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Every actor dreams of booking leading roles.

But before you book them, something else has to happen first.

Someone has to believe you can carry the story.

That’s what casting directors are trying to determine every time they evaluate an actor.

Can this person hold an audience’s attention for two hours?

Can they anchor a television series?

Can they carry the emotional weight of the story?

Can producers confidently invest millions of dollars with this actor at the center?

Talent is certainly part of that equation, but it isn’t the entire equation.

I’ve always believed that becoming a leading actor is less about one breakthrough moment and more about stacking dozens of smart career decisions over time. Every decision you make either increases your perceived value or decreases it. It either gives people another reason to trust you with bigger opportunities or leaves them uncertain.

One of the biggest mindset shifts I ever had was realizing that I wasn’t simply building a résumé.

I was building confidence.

Confidence in casting directors.

Confidence in producers.

Confidence in agents and managers.

Confidence that I could handle greater responsibility.

Once I started looking at my career through that lens, many of my decisions changed.

Here are the strategies that have made the biggest difference.

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This article is part of our Cast Forward VIP deep dive series—available only to Founding Members. It’s your backstage pass to elite-level strategy, power moves, and career blueprints most actors never get access to.

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Finding the right headshot photographer is one of the most important investments an actor can make. A great headshot isn’t just a nice photograph. It’s a marketing tool that helps introduce you to casting directors, agents, managers, and producers before they decide whether to bring you in for an audition or invite you to submit a self-tape.

To help with your search, I’ve compiled this directory of professional headshot photographers in Los Angeles. While many specialize in actor headshots, some also offer additional services such as portraits, branding photography, commercial photography, editorial photography, and more. Those services have been included whenever publicly available.

As with any creative professional, every photographer has a different style, approach, and process. Before booking a session, take the time to visit their website, review their portfolio, and make sure their work reflects the style and look you’re hoping to achieve. If you find yourself drawn to certain images in their portfolio, that’s often a good indication that their artistic approach may be the right fit for you. I also recommend reaching out beforehand to ask questions about their process, session options, turnaround times, retouching, pricing, and anything else that’s important to you before making your decision.

The information in this directory has been compiled from publicly available sources and may include official websites, contact information, locations, and the photography services offered. While every effort has been made to verify that each photographer maintains an active official website at the time of publication, businesses and contact information can change over time. I encourage you to verify the information directly with the photographer before booking a session.

If you are a photographer or represent a photography studio and would like your listing added, updated, or corrected, please contact me through Cast Forward on Substack. I’ll be happy to review the information and keep this directory as accurate and up to date as possible.

Bookmark this page and revisit it periodically, as additional photographers will continue to be added over time.

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The actors who seem the most effortless are often the ones who started preparing long before the opportunity existed.

If the role of your dreams landed in your inbox tomorrow, would you truly be ready?

Not hopeful.

Not excited.

Ready.

Some actors believe preparation begins when they receive an audition.

I don’t.

I believe some of our most valuable preparation begins years before the opportunity ever exists.

Throughout my career, I’ve noticed a pattern that keeps repeating itself. Whether it’s a well-known actor, a colleague or my own experiences, the same lesson comes up again and again:

Preparation doesn’t begin when the opportunity arrives. It begins long before anyone is watching.

Story #1: Ten Years Before The Big Bang Theory

A friend of mine once shared a story that has stayed with me.

While working on an episode of NCIS, he met an actor with a guest role on the show. During their conversation, the actor revealed that he had just been cast as a series regular on The Big Bang Theory. Before accepting the NCIS role, he actually had to ask the producers of The Big Bang Theory for permission because they didn’t want him working on other projects. Since he had never worked on a professional television set before, he wanted the experience before beginning the series. They agreed.

Then he shared something my friend never forgot.

For nearly ten years, he had been preparing for that exact type of character. Long before the audition ever existed, he had already decided that this was the kind of role he wanted to play. He spent years experimenting, exploring different choices and understanding how that character thought, behaved and responded.

So when the audition finally came, he wasn’t trying to figure the character out.

He already knew him.

The audition wasn’t the beginning of his preparation.

It was the result of years of preparation.

That actor was Kunal Nayyar.

Lesson: Don’t wait for the audition to begin building the character. Start building the character long before the audition exists.

Story #2: Turning Every Callback Into Training

Over the years, I’ve auditioned for all kinds of characters. When I received callbacks for certain roles, I paid attention.

Even if I didn’t ultimately book the role, I didn’t always leave the character behind once the audition was over.

I’d go back to the scenes.

I’d film myself again.

I’d try different emotional choices, different rhythms and different objectives.

Instead of treating those auditions as one-time events, I treated them as training.

Every callback became another opportunity to deepen my understanding of the types of characters I felt particularly connected to and wanted to continue developing.

Years later, that work paid off.

When I auditioned for the Netflix series The Body, I immediately connected with the character and knew how I wanted to approach the audition. I wasn’t starting from scratch. I could draw from years of exploring characters, choices and emotional dynamics.

I recorded three takes and submitted the last one.

I went on to book the role.

Of course, booking a role is only the beginning of the work. Once I received the scripts and began preparing for the series, there was an entirely new character to explore and develop. But when that initial opportunity arrived, I had a foundation I could draw from.

The opportunity was new.

The preparation wasn’t.

Lesson: Every audition can continue teaching you long after you’ve pressed “Submit.”

Story #3: Preparing Before Marvel Called

Preparation isn’t limited to acting choices.

Sometimes it’s about developing the skills that support your career.

Growing up in Canada, my parents spoke to me in English, French and Arabic. But as a child, I wasn’t particularly interested in learning to speak, read or write Arabic. Like many kids, I didn’t understand how valuable it might become later in my life. My mother used to tell me, “One day, you’re going to regret it. One day, you’re going to need it.”

She was right.

When I decided I wanted to work professionally in Egypt, I knew my Arabic, particularly my Egyptian dialect, needed to be stronger. If I wanted to audition and perform comfortably in Egypt, I had to put in the work.

So I became intentional about it.

I started watching Egyptian films differently, paying close attention to pronunciation, rhythm and expressions. I also worked with a dialect coach.

When I was living and working in Egypt, I made a conscious effort to speak Egyptian Arabic as much as possible instead of switching to English or French.

And when I left Egypt, I didn’t stop.

I continued practicing, watching Egyptian films and strengthening the dialect because I wanted to be ready for future opportunities.

That preparation helped me work in Egypt, which was the goal I had originally been working toward. But years later, it also prepared me for an opportunity I hadn’t anticipated.

When I was booked to perform voiceover and ADR for Marvel’s Moon Knight, part of the work required improvising dialogue in Egyptian Arabic.

Before I had spent all those years working on the dialect, improvising professionally in Egyptian Arabic would not have been something I felt comfortable doing. By the time Moon Knight came along, it was.

In my experience, voiceover and ADR sessions can move quickly. There isn’t always much time to stop, analyze or search for the right words. You listen, respond and perform.

And that’s exactly what I was able to do.

The preparation that had originally begun because I wanted to work in Egypt had continued long enough to prepare me for an opportunity I couldn’t have predicted.

Lesson: Prepare for the career you want, even when you don’t know exactly where that preparation might eventually take you.

Story #4: Opportunity Favors Preparation

We see this pattern throughout the industry.

Before being cast as Maria in West Side Story, Rachel Zegler had already played the role in a stage production at her high school. When the opportunity arrived, she wasn’t encountering the character for the first time.

She was building on work she had already done.

Every actor’s journey is different.

But the principle remains the same.

Preparation creates confidence.

Preparation creates choices.

Preparation allows you to spend less time figuring things out and more time bringing a character to life.

Your Preparation Starts Today

If you dream of sitcoms, start studying comedy now.

If you want courtroom dramas, study lawyers now.

If action films excite you, begin the physical training now.

If bilingual roles are part of your goals, strengthen those languages now.

Don’t wait until the opportunity arrives.

Sometimes, the most important work you bring to an audition began long before you ever received the sides.

If you’re currently experiencing a slower season, don’t think of it as time lost.

Think of it as time invested.

Because sometimes the work that changes your career is the work you do long before anyone ever calls your name.

Your Homework: Prepare for a Role That Hasn’t Arrived Yet

Think about the kind of role you would love to play but haven’t been given the opportunity to play yet.

Be specific.

Not simply “a lead” or “a series regular.”

What kind of character is it? What world do they live in? What skills would the role require? Is there a particular genre, profession, dialect, physical ability or style of performance you would need to understand?

Now ask yourself:

If that audition arrived tomorrow, what would I wish I had started working on six months ago?

That’s your homework.

Choose one thing and start working on it now.

Maybe it’s studying a particular type of character. Maybe it’s strengthening a dialect, improving a skill or finding scenes that allow you to explore that world. Maybe it’s going back to an audition you didn’t book but felt strongly connected to and continuing to develop the character anyway.

Film yourself.

Experiment with different choices.

Study people who live in that world.

Build your own library of ideas.

Then keep coming back to it.

You don’t need an audition to give yourself permission to prepare.

The opportunity may not exist yet.

Your preparation can.

Want to Go Deeper?

One of the biggest mistakes actors make during a booking dry spell is believing they should simply wait for the next opportunity.

In my latest premium article, What to Do If You Haven’t Booked in Months, I share five pillars actors can implement during those quieter seasons to build momentum, strengthen their positioning and prepare for the opportunities they’re working toward.

Sometimes your greatest career growth happens between bookings.

From the Cast Forward Archive

If you enjoyed today’s article, you may also want to revisit:

• Mastering the First 10 Seconds of an Audition

• The Unconventional Books Every Actor Should Consider Reading

• How I Break Down a Scene: Real Tools for Smart Script Analysis

• Building a Character from the Inside Out: The Psychology Behind Great Performances

• Keep Training, No Matter What Stage You’re At

Coming Up Next on Cast Forward Premium

Here’s what’s on the way:

• Brand Positioning: How to Get Casting Directors to See You as a Leading Actor

• How to Develop Long-Lasting Relationships with Casting Directors

• How to Build a Standout Personal Brand as an Actor

• Career Reset: How to Reinvent Yourself & Relaunch Your Acting Career

• Red Carpet Mastery: How to Leverage Award Shows for More Career Opportunities

• Becoming an Actor-Entrepreneur: From Film to Business Ventures

Coming Up Next on Cast Forward VIPs

• Verified industry contact lists continue. We’ve already covered the California Theatre Companies Directory and Los Angeles Casting Office Directory. Next up:

  • Photographers

  • Demo Reel Editors

  • Headshot Reproduction Labs

• How SAG-AFTRA vouchers, ACTRA credits, and other union pathways really work — clearing up the confusion once and for all.

• Industry Resources and Casting Platforms Every Actor Should Know

• A verified list of Canadian casting directors with active casting notices, newsletters, and/or submission forms

Become a Cast Forward Premium subscriber to access exclusive industry insights, expert career guidance, exclusive casting notices, and the strategies top actors use to get ahead.

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Most actors see social media as either a distraction or a necessary evil. Some use it casually. Some avoid it completely. Some post only when they book something. Some overthink every caption until they stop posting altogether. And some believe they need to become full-time content creators to benefit from it.

That is the wrong frame.

Social media gives you something actors didn’t always have: control over your professional presentation.

You cannot control when a casting director considers you for a role, when your work reaches the right producer, or when the right opportunity comes along.

But you can influence what people see when they look you up.

You can showcase finished work, share performance clips, highlight projects and press, and communicate something harder to put on a résumé: where you see yourself going.

An actor building toward leading roles may create a different presence from someone positioning themselves around comedy, character work, theatre, voiceover, or international work. This isn’t about pretending you have a career you don’t have. A newer actor can still show taste, discipline, and direction. An experienced actor can reinforce or shift how the industry sees them.

That’s where presentation and positioning meet. And over time, positioning influences perceived value, the impression created by the full picture people see: the quality of your work, how you present yourself, the projects and people you associate with, and the consistency of your professional identity.

This is why two actors with similar résumés can create very different impressions online. The difference isn’t who has accomplished more. It’s often who understands how to present what they have.

