Casting Director workshops have been around forever, often selling inexperienced actors on the hope of “making it.” I’m not saying every San Antonio Casting Director workshop is a waste of time. But let’s be honest about why you’re taking one: you want that person to hire you. Fine. Nothing wrong with that. I want that for myself too. But can the person you’re paying actually hire you?
Have you checked their IMDb? Are they actively casting projects right now? Are they a Casting Director, or are they an assistant? Before handing over your hard-earned money, know exactly what you’re paying for.
And where do you live? Are projects actually being filmed in your city? Why pay for access to jobs and auditions that barely exist? Unfortunately, people prey on hopes and dreams. I was once taken for almost $170,000.00. That stung.
I started my studio in Los Angeles in early 2008 because I wanted to give actors something they rarely find in this industry: Honesty.
Becoming a skillful performer comes by consistently working on your craft. It comes from getting on camera, watching yourself back, making adjustments, and doing it again. When I started my studio, taking a stand against that kind of nonsense was a big part of what separated us from a lot of the industry. Most of that is gone, but it starting to show up in other markets that don’t get that much attention. Texas being one of them.
Skill doesn’t come from networking events. It certainly doesn’t come from paying for hundreds of workshops and seminars. At the end of the day, talent and skill get you hired.
If you’re already skilled enough to compete professionally, and a Casting Director is actively casting something you could realistically be right for, take the workshop. Go for it. It sucks that you sometimes have to pay to get on someone’s radar when finding actors is literally part of their job, but it is what it is. I hate paying extra for ketchup packets too, but sometimes you suck it up. The question is: how much are you willing to suck?
Do one or two workshops. Pay attention to the room. Pay attention to the notes you’re getting. Then go home and research the person teaching you. Do they have a body of work that justifies putting that much weight behind their creative opinion? Or are they taking away all the beautiful nuances you bring to the table?
Every creative opinion has value, but someone else’s opinion is not automatically more important than what you think is right for yourself as a performer. You’ve been watching content your whole life. You know what works, and what doesn't.
If you’re paying for workshops every week and you’re still not getting called in—or you’re only getting called for nonsense projects—what exactly are you paying for? Mostly, you’re paying for someone’s opinion.
Creative work is subjective. It’s easy to convince yourself that someone else knows more than you because they have a title next to their name. They don’t necessarily know more.
Whether you’re brand new or a seasoned professional, you know what good acting looks like. You’ve watched movies and television your entire life. You know when a performance feels real, and you know when something feels off.
Now, knowing what good acting looks like and being able to consistently do it are two different things.
In my opinion, if you can’t pick up a script and get fairly off-book quickly, make several strong choices, take direction, pivot when needed, understand eyelines and framing, and recognize the beat changes in a scene, you probably shouldn’t be spending your money on Casting Director workshops yet. It’s a muscle and you need to work that muscle consistently.
Unless that workshop is actually teaching you those skills, you’re probably wasting your money. Get on camera instead. And get on camera A LOT! Every day if you can. Does being on camera every day sound like too much work? It’s not.
Watching yourself on camera is one of the fastest ways to improve because the camera doesn’t care about your intentions. It shows you exactly what you’re doing.
The days of a school name or teacher’s name carrying your career are mostly gone. Ultimately, people want to see whether you can perform. Directors want to see a body of work. A recognizable credit can certainly help, but when someone is evaluating your ability, strong footage is strong footage. They want to see whether you can perform.
Want to work on camera every week and get copies of your work? Call me. Within 3 months, you’ll have more confidence than you’ve ever had, and the footage to prove it. Ready to work out on camera every week? Ready for a bunch of demo reel footage? Click here to learn more.
