are in the minority. Way minority. I don’t know who your boss is, or what show you work on but I can tell you for a fact that – right now – about 200 associates and assistants on dozens of network and cable TV shows make a pretty decent second income doing workshops (almost certainly more that your weekly salary). The income from these workshops generates millions each year, all paid by actors.
I agree that CDs should get the respect from the producers they deserve and that hardworking associates and assistants should be paid fairly – and by the studios. I also think at the same time, CDs need to consider the *other* people who they work for – and that’s the actors. Acting in the best interest of everyone involved – that’s when their bargaining power is strongest.
I am rooting for you, and the CDs (and the Teamsters) to win this fight!
As a CD who has does workshops, I have hired many of them for series and pilots. I keep the photos in a file for years and bring them out whenever I am doing a new show. Some of us don’t just do it for the money but do it to meet actors they may not have the time to meet one by one. We also do workshops to try and help actors get jobs in this business by giving them tips and honesty and support along with feedback when directing the scenes. Why is what we do so different from people in all businesses going off to teach at Universities or doing personal appearances all over the country? The audience is paying and getting something out and the teacher/soeaker makes some money. Aren’t years of experience to pass on to those who want it valuable?
But even though I am guilty of responding, let’s not get off the topic of pilot casting and just getting enough help to do the best job we can.
The workshops are a total scam. We all know it. So stupid. Like you know what “they” are looking for. List 10 actors you have discovered in the last five years that are making a living at acting.
Thought so.
Good day.
Ripoff, I have been making a living for over a decade (and I’ve earned a SAG pension). I got most of my early work as a result of workshops. They were invaluable. Through In the Act Workshops, I met dozens of CDs who called me in and I got work, and I made lasting relationships w/ them. I’ve also met dozens of wonderful, supportive actors and created a great industry network. Like other forums/classes/colleges – THEY ARE WHAT YOU MAKE OF THEM.
I attend paid workshops and have built great relationships with casting directors and I have booked a good amount of work from those relationships. I am not a ‘name’ actor and might not otherwise get seen by these offices because they are busy and don’t have time to do generals anymore. I know who castboy is and his stance on workshops and he’s never had me in his office. Obviously other people think I’m worth seeing after they meet me so you have to ask yourself who is getting scammed? I know what I’m doing going into these things. And, as was mentioned, paid workshops and lectures are the norm in many fields and academic settings. People have a bug up their behinds about it because it’s about actors, who people associate with getting screwed and having to do time on a casting couch. Antiquated BS, people. If cd’s got fair pay they’d still do the workshops and I’d still pay to see them.
Thanks “castboy!” I do know I’m in the minority, but I (along with many friends and coworkers) feel there’s something dirty about taking actors’ money. I understand how you feel.
I just wish people like “glass houses” would realize this standoff has nothing to do with that. Like most casting offices, my boss and I are completely overwhelmed during pilot season. As a result, actors falls through the cracks. We desperately need assistants, they’re essential to the process!
Casting Directors are a waste of time. Twenty years ago CD’s were used and looked for interesting choices, new talent etc..Today they have no say, they are nothing more than message takers. The Networks and Studios give them their approved list of actors and they call the actors in to be seen. It really needs to be changed. I haven’t the answer but I think Casting Directors needs to be wiped out as a profession in this industry. Might as well have assistant’s to Network Development people and Producers doing the casting.
On top of that CD’s are a waste of time. They don’t take calls unless your actor is on their list. They don’t listen to pitches anymore – yes, I know you are different Ms. CD but you know the truth. Most of them are overweight, unattractive, relationshipless and this allows them to meet hot guys. So sorry but this is the truth. We all know it so let’s say it.
NO MORE CASTING DIRECTORS.
Good day.
TOTALLY AGREE!
Wow. You clearly have no idea what you are talking about. WE the casting directors have to be approved by studio / network it is then OUR job to bring talented actors to producers and creative team WHICH most of us do and they are NOT given to us on any list. WE create the list. Please check your facts before writing something so ignorant.
PS. I’m a female, hot, sexy, NOT SINGLE casting director who LOVES her job.
You should probably try working in a casting office for a few months. I think that’ll straighten you out pretty fast.
I’ve discovered that people like you who say things like “They don’t listen to pitches anymore”, or “They don’t think outside the box!” are really just saying “They haven’t cast me or my client, so I hate them!!!”. Here’s a tip – get yourself a client who can read the line “Thank you, sir” without drooling or spilling coffee on themselves and your luck might change.
Want to get rid of CD’s? Fine. Have a blast never seeing any pilots, supporting roles, or under 5′s again. Not that you’ve ever gotten anywhere near them to begin with, but c’est la vie.
Clearly you know nothing about the industry. And no CD’s no breakout actors- so whats your backup plan- continuing to blog?
I do believe that 90% of the associates out there doing workshops are doing it with the best intent, which is to find new talent. The bottom line is that the talent is paying for that opportunity, and it’s inherently unethical. ‘Pay to Play’ occurs in a lot of entertainment and media fields, and interns are the unpaid labor in many industries, but it really leaves a bad taste in folks’ mouths when they have to pay for something that 20 or 30 years ago was free, i.e., the opportunity to meet a CD.
Frankly, I don’t blame CDs for wanting to meet actors in controlled circumstances away from their offices. I personally think reality TV has opened the floodgates for the crazies to come crashing into this business. It also gummed up the legitimate avenues for talent to mix with gatekeepers. You used to be able to walk onto studio lots and drop off headshots and shoot the breeze with the assistants. Try doing that today, you’ll be arrested for trespassing.
I’ve talked with people who said it was different in the 70′s and 80′s. It really was a small town and everyone knew everyone. If you were a child actor, it was because your family was in the business and people knew who you were. Now they come from all over and invade the Oakwood apartments and chase fame and fortune. They’d have better luck in Vegas.
Oh please. Everyone knows that most casting directors don’t even hire assistants or “associates”. They just have wannabe actors come in and help with breakdowns and submissions every day in exchange for being submitted enmass for roles (and, as soon as the actor quits coming by the office to help for free, never being submitted for anything again). I’ve seen it firsthand way too many times. Most casting directors are the among the lowest level of scum in this business. And don’t get me started on all those who demand sexual servicing.
I cast for over 30 years Sexual Servicing was not in the real world! When we brought in actors to help with readings it was to help them!
You are angry because you failed and have nobody to blame your failure on!
I may not be crazy about a lot of casting directors and my reason is because they don’t help one another. But not for the reasons you say. Unless of course you were in the PORN industry! That is a business I know nothing about!
I don’t think this story is quite right — I’ve worked at a major studio for many years and we always pay for each casting director to have an assistant, on both pilots and series. Granted $650 per week isn’t exactly a luxury salary, but I’ve never seen a pilot or series where the studio didn’t provide 1 assistant. The issue this pilot season, as its been explained to me, is that casting directors are asking for TWO assistants apiece.
You know, at some point the studios ARE going to have to put their foot down to SOMEONE. The business model to make a pilot is just too expensive. It IS unfortunate talent in front of the camera and behind get paid so much but that’s the world we’re in. The studios have to find ways to keep costs down. I do feel for casting agents – they work their asses off but no one is forcing them to, well, be a casting agent. The entire business model needs to be revamped anyway it’s been out of control for so long.
Studio casting departments -even network casting departments – sorry, other than pilot season, have it easy the rest of the year. Please.