Used strategically, social media becomes:

• A visibility system

• A positioning tool

• A credibility layer

• A marketing channel

• A relationship tool

• A digital first impression

• A living portfolio

• A way to stay present in the industry’s mind between jobs

Because acting careers aren’t built only when someone watches your tape. They’re also built in the quieter spaces between those moments, when industry people may encounter you again, remember you or gradually become more familiar with your work.

A casting director may have liked your work once but no longer remember your name. Seeing you online again can remind them who you are.

A producer you met at a festival two years ago may have lost touch with you, but your social media can keep you visible to them.

An agent may have looked at your profile without reaching out. That doesn’t necessarily mean the interaction went nowhere. They may encounter you again later and this time, you may be exactly what they’re looking for.

Not every industry interaction produces an immediate result. Social media can help keep you present in people’s awareness between auditions, meetings and jobs. Over time, that repeated exposure can turn you from someone they encountered once into someone they recognize and remember.

Note on platform focus: This article focuses primarily on Instagram because it brings together the tools we’ll discuss: professional positioning, visual identity, Stories, DMs, relationship building, and visibility. However, the principles throughout can be adapted to other platforms, which we’ll address later.

Part 1: Reactive vs. Intentional Posting

Being intentional on social media does not mean everything you post has to be about acting.

You can post fashion because you love fashion. You can share food, travel, humor, your interests and parts of your everyday life. In fact, those things can often reveal more about your personality, taste and point of view than another post announcing an audition or sharing a headshot.

What looks random to someone else may not be random at all.

An actor with a genuine interest in fashion, for example, may naturally build an audience around their style while also creating a stronger visual identity. Someone who loves cooking may share that side of themselves and eventually turn it into something larger. Personal interests can create their own opportunities, introduce you to different audiences and give people more ways to connect with you beyond your acting work.

The difference is not between professional content and personal content. It is between posting without thinking about the overall impression you are creating and understanding that, over time, everything you choose to share contributes to how people experience you online.

I learned this myself during COVID. Like many people, I started posting much more randomly. Everything was shut down, the way we were using social media was changing and I wasn’t necessarily thinking about how each post fit into a larger picture. There is nothing inherently wrong with that. But if you are using social media as part of your career strategy, it helps to understand what your profile is communicating as a whole.

That does not mean manufacturing an image or turning every post into a career move. Some actors use social media very strategically. Others barely think about it and have successful careers anyway. There is no single formula.

But if you do want social media to help position you for a particular direction, you can use it intentionally. If you want to be seen differently, move toward leading roles or introduce another side of yourself that your current credits do not yet show, your online presence can help reinforce that picture before the opportunity arrives.

The goal is not to make every post strategic.

The goal is to understand the picture your posts are creating together.

Part 2: The Cast Forward Visibility Triangle

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Some actors wait for opportunities.

Others create them.

David Bianchi belongs firmly in the second category.

An actor, producer, writer, director, entrepreneur, and educator, David Bianchi has built a career that extends far beyond the traditional boundaries of acting. With more than 130 film and television credits to his name, his work spans major productions including Outer Banks, Queen of the South, SEAL Team, Resident Alien, and more. As the creator and star of RZR, the series that earned Mena Suvari her first Primetime Emmy® nomination, he has positioned himself at the intersection of storytelling, technology, innovation, and independent filmmaking.

Beyond his work in front of the camera, David is the founder of Exertion Films, a production company behind multiple feature films and projects distributed through major platforms including Apple TV+, Hulu, HBO Max, Paramount+, MGM+, and Prime Video. He is also a member of both the Producers Guild of America and the Television Academy, giving him a unique perspective on the creative and business sides of the entertainment industry.

Before this conversation, I had already been following David’s work closely, not just the content he shares online, but the way he thinks.

The way he approaches self-tapes. The way he packages ideas. And perhaps most importantly, the way he moves with intention across both the creative and business sides of the industry.

What stood out wasn’t simply the work. It was the clarity behind it.

Because what David has built doesn’t feel accidental. It’s structured. It’s strategic. And much of it is rooted in principles that can be studied, understood, and applied by others.

But what struck me most throughout this conversation wasn’t the impressive list of credits, awards, or accomplishments.

It was his mindset.

Throughout this interview, David repeatedly returns to a philosophy that aligns closely with what we discuss here on Cast Forward: stop waiting to be chosen and start creating leverage for yourself.

Most interviews focus on career highlights.

This conversation focuses on the blueprint.

We discuss how David built opportunities beyond acting, how he approaches relationships that can lead to real opportunities, what creators need to understand about financing and producing independent projects, the strategy and mindset behind creating Emmy®-caliber work, why presentation and perceived value matter, how actors can elevate their self-tapes, and the disciplines he believes are essential for long-term success.

One line from this interview perfectly captures a philosophy I strongly believe in:

“If your entire career is built only around waiting for someone else to say yes, you can end up feeling powerless inside your own gift.”

That idea sits at the heart of everything that follows.

Whether you’re an actor, filmmaker, producer, writer, or creative entrepreneur, I encourage you to read this interview carefully. While the conversation is rooted in entertainment, many of the lessons around leverage, relationships, presentation, discipline, and creating opportunities apply far beyond the industry.

Let’s dive in.

THE INTERVIEW

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Every actor experiences dry spells.

Some last a few weeks. Others last months. That reality can be frustrating, especially when you’re putting in the work, submitting self-tapes, showing up for auditions and doing everything you believe you’re supposed to do.

During these periods, it’s easy to become consumed by questions that have no immediate answers.

Why didn’t I book it?

Did I make the wrong choice in my audition?

Did my agent forget about me?

It’s natural to wonder about those things. Just don’t spend too much time dwelling on questions you’ll probably never be able to answer. More often than not, they lead actors down a rabbit hole of speculation because the truth is that you’ll rarely know every reason a role went to someone else. There are simply too many variables outside your control.

Instead of asking why one opportunity didn’t work out, a more productive question is this:

What can I do today that increases my chances of booking tomorrow?

That shift changes everything.

The actors who continue building momentum during slow seasons don’t spend all their energy trying to decode the past. They spend it expanding the number of legitimate opportunities available to them in the future.

This article is built around five pillars. Think of them as five parts of the same career system. You don’t complete one and move on forever. You strengthen all of them over time.

If one pillar is weak, your career becomes less stable.

If all five are strong, you create more opportunities to be seen, remembered and considered.

Before we dive in, there’s one important distinction to make.

Not booking for several months does not automatically mean you have a talent problem.

It could mean:

• you’re relying on too few submission sources.

• your marketing materials no longer reflect where you fit in today’s market.

• you’re auditioning but not converting.

• you’re waiting for opportunities instead of creating them.

• you’re invisible to the people making projects.

• you’re simply experiencing a slower market.

The goal isn’t to guess.

The goal is to identify the bottleneck.

One of the most useful concepts in business operations is that every system has at least one primary constraint. Rather than trying to improve everything at once, high-performing organizations first identify the factor that is limiting the system and focus their efforts there.

The same applies to an acting career.

If you’re receiving plenty of auditions but rarely getting callbacks, your bottleneck is different from the actor who hasn’t auditioned in six months.

If you’re consistently getting callbacks but never booking, that’s a different constraint.

If your materials still represent the actor you were five years ago instead of the actor you are today, that’s another constraint.

Professional actors don’t just work harder.

They diagnose more accurately.

Once you identify what’s slowing your career down, you can start applying the right solutions instead of trying to fix everything at once.

Let’s begin with the first pillar.

Pillar One: Increase Your Opportunity Pipeline

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This article is part of our Cast Forward VIP deep dive series—available only to Founding Members. It’s your backstage pass to elite-level strategy, power moves, and career blueprints most actors never get access to.

If you’re not a member yet and want in on this kind of insight every month, hit the button below to unlock the full article (and everything that’s coming next).

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For many years, actors relied on a combination of industry directories, reference books, professional organizations, and word of mouth to identify casting directors and casting offices working in their market. Resources have evolved over time, and information that was once available through bookstores, printed directories, and industry organizations is now often spread across multiple websites, social media platforms, and databases.

As a result, it can be challenging for actors to identify which casting offices are active, what types of projects they cast, and where to find reliable contact information.

To help simplify that process, I created this directory of Los Angeles casting offices working across film, television, theatre, commercial, voiceover, and unscripted programming. The information has been compiled from publicly available sources and may include websites, physical addresses, phone numbers, email addresses, submission information, and official social media accounts when available.

If you are a casting director or represent a casting office and would like your listing added, updated, or corrected, please contact me through Cast Forward on Substack. I will be happy to review the information and keep this directory as accurate and up to date as possible.

Bookmark this page and revisit it periodically, as additional casting offices will continue to be added over time.

Before You Reach Out

This directory is intended to help you identify casting offices and locate publicly available contact information. It is not an invitation to mass email or spam casting directors.

Before contacting any casting office, always visit its official website and review any submission guidelines or contact policies. Some offices welcome submissions through specific channels, while others only accept submissions from agents and managers or for specific projects.

If a casting office does not publicly state its submission policy, avoid making assumptions. You may consider sending a brief and professional inquiry through the office’s contact form, by email, or by phone if a business phone number is publicly listed. Simply ask whether they accept actor submissions and, if so, what materials they prefer to receive and through which method. Respect whatever process they have in place.

Even if an office is not accepting submissions, consider following its official social media accounts to stay informed about new projects, workshops, and industry updates. Building professional relationships takes time, and staying connected in a respectful way can help you remain informed about future opportunities.

Please note that this directory contains information gathered from publicly available sources at the time of publication. Casting offices may update their websites, contact information, submission policies, or social media accounts over time. Always verify the information directly with the casting office before reaching out.

Los Angeles Film & TV Casting Offices

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A quick welcome to everyone who has joined Cast Forward recently.

I’m delighted to have you here.

Whether you’re just beginning your acting journey or you’ve been in the industry for years, my goal is to provide acting techniques, industry perspectives, and strategic career guidance to help you navigate the business of acting and build a stronger career.

As always, if you have questions, challenges you’re navigating, or topics you’d like me to cover in future issues, feel free to send me a message through Substack.

On another note, I had the pleasure of sitting down this week with producer Jean-Marc St-Pierre, best known for producing the internationally successful series How It’s Made.

We spent several hours discussing how he got started, how he successfully sold the show, the obstacles he faced along the way, and how he learned to turn rejection into opportunity throughout his career.

One of my favorite stories from our conversation was about the moment Oprah Winfrey personally told him how much she loved his show.

I’m excited to share that Jean-Marc will be joining Cast Forward for an exclusive interview for Premium subscribers. We’ll dive deeper into the lessons he’s learned building an internationally recognized television series and the mindset that helped him navigate the many challenges along the way.

I think you’re going to enjoy this one.

Now, onto today’s article.

I came across these clips and felt they were worth sharing with the Cast Forward community. Each video highlights an idea that I believe actors can learn from and reflect on as they continue building their careers.

More than anything, I hope these videos inspire you.

Whether it’s taking a chance on an audition, trusting your instincts, investing in your craft, embracing the unknown, or creating opportunities for yourself, I hope something in these videos encourages you to keep moving forward.

Before we dive in, I want to acknowledge the creators featured below. Their social media handles appear within the videos, and full credit remains with the original creators.

One of the most interesting things about this industry is that everyone seems to have an opinion on how a career should be built.

You’ll hear people say, “Never do this.” “Always do that.” “This is the only way.” “That will never work.”

Yet when you look closely at successful careers, you’ll notice something interesting:

Many of the people who succeed are often the ones who refuse to let conventional wisdom dictate every decision they make.

They listen to advice.

They learn from others.

They study the industry.

But they don’t automatically assume that every opinion applies to their unique situation.

The truth is that much of the advice in this industry comes from personal experience. People share what worked for them, what they’ve witnessed, and what they’ve learned along the way. There is value in that. I do the same thing. Many of the strategies I share through Cast Forward come from my own experiences, observations, industry conversations, and the positive results I’ve seen from applying these approaches with my clients.

But no one has all the answers.

That’s why I believe actors must learn to think critically, trust their instincts, and make informed decisions for their own careers.

For example, some people will tell you never to send a cold email to a casting director. Yet I’ve seen strategic outreach open doors. Others will tell you not to approach certain people, attend certain events, or take certain risks. Sometimes they’re right. Sometimes they’re not.

The key is understanding the difference between taking action strategically and acting without preparation.

If your materials aren’t ready, improve them. If your pitch is weak, strengthen it. If your self-tape isn’t your best work, keep working until it is. But don’t automatically talk yourself out of opportunities because someone else decided something couldn’t be done.

Do you know how many times throughout my career people told me something was impossible?

Take my O-1 visa and green card journey, for example.

People told me they were almost impossible to obtain.

That they were too difficult.

That I would never qualify.

That I was wasting my time.

Many of those comments came from people within the industry.

Did I listen? No.

Not because I was arrogant. Not because I thought I knew better than everyone else.

I didn’t listen because I knew my own journey. I knew what I had accomplished. I knew the value of my experience. And most importantly, I knew how to position my work strategically.

If I had accepted other people’s opinions as fact, I would have talked myself out of opportunities that ultimately became reality.

Sometimes advice is valuable.

Sometimes it’s simply a reflection of someone else’s limitations.

Another example that always stayed with me is a story I read years ago in a magazine about Riz Ahmed while he was pursuing a role in Star Wars.

After director Gareth Edwards gave him his email, Riz reportedly ended up sending over 10 different takes and interpretations of the character.

Now, for those outside the industry, that may not sound particularly unusual.

For actors, it certainly is.

Normally, you audition, submit your tape through the appropriate channels, whether that’s through your representative or a self-submission. That’s the process.

What made this story stand out was that Riz Ahmed didn’t stop after that first submission. He kept exploring the character, trying different approaches, and sending new interpretations.

When I first read about it, I remember being surprised because it went against so much of what actors are taught in this industry.

That was one of those moments that reminded me: no one knows everything.

Many actors would worry about overstepping. Many would fear annoying the creative team. Some industry professionals would strongly advise against it.

Yet in this particular case, it worked.

Now, am I suggesting actors start sending dozens of unsolicited tapes to directors? Absolutely not.

That’s not the lesson.

The lesson is that there are very few universal formulas in this business.

There are best practices. There are industry norms. There are approaches that generally serve actors well.

But every career is different.

Sometimes people succeed by following conventional wisdom. Sometimes they succeed because they trusted an instinct that others would have talked them out of.

The goal isn’t to ignore professional standards.

The goal is to avoid letting fear, assumptions, or other people’s limitations dictate every decision you make.

Learn the business. Respect the process. Listen to advice.

But don’t forget to think for yourself.

What’s interesting is that I’ve seen this same principle play out outside of acting as well.

Years ago, a photographer friend of mine had his heart set on working with a well-known Canadian photographer. He didn’t simply want a job. He wanted a mentor.

He wanted to learn from him, travel with him, assist him on shoots, and understand how he operated at the highest level.

So he reached out by phone.

Nothing.

He left another message.

Still nothing.

Then another.

And another.

Most people would have stopped.

Most people would have assumed the lack of response was the answer.

But something in him told him to try one more time.

On the fourth attempt, the photographer finally answered.

What happened next surprised him.

Instead of being annoyed, the photographer told him that if he hadn’t called again, he never would have been given the opportunity.

Why?

Because he was looking for someone with perseverance. Someone who wouldn’t give up at the first obstacle. Someone with determination and initiative. Someone who truly wanted to work with him.

That conversation changed everything.

My friend ended up working with him, learning from him, traveling with him, and building a successful career of his own.

Now, does this mean everyone should call people four times?

Of course not.

That’s not the lesson.

The lesson is that sometimes we reject ourselves before the other person has even made a decision.

Sometimes we assume we’re being annoying when we’re actually demonstrating commitment.

Sometimes we assume a door is closed when in reality it simply hasn’t opened yet.

And maybe that’s the biggest lesson in all of this:

No one knows everything.

People can guide you. People can share their experiences. People can give you valuable advice.

But at the end of the day, no one knows exactly how your story will unfold.

You have to use judgment. You have to be respectful. You have to understand context.

But you also have to trust yourself enough to take chances, follow your instincts, and stop allowing fear to make decisions for you.

Because some of the opportunities that shape our careers exist on the other side of one more email, one more phone call, one more audition, or one more attempt.

The videos below resonated with me because they challenge assumptions and encourage actors to think differently. Many of the ideas shared reflect lessons, perspectives, and reminders that I’ve witnessed firsthand throughout my own journey.

As you watch them, don’t focus on whether every piece of advice is universally true. Instead, ask yourself a different question:

What can I learn from this perspective, and how can I apply it to my own career?

Sometimes the biggest breakthroughs happen when we stop rejecting ourselves before the industry has the chance to decide.

I love this perspective from Laz Alonso.

As an Afro-Latino actor, he raises a point that I think many actors wrestle with throughout their careers: Should I even audition if I’m not exactly what they originally had in mind?

He shared a story about encouraging his representatives to submit him for Latino roles. He talked about walking into auditions, speaking with a Latino accent, and bringing that part of himself into the room.

What I found fascinating was how quickly perception can change.

Watching the video, I understood exactly what he meant. The moment he started speaking with the accent, my perception shifted. Suddenly, I wasn’t looking at him the same way I had been moments earlier.

That’s something actors sometimes forget.

People often form opinions about what they think casting directors, producers, or audiences will see. But acting has a way of changing perception.

We’ve seen it happen countless times with British and Australian actors who audition for American roles. Audiences are often shocked to discover later that the actor isn’t American at all because the performance was so convincing.

I remember feeling something similar while watching The Two Popes. Jonathan Pryce is Welsh. He was born in Wales and is ethnically Welsh/British. Yet in The Two Popes, he portrayed Pope Francis, who is Argentine and of primarily Italian heritage.

What fascinated me was how the performance affected my perception of him. At one point, I found myself wondering whether he might actually have Latin roots because he seemed so natural in the role. I even looked it up afterward. To my surprise, he wasn’t Argentine, he wasn’t Latino, and Spanish wasn’t a language he already spoke.

That’s the power of performance.

And that’s why I think it’s dangerous when actors decide they aren’t right for something before they’ve even had the chance to audition.

Too many actors talk themselves out of opportunities by saying:

“This isn’t my background.”

“I’m probably not what they’re looking for.”

“I don’t sound like someone from that world.”

“There are people who fit this role better than I do.”

“I’ll never get it anyway.”

If casting brings you in, they’ve already decided you’re worth seeing.

For those who aren’t familiar with how the casting process works, getting an audition through representation is not as simple as your agent pressing a button and sending you in.

For many roles, hundreds, and sometimes thousands, of submissions come in from agents and managers. Casting directors then have to go through those submissions and decide who they actually want to see.

So when an audition lands in your inbox, someone has already looked at your headshot, resume, reel, or profile and decided you’re worth bringing into the process.

That’s why I never understand actors who immediately talk themselves out of an opportunity.

If casting wants to see you, stop worrying about whether you’re the perfect fit.

Do the work.

Prepare.

Make strong choices.

And let them decide.

Your job isn’t to decide whether you’re right for the role. Your job is to prepare, do the work, and give them your best audition.

I’ve always approached auditions this way. Recently, I auditioned for a Russian character, a Mexican character, and a South Asian character. My agent submitted me, the casting teams reviewed my materials, and they decided they wanted to see me. Why would I say no?

That’s when the work begins.

Learn the accent. Research the culture. Understand the character. Bring your best work to the self-tape.

As actors, we’re not only auditioning for a role. We’re auditioning for casting directors, producers, and directors who may remember us for future projects.

Of course, performing an entire scene in a language you don’t speak is a different challenge altogether. That’s not what I’m talking about here.

I’m talking about English-language roles that require an accent, a specific cultural background, nationality, or heritage different from your own. Sometimes those roles may also require you to speak a few words or short phrases in another language, which is very different from carrying an entire scene in that language.

If casting wants to see you, don’t reject yourself.

Do the work.

Prepare as thoroughly as you can.

Then let them decide.

I loved this video because it perfectly illustrates something I’ve been talking about for a long time: the importance of the first few moments of an audition.

In fact, I wrote an entire article about mastering the first 10 seconds of an audition before I ever came across this clip. When I later watched this interview, I found it fascinating because the casting director was describing exactly what I had been trying to communicate.

What stood out to me wasn’t simply that the first 10 seconds matter.

It’s why they matter.

Many actors hear that phrase and immediately assume casting directors are judging them based on a line of dialogue, a smile, or a specific acting choice.

But that’s not what she’s saying.

She’s talking about your presence.

Your essence.

Your understanding of the character.

The moments before you speak.

The way you carry yourself.

The story you’re already telling before the first line leaves your mouth.

One of the things I found most refreshing was her honesty when she explained her process. She admits that she’ll often identify a tape as “the one to beat,” compare other auditions against it, and sometimes discover she was wrong.

That’s important for actors to hear.

Casting directors are highly skilled professionals, but they are also human beings. They are evaluating performances, making judgments, reassessing those judgments, and occasionally changing their minds.

Which means actors should be careful not to eliminate themselves before the casting team has had the opportunity to make that decision.

You may think you’re not right for the role.

You may think someone else is a better fit.

You may assume your audition isn’t strong enough.

And yet, the very people making the decision may see something you don’t.

That’s why your job isn’t to predict the outcome.

Your job is to prepare, make strong choices, and trust your work.

Let them decide what happens next.

I loved this video because it highlights something I believe every actor should remember:

Never stop getting better.

Not because success is guaranteed.

Not because talent alone is enough.

But because growth matters.

Building a professional acting career is both an art and a business.

The craft of acting matters.

Understanding the business matters.

And neglecting either one can limit your growth.

Over the years, I’ve seen actors focus exclusively on acting training and performance skills while paying very little attention to the business side of their careers. I’ve also seen actors focus heavily on visibility, networking, marketing, and self-promotion while neglecting their development as performers.

Neither approach is ideal.

Today’s actors are often expected to understand far more than acting technique alone. They need to understand industry terminology, how to take direction, and the practical realities of the medium they work in.

For stage actors, that may include rehearsal processes, stage directions, blocking, and working with an audience.

For actors working on camera, that may also include concepts such as framing, continuity from shot to shot, eyelines, set etiquette, how to take direction from a director, coverage, and camera awareness.

One resource I often recommend to actors interested in film and television is Michael Caine’s film acting masterclass. Not only does he discuss acting, but he also explores important on-camera concepts such as framing, eyelines, and working with the camera.

I first discovered it while I was in theatre school after finding it in the college library. I watched it, took notes, and learned a tremendous amount from it.

But technical knowledge is only one part of the equation.

Actors also need to understand branding, relationships, positioning, communication, and the business side of the industry.

After all, it’s called “show business” for a reason.

I’ve seen actors spend countless hours worrying about who to contact, which event to attend, or how to get in front of the right people. Those things are important. But if the work isn’t there, if the performances aren’t there, if the self-tapes aren’t showcasing your strongest abilities, then all the visibility in the world won’t create long-term momentum.

Now, does that mean the most talented actors always succeed the fastest?

Of course not.

We’ve all seen actors with extraordinary talent struggle while other actors who appear less naturally gifted create more opportunities for themselves.

That doesn’t necessarily mean those actors are doing nothing right. Many are actively training, improving their craft, and developing strengths in other areas of the business.

Maybe they understand visibility better.

Maybe they’re exceptional networkers.

Maybe they have stronger relationships.

Maybe they know how to position themselves.

Maybe they’re highly confident, resilient, and refuse to quit.

Maybe their timing simply aligned with an opportunity.

One of my theatre school professors, Steven Lecky, used to say something that has stayed with me throughout my career: acting is a skill.

Some people may begin with more natural talent than others, but acting is still something that can be developed through study, practice, experience, and repetition.

Just as acting can be learned and improved through practice, many of the business-related skills actors need can also be learned and improved.

Confidence can be developed. Communication can be developed. Networking can be developed. Marketing can be developed. Relationship-building can be developed. Career strategy can be developed. Understanding how the industry works can be developed.

That’s one of the reasons I often say a professional acting career is built from a cocktail of ingredients.

Every actor’s mix will look different, but rarely is one ingredient alone enough.

One thing I always try to remember is this:

No matter how talented you are, no matter how talented someone else is, and no matter how gifted or less gifted you believe yourself to be, always remember one thing:

You have the right to be here as much as anyone else.

This became my personal mantra when I was younger and fresh out of theatre school, and it’s something I still tell myself today.

I remember arriving at auditions and looking around the room at all the other actors. Some were more experienced. Some were more skilled. Some were more confident. Some were better looking. Some seemed to have everything going for them.

It’s easy to look around and feel intimidated.

But one thing I eventually realized is that there will always be someone who is better than you at something.

There will always be someone more experienced.

Someone more skilled.

Someone more connected.

Someone more attractive.

That doesn’t negate the fact that you have every right to be there too.

You have every right to pursue the opportunity.

And you have every right to pursue the career you want to build.

What resonated with me most in this video was the idea that people who once said no can later become your biggest supporters.

Why?

Because growth is visible.

The agent who wasn’t interested three years ago may feel differently today.

The casting director who passed on you before may see something entirely new in your work.

The producer who overlooked you may eventually come back around.

Not because you chased them harder.

Because you got better.

Better as an actor.

Better at understanding the business.

And better at creating opportunities for yourself.

This may be one of the more controversial videos in this collection, but I love hearing actors discuss their process because it reminds us that there is no single “correct” way to work.

What stood out to me in this clip was when James Spader spoke about sustaining the exploration of a character throughout the course of filming.

That idea resonates deeply with me because I think many actors, especially early in their careers, feel pressure to have every answer before they step on set.

Of course we should prepare.

We should read the script, analyze the material, make choices, do our research, and arrive ready to work.

But preparation and discovery are not opposites.

In many cases, discovery continues throughout the entire process.

I’ve experienced this myself, particularly in television. Scripts change. Scenes change. New information about a character emerges. Directors bring new ideas. Writers adjust storylines. Sometimes you learn something about your character on set that wasn’t available to you during your initial preparation.

I’ve experienced something similar on stage as well. Sometimes you can perform a scene or a play dozens of times and suddenly discover something new about the character, the relationships, or the meaning of a moment that hadn’t fully clicked before. The work continues to evolve even after opening night.

That’s why I think it’s dangerous when actors become overly attached to a single interpretation.

“My character would never do that.”

“My character wouldn’t say that.”

“My character wouldn’t think that way.”

But human beings are often contradictory.

People surprise themselves every day.

Characters can surprise us too.

One of the reasons I find acting so fascinating is that it is both preparation and exploration at the same time.

Some actors, like Anne Hathaway, are known for asking extensive questions before filming so they can arrive with a very clear understanding of the character and story. They want answers before stepping on set.

Others discover more through rehearsal and the filming process itself.

James Spader’s comments about his work on White Palace (which, by the way, is a superb film that I highly recommend) reflect a similar philosophy.

In the clip above, he speaks about not fully understanding the character at the outset and allowing that understanding to develop throughout the filming process. Rather than feeling pressured to have every answer on day one, he left room for exploration and discovery as the project unfolded.

Neither approach is inherently right or wrong.

The goal isn’t to blindly copy another actor’s process.

The goal is to find the process that allows you to do your best work.

And sometimes that process includes techniques, exercises, or ideas you’ve learned from other actors, teachers, directors, or coaches.

Many actors spend years experimenting with different approaches before discovering what works best for them.

Some methods will resonate with you. Others won’t.

Some you’ll adopt exactly as they are. Others you’ll adapt and make your own.

What matters is not where the technique came from.

What matters is whether it helps you do truthful, compelling work.

What also matters is remaining curious enough to keep exploring, even after the cameras start rolling.

The more actors I study, the more I realize that the most successful performers are not necessarily the ones who have all the answers immediately. They are the ones who remain open enough to keep discovering new ones.

I wanted to end this collection with a clip from John Lithgow because I think it contains one of the most important lessons an actor can learn.

Create a creative life that doesn’t depend entirely on someone else’s permission.

One of the biggest challenges actors face is that so much of the profession is outside of our control.

We can’t control who gets the audition.

We can’t control who gets the callback.

We can’t control who gets cast.

What we can control is what we choose to create.

That’s why I love what Lithgow says about giving yourself a goal, a project, or a creative pursuit that belongs entirely to you.

Something that doesn’t depend on someone calling you and offering you a job.

Throughout my own career, I’ve tried to follow that philosophy.

I’ve written children’s books.

I’ve produced my own show, Catching Up with Christine Solomon.

I’ve created, produced, and performed in my own live shows.

I’ve built consulting services for actors.

I’ve launched Cast Forward.

But creative growth doesn’t always have to take the form of a project.

During quieter periods, I’ve also invested in learning. I’ve studied new accents. I’ve read books on acting, art, psychology, personal development, philosophy, marketing, public relations, business, and storytelling. I’ve explored subjects that, at first glance, may seem unrelated to acting but have ultimately helped me become a better artist, entrepreneur, and communicator.

Not every season of your career will be about performing.

Some seasons are about learning.

Some are about creating.

Some are about building.

Some are about preparing for opportunities you can’t yet see.

The important thing is to keep moving forward.

And more importantly, none of those projects required someone else to hire me first.

They required initiative.

They required creativity.

Most importantly, they allowed me to continue growing even during periods when acting opportunities were quieter.

I often tell actors that waiting is one of the most dangerous habits in this business.

Waiting for an agent.

Waiting for an audition.

Waiting for permission.

Waiting for someone else to decide you’re ready.

What if, instead, you spent that time creating?

What if you wrote something?

Produced something?

Learned a new skill?

Started a project?

Collaborated with other artists?

The goal isn’t simply to stay busy.

The goal is to build a creative life that remains fulfilling regardless of what happens with the next audition.

Ironically, that’s often when opportunities begin to appear.

Because you’re no longer sitting on the sidelines waiting for your career to happen.

You’re actively building it.

And perhaps my favorite part of Lithgow’s advice is when he says to make life exciting for yourself.

Not because it’s trendy.

Not because it looks good on social media.

But because curiosity, creativity, and momentum are often the very things that keep artists moving forward during the inevitable ups and downs of this profession.

Your acting career is important.

But your creative life is bigger than any single role.

Don’t wait for someone else to give you something to do.

Create something of your own.

From the Cast Forward Archive

If you enjoyed today’s article, you may also want to revisit:

• The One Mistake Actors Make That Holds Them Back

• What Do Actors Do Between Jobs? 8 Smart Strategies You Can Use Right Now

• Why “Quiet Actors” Get Overlooked—And How to Change That Without Selling Your Soul

• The Visibility Map Actors Should Be Using But Aren’t—The Insider Strategy That Keeps Certain Actors in Demand While Others Stay Invisible

• The 5 Stages Every Actor Goes Through—And How to Own Each One

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Here’s what’s on the way:

• What to Do When You Haven’t Booked in Months

• The Smart Way to Use Social Media to Boost Your Acting Career

• Brand Positioning: How to Get Casting Directors to See You as a Leading Actor

• How to Develop Long-Lasting Relationships with Casting Directors

Coming Up Next on Cast Forward VIPs

• Verified industry contact lists continue. We’ve already covered the California Theatre Companies Directory. Next up:

  • Casting Directors

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• How SAG-AFTRA vouchers, ACTRA credits, and other union pathways really work — clearing up the confusion once and for all.

• Industry Resources and Casting Platforms Every Actor Should Know

• A verified list of Canadian casting directors with active casting notices, newsletters, and/or submission forms

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I still remember the first time I saw my name printed in a newspaper.

I was a kid. Around ten or eleven. I had entered a drawing competition, won, and somehow, my name made it into print. It wasn’t a big feature. It wasn’t a full article. It was just my name… sitting there on the page.

My father came into my room holding a laminated newspaper clipping. He was so proud. I still remember him showing me my name in print, telling me how important visibility was and that we should save any newspaper clipping that mentioned our name.

At the time, I didn’t fully understand why. I was just a kid.

Years later, I would.

There’s a very specific feeling that happens when you see your name in print for the first time. It makes things feel real. Like you exist outside your own world. Like someone, somewhere, is paying attention.

The second time it happened was when I won second place at an Expo-science competition, competing against students from multiple schools. My name was published again, this time alongside my partner on the project. (Just for context, I competed in a lot of things as a child: singing competitions, modeling competitions, Expo-science competitions, swimming competitions—you name it. Heck, I even treated my auditions as competitions as a kid. I was extremely competitive growing up. Of course, I see things differently now. I don’t believe you’re competing against other people. You’re competing with yourself. The goal is simply to become better than you were yesterday.)

I didn’t know it at the time, but that moment quietly taught me something most actors only understand much later:

Visibility changes everything.

Not talent alone. Not hard work alone.

Visibility.

Looking back, it’s funny how careers unfold.

Winning that competition led to an audition for Les Débrouillards, one of Quebec’s most recognizable youth television shows at the time. The show introduced generations of young viewers to science through experiments, challenges, and educational adventures and later became a launching pad for several well-known performers, including Karine Vanasse and Yan England.

What I find fascinating is that more than two decades later, I found myself attending the Telefilm Canada Oscar Week Gala in Los Angeles, where Karine Vanasse was also a guest. This time, we weren’t connected through a youth television show. We were both there as professionals working in the industry, and we had the opportunity to meet and speak with one another.

At the time, I didn’t think much of it. But looking back, it’s one of those moments that reminds me how momentum works. A competition leads to an audition. An audition leads to another opportunity. One opportunity creates visibility. Visibility creates new connections. Years later, you find yourself crossing paths with people whose names once seemed far removed from your own journey.

That’s one of the biggest lessons I’ve learned throughout my career: you never know which opportunity will matter.

The article in the newspaper. The science competition. The audition. The interview. The film festival. The industry event. Most opportunities don’t reveal their value immediately. They reveal it years later when you can finally see how all the dots connected.

The importance of visibility revealed itself again in a completely different way when I began studying acting professionally.

As part of Dawson College’s theatre program, I was performing in a play when The Plant, the college’s student newspaper, came to review it. I didn’t know they would cover it. I didn’t know who they would focus on.

Then the article came out.

I was on the cover. They used two photos of me.

Not everyone in the cast was featured.

That stayed with me.

Because it showed me something very real about this industry: You can be in the same room as everyone else… and still not be the one people remember.

The full article appeared inside the newspaper. This became my earliest press feature as an actor and marked the beginning of my publicity journey. Also pictured alongside me are Vittorio Masecchia, who went on to become a professional makeup artist, Rena Hundert, now a stand-up comedian, and Tristan D. Lalla, who continues to work as a professional actor. Looking back, it’s fascinating to see how many of us remained in our chosen fields and built careers doing what we love.

The connections didn’t stop there. During theatre school, my fellow classmate, Tristan D. Lalla and I performed in plays together and worked on countless scenes throughout our training. At one point, he mentioned that Gregory Charles Smith from Les Débrouillards was his cousin. I remember being surprised when he told me.

When I think about it now, I find it fascinating how that one audition seemed to resurface throughout different chapters of my life. First through Tristan, then years later through meeting Karine Vanasse in Los Angeles. At the time, none of those moments seemed connected. Looking back, it’s hard not to notice the thread running through them.

At that point, I still believed something that a lot of actors believe in the beginning:

That publicity just happens to you.

That if you’re good enough, if the project is strong enough, people will come.

That’s not always how it works.

The Moment Everything Shifted

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When I was a little girl, I was already extremely organized.

Not in a cute way where I simply liked stationery or enjoyed writing lists (I must admit I still love both). It was deeper than that. I liked knowing where I was going. I liked having a plan. I liked understanding what needed to happen next.

By the time I was around 12 years old, I knew I wanted to pursue acting professionally. That was the moment something shifted for me. I was no longer thinking about acting as something I loved doing. I started thinking about it as something I had to build.

And because I understood very early that no one was going to hand me a career, I started creating structure around the dream.

I would write things down. I would not only make lists but I would also create outlines for myself. I would collect materials I found in newspapers, magazines and the Yellow Pages (for younger readers, this was how we found businesses before Google, LinkedIn and social media existed).

If I came across an audition notice, showcase, modeling opportunity or anything related to the entertainment industry, I would collect the information and ask my parents to reach out on my behalf. I was too young to make those calls myself, so they would help me schedule appointments, contact agencies and follow up on opportunities I had found.

I would think about what I needed to work on each month. I would ask myself what skills I had to improve, what steps I needed to take and what I had to do next if I wanted to move forward.

I kept everything in a binder that became my career folder. It held my goals, ideas, contacts, opportunities, things I wanted to improve, and anything else related to building my career.

Believe it or not, I also collected information from magazines like Bop, Tiger Beat, Teen Beat, and 16 Magazine. I still have some of those clippings stored away today because they bring back a lot of memories.

While most teenagers were reading them for fun, I was reading them like research material.

I was looking for clues.

I wanted to understand how the industry worked.

I paid attention to where actors spent their time, how they were photographed, how they were positioned in interviews, and how their careers were being marketed.

Sometimes magazines would mention their favorite restaurants, or places they liked to visit. I paid attention to that too because even at that age, I understood that knowing where industry people spent their time mattered. If I could eventually place myself in those environments, I could meet people, observe the culture and understand the business from the inside.

Looking back, I realize I was collecting data long before I ever used that word.

Even then, I was studying patterns.

I was studying branding.

I was studying publicity.

I was studying positioning.

And I was studying Los Angeles.

I fell in love with Los Angeles when I was nine years old, and from that moment on, I knew I wanted to live there and work there one day.

So whenever I found information about the entertainment industry, I paid attention.

At the time, I probably looked a little unusual compared to my friends. While they were outside playing, I was often updating my binder, creating projects, entering competitions, researching opportunities, and figuring out how people built careers.

I must admit, I was probably far more focused than most kids my age.

I didn’t realize it then, but I was already approaching my dream like a long-term project.

At that age, I didn’t have the industry language for it either.

I didn’t know I was building a career system.

I didn’t know I was creating what would later become my own method for staying focused, organized and strategic in a business that can make people feel completely lost.

But that is exactly what I was doing.

And looking back now, I can honestly say that this way of thinking shaped everything.

It helped me while I was in school. It helped me when I had jobs while studying. It helped me when I was trying to build a career in different markets. It helped me when I was juggling acting, training, auditions, outreach, press, meetings, travel, immigration paperwork, business ideas and creative projects.

The truth is, focus does not happen because you feel inspired every morning.

Focus happens when you build a structure strong enough to hold you when inspiration disappears.

That is what most actors are missing.

They are not untalented.
They are not lazy.
They are not incapable.

They are scattered.

Their goals only live on a vision board. Their self-submissions are buried in emails and not tracked. Their contacts are in their phone and not tracked in a system. Their materials are scattered across different digital folders. Their follow-ups are forgotten. Their ideas are half-written in different notebooks, notes on their phone or files on their computer. Their career plan is more of a feeling than a system.

And when your career exists only as a feeling, it becomes very easy to lose focus.

Because you cannot track a feeling.

You cannot measure a feeling.

You cannot build a breakthrough from a feeling alone.

At some point, you need to turn the dream into something visible.

That is where everything begins.

The Missing Step Between Goals and Results

Most actors will write goals such as “book a role,” “get more auditions” or “get representation” and then start working toward them.

And there is nothing wrong with that.

But when they don’t see the results they were hoping for, many don’t know what to tweak, what to improve or what actions to take next.

I never liked vague goals because a goal by itself does not tell you what to do on a Tuesday afternoon when nothing is happening.

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One of the biggest misconceptions actors have is that studying acting means only studying acting.

When actors talk about books, the conversation usually revolves around acting techniques.

Stanislavski.

Meisner.

Uta Hagen.

And while those books absolutely deserve a place on every actor’s shelf, some of the most valuable lessons I’ve learned about acting have come from books that aren’t acting books at all.

In fact, I would argue that if you’re only reading acting books, you’re missing a significant part of your education as an artist.

Over the years, I’ve found myself drawn to books that explore psychology, neuroscience, philosophy, human behavior, creativity, and even autobiographies. Some of these titles I’ve previously shared on my blog and in my Amazon storefront because they left such a strong impression on me. Recently, I’ve added a few more books to the list, including one I’m currently reading that I find absolutely fascinating.

What connects all of these books is that they help us better understand people.

And at the end of the day, that’s our job as actors.

We study human beings.

Too Soon Old, Too Late Smart

By Dr. Gordon Livingston

This is one of those books that quietly stays with you long after you’ve finished reading it.

Written by a psychiatrist, the book explores love, loss, resilience, relationships, disappointment, happiness, and the many lessons people learn throughout their lives.

As actors, we spend our careers portraying people experiencing these exact emotions.

What I appreciate most about this book is that it reminds us that every person carries unseen struggles, regrets, hopes, and contradictions. Those are often the very things that make characters interesting.

The more we understand people, the more truthful our performances become.

The Secret Life of the Mind

By Mariano Sigman

Actors spend countless hours studying behavior.

This book explores the machinery behind it.

Mariano Sigman dives into how the brain processes emotions, forms memories, makes decisions, and interprets the world around us.

What makes this fascinating from an acting perspective is that it helps explain why people behave the way they do.

Characters don’t simply react.

They interpret.

They remember.

They distort.

They rationalize.

They carry subconscious influences that shape their actions.

Understanding how the human mind works can provide actors with a deeper understanding of character psychology and emotional authenticity.

The Unfolding: A Journey of Involution

By J.S. Wolfe

If there is one unconventional book I believe actors should read, it’s this one.

Written by filmmaker and character analysis expert J.S. Wolfe, this book explores human development, behavioral patterns, emotional transitions, and the psychological forces that shape our lives.

What I found particularly valuable is how it examines different ways people think and behave.

The book explores various personality structures and psychological patterns while helping readers understand why people make certain decisions and respond to situations in different ways.

For actors, this is gold.

Every role requires us to step into someone else’s worldview.

The more we understand human behavior, the more specific, layered, and believable our performances become.

As a bonus, it’s also a very accessible read despite tackling complex subjects.

Psychoanalysing Horror Cinema

By

Mary Wild is a writer, lecturer, and podcaster based in London, England. Drawing on her background in psychoanalysis, she explores the intersection of psychology and cinema. She is also the creator of the Projections lecture series at the Freud Museum, where she applies psychoanalytic theory to film interpretation.

In Psychoanalysing Horror Cinema, Mary explores horror films through the lens of psychoanalysis, examining unconscious desires, fears, repression, symbolism, archetypes, and the hidden motivations that drive human behavior.

Even if horror isn’t your preferred genre, the psychological insights are fascinating.

One of the most important lessons actors can learn is that people rarely say exactly what they mean. Like human beings, characters often operate from desires, fears, wounds, and unconscious motivations.

As actors, our job is to look beyond what a character says and understand what may be driving their behavior. While a character may not always be aware of these forces themselves, the actor must investigate and understand them in order to create a truthful and layered performance.

What I appreciate about Mary’s work is that it encourages us to look beyond a character’s actions and explore the psychological forces that may be shaping their behavior. Through themes such as desire, fear, symbolism, identity, and the unconscious, she examines what may be happening beneath the surface of human experience.

As actors, we’re constantly searching for the deeper reasons behind a character’s choices. Why do they behave the way they do? What are they afraid of? What are they pursuing? What internal conflicts may be influencing their decisions?

These are precisely the kinds of questions that can help transform a performance from something merely functional into something layered, specific, and believable.

Mary and I have known each other since our teenage years and I’ve been incredibly proud to watch her build such an impressive body of work.

For actors interested in character psychology, subtext, symbolism, and the deeper forces that shape human behavior, this is a fascinating read.

If you enjoy the book, I would also encourage you to explore Mary’s work on her Substack and podcast as well. Her insights into psychology, psychoanalysis, and cinema are well worth diving into.

This Is Orson Welles

By Orson Welles and Peter Bogdanovich

I’m currently reading this book and finding it absolutely fascinating.

One of the most underrated resources I recommend to actors is autobiographies and memoirs written by artists and industry professionals. Long before I formally studied acting, I found myself drawn to these kinds of books, and over the years they’ve become an important part of my education.

While acting technique books are essential, autobiographies offer something different. They provide a firsthand look at how careers are built, how artists think, how opportunities are created, and how people navigate the challenges of the industry.

Interestingly, when I mention autobiographies to actors and clients, many tell me they haven’t really considered reading them. Most naturally gravitate toward acting technique books, which are incredibly valuable. Yet some of the most important lessons I’ve learned about both the craft and the business have come from studying the experiences of those who came before us.

No two careers are identical, and we shouldn’t expect to follow someone else’s path exactly. However, these books often contain insights, observations, and lessons that can be adapted and applied to our own journeys.

Part memoir, part conversation, and part masterclass, it offers an inside look into the mind of one of cinema’s most influential artists.

What surprised me most isn’t just the discussion of acting, theater, filmmaking, and storytelling.

It’s how much the book reveals about the business side of entertainment.

One particular story that stood out involved an actress whose beauty, talent, and unique appearance made it difficult for industry decision-makers to know how to position her.

Not because she lacked ability.

Not because she wasn’t compelling.

Because they simply didn’t know where to place her.

I found that observation incredibly interesting because it’s a reminder that our industry doesn’t operate solely on talent.

Positioning matters.

Perception matters.

Understanding how the industry thinks can help actors better navigate their careers without automatically assuming every obstacle is a reflection of their ability.

The book is filled with observations like this, alongside stories from theater, film, directing, performance, and artistic philosophy.

It’s one of those rare books that teaches both craft and career.

Final Thoughts

Great actors don’t just study acting.

They study people.

The best actors I’ve met are students of psychology, human behavior, relationships, philosophy, neuroscience, history, art, and culture.

The more you understand humanity, the more material you have available when building a character.

Sometimes the book that transforms your work isn’t an acting book at all.

It’s the one that helps you better understand yourself and the people around you.

Actor Tools

Your career deserves more than guesswork.

Explore my curated collection of tools, and planners to help you organize, focus, and move forward—one smart step at a time.

Digital Planners & Tools

Designed for creatives. Built for clarity.

• Actor Operating System (Dashboard Only)

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• Weekly Planner (Spiral + Digital)
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• Agenda
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• Minimalist Day Planner (Digital)
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• Wellness Planner
  Because self-care is career care. Prioritize your physical, mental, and emotional wellness with this actor-specific wellness journal.
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• Notebook
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• Ideas Book
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• Pros and Cons Book
  Decision-making clarity when your next step feels uncertain. Perfect for roles, reps, or relocation.
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Coming Up Next on Cast Forward

Here’s what’s on the way:

• Mindset & Productivity: How to Stay Focused & Achieve Career Breakthroughs

• Career PR: How to Get Featured in Trade Publications & Build Hype

• What to Do When You Haven’t Booked in Months

• The Smart Way to Use Social Media to Boost Your Acting Career

• Brand Positioning: How to Get Casting Directors to See You as a Leading Actor

🔜Coming Up Next For VIPs

• Verified industry contact lists. We’ve already covered the California Theatre Companies Directory Next up:

  • Casting Directors

  • Photographers

  • Demo Reel Editors

  • Headshot Reproduction Labs

• How SAG-AFTRA vouchers, ACTRA credits, and other union pathways really work — clearing up the confusion once and for all.

• Industry Resources and Casting Platforms Every Actor Should Know

• A verified list of Canadian casting directors with active casting notices, newsletters, and/or submission forms

This article is part of our Cast Forward VIP deep dive series—available only to Founding Members. It’s your backstage pass to elite-level strategy, power moves, and career blueprints most actors never get access to.

If you’re not a member yet and want in on this kind of insight every month, hit the button below to unlock the full article (and everything that’s coming next).

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When I was young, the first time I moved to Los Angeles, I joined three theater companies, which allowed me to continue working as an actor while continuing to audition for film, television, music video, voiceover and commercial projects.

At the same time, I spent a few months interning part-time at a well-known talent agency in Los Angeles, which at the time had a successful reality TV show on the E! Network. I wanted to understand how the Hollywood system operated from the inside, how agencies functioned, how actors were positioned, how projects moved through the system and how the entertainment industry in Los Angeles differed from, or was similar to, the Canadian and Egyptian industries I was already familiar with.

One thing I noticed while living in Los Angeles was that many actors focused almost entirely on film and television while overlooking theater altogether. Meanwhile, many were working jobs outside the industry while waiting for opportunities to happen.

I personally made a different decision. I did not want to limit myself to only one part of the profession. I wanted to work as an actor in every way possible. So while continuing to audition for film and television, I also auditioned for theater companies, ensemble productions, voiceover work, commercials and anything else connected to the craft of acting itself.

That decision changed my experience completely.

Once you become part of a theater company or ongoing production environment, you are no longer only waiting for opportunities — you are actively working, performing, growing, building your résumé, networking, creating relationships and continuing to sharpen your craft while still pursuing film and television at the same time. In many cases, it can also help support you financially while allowing you to remain inside your field instead of completely outside of it.

Theater also creates opportunities for visibility that many actors overlook. Casting directors, producers, directors, showrunners, agents and managers sometimes attend theater productions looking for talent, collaborations or future casting possibilities. Being involved in theater can also give actors the opportunity to invite industry professionals to see their work live on stage, which can become a powerful way to build relationships and open new doors within the industry.

And to me, that matters.

I say this with respect because every actor’s path is different and survival jobs are sometimes necessary. But I have met many actors over the years who became so fixated on film and television that they unintentionally disconnected themselves from the actual practice of acting. They were waiting to act instead of acting.

Theater was never a “backup plan” to me. It was part of the profession itself.

I remember hearing Don Cheadle once say something along the lines of, “If you want to be an actor, go on stage.” That is very true. Theater teaches discipline, presence, listening, timing, connection and the stamina required to perform live in front of an audience night after night.

This is where acting began. And for me personally, this is also where I began.

Looking back, one of the most valuable decisions I made during that period was continuing to work in theater alongside everything else I was doing.

Below is a growing directory of active theater companies across California offering auditions, submissions, training programs and ensemble opportunities for actors.

I hope this resource encourages some of you to explore new possibilities, continue growing as actors and perhaps discover opportunities you may not have considered before.

Please note: The theater industry is constantly evolving and information may change over time. While every effort has been made to verify the companies, audition pathways and submission details listed at the time of publication, actors are always encouraged to visit each theater’s official website directly for the most current information, policies and opportunities.

This resource will continue expanding as additional active theater companies, ensemble programs and actor opportunities throughout California are identified and researched.

If you are a theater company that would like to be considered for inclusion in this resource, feel free to reach out with your updated information and audition or submission details.

Los Angeles & Orange County

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Workshops are incredibly valuable for actors. They help you sharpen your craft, explore new techniques, and connect with other professionals in the industry. An acting workshop is essentially a structured environment where actors train together, often led by professional coaches, directors, or working actors who guide exercises, scene work, and character exploration.

But here’s the reality most actors learn the hard way:

Not every workshop is worth your time or your money.

Some workshops are transformative and push your craft forward. Others are poorly structured, overcrowded, or more focused on collecting fees than actually training actors.

That’s why being selective is critical.

Actors sometimes assume that every workshop will help them improve, but that’s simply not true. Training environments vary dramatically depending on the instructor, class size, teaching philosophy, and structure of the program. Acting classes can be extremely beneficial because they provide feedback, skill development, and networking opportunities, but only when the environment is well run and professionally structured.

And here’s something many actors don’t realize:

You are allowed to ask questions before committing.

You are allowed to research.

You are allowed to audit.

Some studios will even allow you to observe a class before enrolling, sometimes for free and sometimes for a small fee.

This is extremely important because workshops can be expensive. If you’re investing your time and money into training, you want to make sure the workshop aligns with your goals, your level, and the type of actor you want to become.

Why I’m Writing This Article

This topic actually comes up constantly in my consulting work.

Actors often ask me:

“What should I ask before taking a workshop?”
“How do I know if it’s a good class?”
“How can I avoid wasting money on the wrong training?”

These are valid concerns.

Workshops can cost hundreds or even thousands of dollars over time, so doing your due diligence is essential. If you’re strategic about where you train, workshops can accelerate your growth as an actor. But if you jump into classes without researching them, you might end up spending money on something that doesn’t move your career forward.

So I decided to address this here on Cast Forward because it’s a question I help clients navigate all the time.

The goal of this article is simple:

To give you the exact questions you should ask before committing to a workshop.

These questions will help you evaluate whether a workshop is truly the right environment for your growth.

18 Questions You Should Ask Before Taking an Acting Workshop

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Before we jump into today’s article, I just wanted to take a moment to say thank you to all the new members who recently joined Cast Forward.

We recently crossed over 1,000 subscribers, which honestly means a lot to me because Cast Forward truly would not exist without you.

Whether you’ve been here from the beginning or you’re completely new, I’m incredibly grateful you’re here.

I’m actually writing this article while in Los Angeles, and it felt fitting because this topic has become such a huge part of the industry now. Actors today are expected to be ready almost anywhere at any time.

So I wanted to create something practical that could genuinely help make that process easier for you.

And as always, if there’s a specific topic you’d love for me to cover in a future article, feel free to leave a comment or send me a message through Substack or my website. I always pay attention to what actors are struggling with or wanting to learn more about.

Actors spend years mastering their craft.

They train in technique, study scripts, analyze characters, and work tirelessly to become stronger performers.

But there is something many actors overlook that can quietly affect their opportunities.

The tools they use.

Today’s industry moves fast. A self-tape might arrive in your inbox and be due the same day or the next morning. A casting director might request a quick audition while you’re traveling. A last-minute callback could require a clean, professional setup in a hotel room.

That is where the right gadgets and apps can make a real difference.

The goal is not to build an expensive studio. The goal is to build a portable, professional system that allows you to deliver strong auditions wherever you are.

Some of the tools below are things I use regularly. Others are tools I’ve discovered through research or through other working actors that can be extremely helpful.

I’ll also link my Amazon storefront throughout the article and again at the end, so you can easily see examples of some of the gear and tools I personally use or find useful for actors.

Let’s start with the most important category.

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One of the biggest misconceptions actors have is thinking their résumé is just a formality.

It’s not.

Your résumé is a positioning tool. It tells casting directors how to see you before you even walk into the room.

And small mistakes can quietly cost you opportunities.

Here are five of the most common ones—and how to fix them.

1. Listing Skills You Can’t Actually Do

This one is simple, but it happens all the time.

Actors list accents or special skills they’re not fully comfortable performing.

The problem is:
casting may ask you to demonstrate it immediately.

If you can’t deliver, it doesn’t just look unprepared—it raises questions about your credibility.

Fix:

• Only list accents you can perform consistently and under pressure

• Only include skills you can execute on camera, not just “kind of do”

• Treat your skills section like a promise, not a wish list

2. Using a Corporate Résumé Format

Your acting résumé is not a job application for an office role.

Casting directors scan quickly. They expect a specific layout that highlights your credits, not your responsibilities.

A corporate-style résumé isn’t appropriate for actors—it doesn’t follow industry standards and immediately signals inexperience.

Fix:

• Use a standard industry format (Film, TV, Theatre sections)

• Keep it clean, minimal, and easy to scan

• Prioritize your credits, role types, and key production details like the project name, director, or network—not descriptions of your role.

3. Including Your Age or Age Range

Including your age or age range is not standard practice in the industry and can work against you.

Casting is based on how you present on camera, not a number on a page.

Including your age limits how they perceive you before they even see you.

Fix:

• Remove age and age range entirely

• Let your headshot and presence define your casting range

4. Grammar Mistakes and Misused Industry Terms

This is where a lot of actors lose credibility without realizing it.

Simple spelling mistakes or incorrect terminology signal a lack of attention to detail.

One of the most common errors:

• Writing “principle” instead of “principal”

These are not interchangeable.

Here’s where it matters even more—terminology differs slightly between the U.S. and Canada.

Principal (Canada):
A speaking role, often defined in practice by line count.

Supporting (USA and Canada):
A narrative category for speaking roles that support the lead.

• In the U.S., this can range from smaller to more substantial parts

• In Canada, it typically implies a more significant role

If you’re submitting across markets, using the wrong terminology can create confusion about your experience level.

Fix:

• Double-check spelling, especially industry-specific terms

• Use terminology appropriate to the market you’re targeting

• Keep your résumé aligned with professional standards

5. Not Including Your Status

This is one of the most overlooked—and most strategic—elements.

Your status can directly impact whether casting considers you.

If they don’t know you can legally work or travel, they may move on.

Fix:

Include relevant status details at the top of your résumé under your name and union status, such as:

• Valid passport

• Work authorization

• O-1 Visa

• Green Card

• Dual citizenship

This removes friction and makes it easier for casting to say yes.

The Bottom Line

Your résumé is not just a list of credits.

It’s a signal.

Every detail either builds confidence or creates doubt.

Most actors don’t lose opportunities because they lack talent.
They lose them because their materials don’t position them correctly.

If You Want to Take This Further

In my premium deep dive, I break down how to strategically structure your résumé so it actually attracts opportunities—including how to position your credits, format your sections, and present yourself at a top-tier level.

That’s where the real shift happens.

One More Thing Most Actors Don’t Realize

Fixing your résumé is one part of the equation.

But here’s where most actors get stuck:

They update their materials…
and then nothing happens.

Because they’re not tracking:

• who they’re submitting to

• what roles they’re targeting

• which materials are working

• where they’re getting traction

And without that, it becomes guesswork.

The actors who actually build momentum treat their career like a system.

They track submissions.
They refine their materials based on real responses.
They know exactly what’s moving the needle.

That’s the difference.

If you want a structured way to do that, this is exactly why I built the Actor Operating System—to help you organize your outreach, track your submissions, and position yourself strategically instead of randomly applying.

Because at a certain level, it’s not about having the right materials—it’s about knowing how to use them strategically.

Refining What Happens After the Résumé

A strong résumé gets you an audition.

What happens next is what keeps you there.

That’s where real training matters—how you show up, how quickly you adjust, and how truthfully you bring the character to life.

If you’re actively working or pushing into higher-level opportunities, renowned acting coach is currently running a Zoom masterclass focused on that exact transition from preparation to performance.

Her approach is not theoretical. It’s built around real-time adjustments.

Actors work on monologues and scenes while she identifies what’s not landing and gives direct, practical corrections you can apply immediately.

The structure is simple and focused:

• Three live sessions (four hours each)

• Actors work with monologues and scenes

• Selected participants perform live and receive direct coaching

• Others submit self-tapes and receive written feedback

• All participants observe and apply the work in real time

The focus is on connection, internal life, behavior, and creating truthful moments on camera from the start—the same qualities casting is looking for once your résumé gets you through the door.

Details:

• Dates: May 16, 23, and 30, 2026

• Format: Live Zoom masterclass

• Duration: 12 hours total

• Time: 5–9 PM Pacific / 8–12 PM Eastern

• Includes recordings and follow-up materials

This is not a general class. It’s designed for actors who are already working or seriously pursuing professional-level performance.

Spots for direct coaching are limited and based on application.

Miranda Harcourt Zoom Masterclass, May 2026 (usa + Canada)

74KB ∙ PDF file

Download

Download

To enquire about cost: miranda@mirandaharcourt.com

Coming Up Next on Cast Forward

Here’s what’s on the way:

• The Essential Acting Gadgets (and Apps) Every Performer Needs

• Questions You Should Ask Before Taking a Workshop

• Mindset & Productivity: How to Stay Focused & Achieve Career Breakthroughs

• Career PR: How to Get Featured in Trade Publications & Build Hype

• What to Do When You Haven’t Booked in Months

• The Smart Way to Use Social Media to Boost Your Acting Career

• Brand Positioning: How to Get Casting Directors to See You as a Leading Actor

🔜Coming Up Next For VIPs

• Verified industry contact lists. We are starting with:

  • 1. Theatres (open for general auditions)

  • 2. Casting Directors

  • 3. Photographers

  • 4. Demo Reel Editors

  • 5. Headshot Reproduction Labs

• How SAG-AFTRA vouchers, ACTRA credits, and other union pathways really work — clearing up the confusion once and for all.

• Industry Resources and Casting Platforms Every Actor Should Know

• A verified list of Canadian casting directors with active casting notices, newsletters, and/or submission forms

Become a Cast Forward Premium subscriber to access exclusive industry insights, expert career guidance, exclusive casting notices, and the strategies top actors use to get ahead.

Upgrade subscription

There is a moment in every audition that determines everything.

It happens before the scene truly begins.
Before the dialogue settles.
Before the story unfolds.

It’s the first 10 seconds.

Casting directors often know within those first seconds whether they are leaning in or mentally moving on. That doesn’t mean they decide the role instantly. But those opening moments establish something critical: belief. If they believe you belong in the world of the character, they keep watching. If they don’t, the audition starts with a disadvantage.

Think of it the way we scroll through content online. On platforms like TikTok or Instagram, viewers decide in seconds whether they stay or keep scrolling. Auditions work similarly. The beginning must immediately signal truth, presence, and clarity of character.

The good news is that those first seconds are not random. They can be crafted deliberately.

The Work Happens Before the First Line

Many actors believe the audition begins when they say the first line. In reality, the audition begins before that line is spoken.

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One of the most common questions actors ask is where casting notices live and which offices are actually worth following.

This verified list highlights respected casting offices that share opportunities through official channels, newsletters, or submission forms.

Not every office posts consistently, but many do share opportunities at key moments. That is exactly why they are worth following. A single post can lead to a real opportunity, and if you are not paying attention, you miss it.

If you are building momentum in film, television, or theatre, these are the platforms to keep on your radar.

All offices listed have publicly available submission pathways at the time of publication.

This is a curated working list, not a comprehensive directory. The current edition focuses on verified U.S. casting offices, with additional vetted entries to be added on an ongoing basis.

A Canadian focused companion resource is forthcoming. Bookmark this page and revisit periodically as new offices are added.

Casting Directors and Casting Offices

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One of the biggest myths in the acting world is that you either “make it” and earn money from acting… or you struggle financially until that moment arrives.

That binary view of the industry is not only inaccurate, it’s also damaging. It leads many actors to believe they must either survive on unstable income or take a completely unrelated job that drains their energy and creativity.

In reality, many sustainable acting careers are built on multiple income streams that support an actor’s life while strengthening their connection to the industry.

This is something I learned firsthand throughout my career.

There were periods when I was auditioning constantly while building other revenue streams that allowed me to survive financially without abandoning my craft. Some of those streams were small at first. Others became surprisingly lucrative.

What matters is understanding a key principle:

Your acting career should function like a portfolio, not a single paycheck.

Just like investors diversify their assets, actors can diversify their income.

Some streams will be active income. Others may eventually become passive. Some will connect directly to the entertainment industry, while others simply support your lifestyle while giving you the flexibility to audition.

The goal is not to “quit your day job tomorrow.”

The goal is to build a financial ecosystem that supports your artistic career.

In this deep dive, we’ll explore practical ways actors can build multiple income streams, including many options that allow you to stay close to the industry while developing meaningful connections.

The Actor’s Financial Reality (And Why Multiple Streams Matter)

The acting industry is inherently unpredictable.

Even working actors experience gaps between projects. Production cycles, casting timelines, and industry slowdowns all affect income flow.

According to the U.S. Bureau of Labor Statistics, employment for actors is projected to show little or no change over the next decade, with strong competition for roles because far more actors are pursuing opportunities than there are jobs available. About 6,300 openings are projected each year on average, mostly due to turnover.

This means actors who rely solely on booking roles often experience long stretches without income.

However, actors who build multiple income streams gain several advantages:

• financial stability

• flexibility to audition

• increased industry connections

• reduced pressure during dry spells

• the ability to invest in training and career growth

And in some cases, these secondary streams unexpectedly open doors to acting opportunities.

I’ve personally experienced this many times.

Sometimes a job you take simply to support yourself turns into a professional relationship that leads to auditions or collaborations later.

This is why many successful actors approach their finances strategically rather than emotionally.

Instead of seeing additional work as a distraction from acting, they see it as infrastructure supporting their acting career.

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What Substack TV Is

Substack has launched a TV app available on Apple TV and Google TV.

Any video content already published on Substack now appears automatically on subscribers’ televisions.

• No extra uploads

• No reformatting

• No separate distribution process

This is a major shift. Substack is no longer positioned only as a reading platform. It has moved into lean-back viewing, which fundamentally changes how creators—and especially actors—are perceived.

Read more

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I thought it would be interesting to write about this because I’ve had many moments in my career where I stood out—whether it was in auditions, callbacks, networking events, or even just being in the right room at the right time.

And the truth is, a lot of the strategies are the same across the board.

Yes, auditions today are often self-tapes or Zoom calls.

But some callbacks still happen in person. Meetings still happen in person.
And even in a self-tape, the way you approach your work still matters.

So everything I’m about to share—you can apply it anywhere.

Quick note before we get into it—this article wasn’t meant to be this long.
I usually keep the free pieces shorter, but once I started writing, I realized how many real stories I had to share.

Even with this length, I had to choose just a few. There are many more.

Preparation Is Not Just About Knowing Your Lines

One of the first things I learned in theater school is simple:

You have to be prepared.

That means:

• knowing your lines

• being off-book

• understanding your character

But more importantly:

You have to come in with options.

You have to prepare different interpretations of the scene.

Because in callbacks especially, you don’t know what they’re going to throw at you.

They might say:

• “Try it like this”

• “Make it lighter”

• “Change the intention”

And if you’ve only practiced one version, you’re stuck repeating yourself.

But if you’ve explored different approaches—even if not exactly what they’re asking—you’re flexible.

And that flexibility is what makes you stand out.

Also—Only List What You Can Actually Do

Another thing I learned in theater school is this:

If you list accents or dialects on your résumé, you need to be able to perform them—and be prepared to use them in your scene in case you’re asked.

Because they can ask you on the spot.

That has happened to me multiple times.

They’ll say:

“Can you do it with this accent?”

And you need to be ready.

Let me take you back and tell you a story that shows why this is so crucial. This was such an important lesson for me.

The Disney Callback — When Things Don’t Go As Expected

This is something that really stayed with me.

I auditioned in person for a Disney TV show and got a callback.

Originally, I performed the scene with a Parisian accent because I was informed to do so.

Now usually, when you’re called back, it’s because they liked what you did.
They want to see it again, maybe with some adjustments.

In my experience, they don’t typically ask you to completely change something like an accent at that stage. It’s usually in your first audition that they would ask such a thing.

So I walked in expecting to refine what I had already done.

But instead, the executives asked last minute:

“Can you do it with a British accent?”

That took me by surprise.

Now, British was not on my résumé—I had removed it for a while.
But I had still prepared my scene in different dialects, just like I was taught in theater school—just not the British one.

So even though I wasn’t expecting that request in a callback, I wasn’t completely unprepared.

However, there was still a challenge.

I had already built my improvisation and delivery around the Parisian rhythm—especially the “R” sound.

So now I had to switch immediately to a British placement, which is very different.

And when you switch that fast, your muscle memory is still holding onto the previous sound.

So yes, I had to adjust in real time.

But I still did it.

They laughed. They loved it. The energy was great.

In the end, they chose someone British.

But that experience taught me something important:

Even in callbacks, things can change.
Especially in television, where decisions shift very quickly.

So don’t assume you’re just going in to repeat what you did.

Be ready for anything.

The LA Audition — Where Preparation Made Me Stand Out

I remember this very clearly.

I had just signed with a new manager in Los Angeles.

He sent me out on my first audition with him.

It was for a series regular.

I had:

• 12 pages to memorize

• a Québécois (French-Canadian) accent to master

• and it was for a very well-known casting director

I walked into the room—it was large, almost like a stage.

I stepped up and performed.

I didn’t fumble.
The accent was consistent.
My intentions were clear.
I had built tactics, a climax, and strong choices throughout.

And when I finished, the casting director stood up, shook my hand, and said:

“It’s so wonderful to see someone prepared.”

That moment surprised me.

Not only because she shook my hand, but because in my mind, I thought:

Isn’t everyone prepared?

But the reality is—especially in Los Angeles—many actors are not.

Some haven’t trained deeply.
Some rely only on instinct and good looks.
Some don’t put in that level of work.

So something as simple as being fully prepared can already set you apart.

Making Bold Choices — The Russian Accent Story

There was another audition where I made a strong instinctual choice.

I felt the character should have a Russian accent, even though it wasn’t specified in the scene or character description. It was originally meant to be delivered in a standard American accent.

So I gave them two takes:

• one without

• one with the Russian accent

They loved it.

They were actually planning to offer me the role.

But in the end, they went with someone local in Mexico (where the film was shooting), who was also a friend of the director, mainly due to budget—they didn’t have to fly her in or cover accommodations.

And interestingly, she ended up doing the Russian accent.

So in a way, my choice influenced the direction of the character.

That’s what standing out does.
It leaves an impression—even if you don’t get the job.

And even though I didn’t book that role, it didn’t end there.

The producer of that project brought me back in to audition for other projects afterward. And in this industry, that impression can carry much further than a single booking.

Improvisation — Where You Can Really Stand Out

Another thing that has helped me stand out many times is improvisation.

Sometimes I add:

• extra lines

• different interpretations

• different reactions that are not in the script

• a prop that wasn’t mentioned in the scene

• small moments

Not randomly—but intentionally, as an additional take.

And very often, the take that gets selected is the one where I brought something extra.

That’s something that has worked for me consistently.

And it’s not just in the past—it’s something I still do now.

For example, when I auditioned for The Body, I improvised.

Even during the callback, I improvised again—without them asking me to.

I didn’t wait for permission.

I made choices in the moment, based on what felt truthful and aligned with the character.

And that’s something important to understand:

Sometimes, what makes you stand out is not just doing what’s on the page—
but showing them something alive.

Now, of course, this has to be done with intention.

Not to “perform more,” but to bring something that aligns, feels real, and grounded.

Why Improvisation Matters More Than You Think

Improvisation is not just a “nice skill to have.”

It’s essential.

Because:

• you might be asked to improvise in an audition

• you might be asked to improvise on set

• you might need to adapt if another actor forgets a line on stage

• you might need to adjust in real time during a performance

And if you don’t have that skill, you freeze.

But if you do—you stay in it.

And staying in it is what keeps the performance alive.

If This Is Not Your Strength

If improvisation is not something you feel comfortable with, I highly recommend taking improv classes.

Because this is not something you “either have or don’t have.”

It’s a skill.

And like any skill, it develops with practice.

Taking improv classes:

• trains your instincts

• helps you stay present

• removes the fear of “getting it wrong”

• and allows you to respond instead of overthinking

And that, in itself, will help you stand out.

Because most actors are trying to control everything.

The ones who can stay present, adapt, and create in the moment—
are the ones people remember.

Staying Open — Even When the Role “Isn’t You”

Another way I’ve stood out—and this is very important—is by staying open.

Because a lot of actors do the opposite.

They’ll receive an audition and immediately say things like:

• “This is not me.”

• “I’m not right for this.”

• “They would never cast me in this role.”

And they shut it down before even trying.

You have to eliminate that mindset completely.

Because the truth is:

You don’t actually know what they’re looking for.

Sometimes, they think they know—and they can’t find it.

Sometimes, they change their mind.

Sometimes, one performance shifts their entire vision of the character.

So if you close yourself off too early, you remove yourself from opportunities that could have been yours.

The 60-Year-Old Role — Where Openness Made Me Stand Out

I was recently asked to audition for a character who was 60 years old.

I’m not 60.

And the casting director even acknowledged that. He said:

“I know this is not your age range, but I really want you to tape for this.”

Now, this is where a lot of actors would say:

“This doesn’t make sense. This is not for me.”

But I didn’t do that.

I stayed open.

I approached it seriously. I didn’t treat it like a throwaway audition.

I did the work. I built the character. I committed to it fully.

And the director loved it.

I got called back.

And after the callback, they told me something very interesting:

They were now trying to decide whether to:

• change the age of the character

• or keep it as originally written

Because they hadn’t found the right person—and I was the only one who captured the essence of what they were looking for.

That’s powerful.

I didn’t fit the role on paper.
But I fit the role in execution.

And that’s what made me stand out.

The Real Lesson

You cannot approach this industry with a fixed idea of where you belong.

Because the industry itself is constantly shifting.

If you decide for them that you’re not right—you lose before you even start.

But if you stay open, take the opportunity seriously, and bring your full work into it…

You give them a reason to rethink their choices.

And that’s where real opportunities come from.

Professionalism and Kindness Matter

Another thing that helps you stand out—and people underestimate this—is how you treat others.

Always be:

• professional

• kind

• diplomatic

Even if the energy feels off.

People remember that.

And this industry is smaller than you think.

Presentation — You Never Know Who’s Watching

I always try to be well put together when I go to:

• meetings

• events

• networking situations

Because first impressions matter. Let me take you back.

I remember being invited on set for The Score, starring Marlon Brando, Edward Norton, and Robert De Niro, by my mentor at the time.

He told me that someone would call me, take me on set, and give me the chance to learn how things work on a major Hollywood film production. I’d also get the opportunity to meet industry professionals and participate in background work. At the time, I had only done theater and non-union projects, so this was a huge step. Ironically, it was around this exact time of the year.

I was very young at the time.

I wore a beautiful dress from a local designer that I had saved up for.

The first assistant director noticed it immediately and said his girlfriend had wanted that same dress.

Then he walked away, spoke to the director, came back, and said:

“We’re going to give you a line in the scene.”

That became my first experience speaking in a major Hollywood film.

The scene ended up being cut—but the lesson stayed with me.

You never know what one moment, one impression, or one detail can lead to.

Another way I’ve stood out—and this has happened to me more than once—is through how I present myself.

And I don’t mean this in a superficial way.

I mean:

• how you carry yourself

• how you speak

• your energy

• your presence in a room

Because some people notice that before you even speak.

The Festival Event — When Presence Opens the Door

I remember being at an event in Montreal in 2009—it was called the Pan African Film Festival.

I was there, well-dressed, very presentable, just having a conversation at a table with someone in the industry. At the time, I knew how to speak the business language. So while I was speaking to this person about a film I worked on, I knew how to position myself.

And suddenly, a woman approached.

At first, I assumed she was coming to speak to the person I was with.

But she came directly to me.

She introduced herself and asked if I would be interested in coming on her radio show for an interview.

She told me:

“You stood out. Your energy, the way you carry yourself—I noticed you. I also overheard you talking about your project Heliopolis, and I really loved that film.”

Heliopolis was an Egyptian film I was part of that had gained a lot of traction.

But the point is:

I didn’t go there trying to “get something.”
I showed up with the right energy—open, present, and without expectations. I was intentional in how I carried myself, how I dressed, and how I spoke—and that’s what made me stand out and created the opportunity.

The Montreal Event — When Positioning Changes How You’re Treated

Another moment that really stayed with me happened at an event in Montreal—YES Entrepreneurship Conference event in 2009.

I had just come back from Egypt after working there for two years.

And one thing I learned during that time—especially in Egypt, which is often called the “Hollywood of the Middle East”—is the importance of always being presentable.

It’s something we’re taught culturally as well, but over there, it’s taken to another level.

So I showed up to this event very intentionally.

I was dressed professionally.

Most people were in casual attire, except for the established industry professionals.

I was in something much more polished as you can see in the picture above. I also carried myself like an established actor.

There was a panel happening, and a well-known Montreal casting director was there.

After the panel, people were going up to introduce themselves.

I observed something very interesting.

When she was speaking to others, the interaction was very normal.

But when I approached her, there was a shift.

There was a different level of attention.

Almost a kind of respect… even a slight shyness in how she responded.

It was because of:

• how I presented myself

• how I was dressed

• how I carried myself

• and how I spoke

I introduced myself simply but strategically.

Something along the lines of:

“Hi, I’m Christine Solomon. I’m a Canadian-Egyptian actor. I worked on a couple of films that are currently circulating in major international film festivals.”

It wasn’t long. It wasn’t complicated.

But it was clear. It was positioned. It was intentional.

I gave her my business card.

Then that introduction sparked a conversation with the casting director. It intrigued her, and she started asking me questions, which led to a discussion about the film festivals those projects were circulating in.

And within a short period of time—I was called in for an audition.

And I booked it.

That project became Fakers, an HBO Canada TV movie.

The Real Takeaway

This is something a lot of actors underestimate.

They think:

“It’s just about the audition.”

But it’s not.

You are being perceived the moment you enter a space.

Before you speak.
Before you perform.
Before you even introduce yourself.

And that perception influences:

• how people talk to you

• how seriously they take you

• and whether they remember you

You don’t have to wait to be established to carry yourself like you are.

Sometimes, that’s exactly what creates the opportunity in the first place.

Versatility — Be Ready for Anything

Another thing that has helped me stand out is that I’ve studied many different techniques and styles of performance.

And that matters more than people think.

Because sometimes, in an audition, they will ask you on the spot to do something completely different from what you prepared.

I remember this very clearly from a theater production audition.

I went in, I did my piece, and then they asked me:

“What else do you have?” “Do you have something more in the style of SNL? Something more comedic in that way?”

So I gave them another monologue.

Because I had already prepared different types of material.

I didn’t have to think, “What can I do?” or panic in the moment.

I already had something ready that fit that tone.

And I performed it right there.

That’s what got me the role.

That’s what being prepared really means.
Not just being ready for what you expect—but being ready for what they might ask you that you didn’t plan for.

Because those moments happen.

And definitely my theater school training prepared me for that in a very deep way.

When you go through that kind of training, you’re not just learning one technique.

You’re exposed to:

• multiple styles of performance

• different approaches to character work

• a wide range of material

You memorize so many pieces.

You perform so many scenes.

You watch so many other actors work.

You go through improvisation classes where you’re constantly creating new moments, new characters, new situations.

So over time, you build something very valuable:

You become like a bank of performances, techniques, and instincts.

When something is asked of you in the room, you don’t start from zero.

You reach into that bank and think:

“I have something for this.”

It’s very similar to someone going to culinary school.

They’ve cooked so many dishes, learned so many techniques, worked with so many ingredients.

So when they enter a competition, the ones who thrive are usually the ones who have that depth of training and experience.

It’s the same thing here.

That training prepared me for the real world in a way I didn’t fully understand at the time—but I came to see it very clearly.

When you’ve done the work, you can access it instantly.

And that’s what allows you to stay calm, adapt quickly, and stand out when it matters.

The Group Audition — What “Standing Out” Actually Looks Like

This was one of the most interesting audition experiences I’ve had.

I was in Los Angeles, auditioning for a production company that was building a roster of actors to work with on future projects.

I remember walking into their office—it was a top-floor space in a well-known building on Sunset Boulevard in West Hollywood. I passed by it all the time—it’s one of those places you immediately recognize.

They had clearly invested in what they were building.

And that already changes the energy when you walk into a room like that.

We were all in a conference room.

All the actors were sitting down, watching each other perform.

And they gave us a short piece—a cold read.

Now, the way the scene was written, it naturally led actors to play it one way:

Angry. Loud. Explosive.

And one by one, that’s exactly what everyone did.

They were:

• raising their voices

• lashing out

• pushing the energy outward

I even remember one actor physically trying to throw a chair in the scene.

So I sat there, watching all of this, and I thought:

Why is everyone going for the obvious choice? And if I do the same thing… I disappear.

In theater school, we were trained not to do that.

To explore different ways of expressing the same emotion—especially anger.

So I knew in that moment: if I follow the same instinct as everyone else, I disappear.

So I made a choice.

Not the “opposite” in the sense of removing anger—but in how the anger was expressed.

Instead of being loud and explosive…

I played it:

• grounded

• contained

• controlled

The anger was still there.

But instead of shouting the line, I lowered my voice.

I almost whispered it.

And that completely shifted the energy.

It made people lean in instead of pulling back.

When I finished, the owner of the company was clearly impressed.

He gave feedback in front of everyone—spoke about the performance, the choices, the control.

Then he turned to his assistant and said:

“Take her. Go over the contract with her.”

The assistant took me aside, explained everything about the company, how it works, what they were building.

And that’s when I signed with them.

That’s what standing out actually is.
Not doing more than everyone else—but making a specific, intentional choice that shifts the room.

Your Tools Matter — More Than You Think

Your headshot alone can open doors.

I remember standing in line at auditions in Los Angeles, and actors would ask me:

“Who shot your headshot?”

That matters.

The same goes for:

• dialect reels

• voiceover demos

• language skills reels

These are assets that support your positioning.

Learn the Language of the Business

Another thing that helps actors stand out—and this is a big one—is understanding the business side of the industry.

More specifically:

Knowing how to speak the language of the business.

So many times, I meet actors who don’t understand this.

They don’t know how to talk business.
They don’t know how to position themselves in a professional conversation.

And that creates a disconnect.

Because the people making decisions—producers, executives, casting directors—they are not speaking in “actor language.”

They are speaking in:

• value

• marketability

• audience

• packaging

• strategy

At the end of the day:

This is a business.

And if you don’t understand how to communicate within that framework, you’re limiting how seriously you’re taken.

Why This is More Crucial Than You Think

You can be incredibly talented.

But if you:

• can’t articulate your value

• don’t understand how projects are positioned

• don’t know how to speak about your work in a business context

…you’re missing a huge part of the equation.

Because decisions are not made on talent alone.

They’re made on:

• fit

• value

• and how you contribute to the bigger picture

If You Haven’t Learned This Yet

This is something you can learn.

And it’s something I’ve written about before in more detail.

So if you haven’t read that article yet, I highly recommend going back and reading it.

Because once you understand how to speak the language of the business…

You stop sounding like someone asking for an opportunity—
and start sounding like someone who belongs in the room.

Have Your Sh*t Together — On and Off Camera

Another thing that has helped me stand out is having my sh*t together.

And I don’t just mean being prepared for an audition.

I mean:

• being organized

• being disciplined

• being intentional with how you run your career

I’m very structured and ruthless with my schedule.

With my calendar.
With my craft.
With the business side of what I do.

Because acting is not just an art—it’s a business.

And if you’re not treating it that way, you’re already behind.

You Can’t Be Random and Expect Results

I’m very aware of:

• what I’m working on

• what I need to improve

• who I need to reach out to

• what relationships I need to maintain

I cultivate relationships.

I nurture existing ones.
I build new ones.

And I do it consistently—not only when I “need something.”

That alone makes a difference.

Because people can feel when you only show up when it benefits you.

Your Brand Is Not Optional

Another thing that actors overlook is their brand.

As an actor:

You are your brand.

Your:

• voice

• likeness

• style of acting

• presence

But also:

• your social media

• your visibility

• your press

• how you present yourself publicly

If you’ve taken the time to:

• build an audience

• be featured in the press

• do interviews

• create strong materials

That adds weight to who you are.

Your Materials Matter

Having:

• a strong pitch deck

• a press kit

• a well-packaged presentation of your work

…all of that helps you stand out.

Because now, you’re not just “an actor.”

You’re someone who:

• understands the industry

• knows how to position themselves

• and brings value beyond just the performance

The Reality

Talent gets you in the room.
Everything else keeps you in the conversation.

And the actors who understand that—
and actually put in the work on both sides—

are the ones who move forward.

Final Thought

Standing out is not one thing.

It’s:

• preparation

• flexibility

• bold choices

• professionalism

• and consistency

You don’t stand out by trying to be different.
You stand out by being intentional.

And when you do that consistently—

People remember you.

Now, these are just a few of the ways to stand out.

There’s a whole other layer to this—one that goes deeper into strategy, positioning, and how to actually build momentum over time.

And that’s something I share on the other side.

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Everything I’ve shared here comes from structure, preparation, and consistent execution over time.

That’s exactly what I built into the Actor Operating System—a career management framework designed to help you stay organized, track your submissions, and manage your career like a professional, so you’re not guessing what to do next, but actually applying it consistently in real situations like these.

Coming Up Next on Cast Forward

Here’s what’s on the way:

• Substack TV: What This New Platform Shift Means for Actors (And How to Use It Strategically)

• Financial Growth: How to Create Multiple Income Streams as an Actor

• Mastering the First 10 Seconds of an Audition

• The Essential Acting Gadgets (and Apps) Every Performer Needs

• Questions You Should Ask Before Taking a Workshop

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• A verified list of casting directors with active casting notices, newsletters, and/or submission forms

• Verified industry contact lists. We are starting with:

  • 1. Theaters (open for general auditions)

  • 2. Casting Directors

  • 3. Photographers

  • 4. Demo Reel Editors

  • 5. Headshot Reproduction Labs

• How SAG-AFTRA vouchers, ACTRA credits, and other union pathways really work — clearing up the confusion once and for all.