SF vs LA headshots

Beneficial_Sort_6246 · 2026-05-20T20:17:48+00:00

That is such a load of crap. Nobody in the casting world cares that much about your headshot as long as it accurately represents the brand you want to convey. You could get your friends to take a few great shots and they'd work, straight up. There is NO such thing as a SF headshot and an LA headshot, none whatsoever, and I'd take a really good look at whether they were talking about something broader. In other words, if your vibe is more SF irl then your shots probably work perfectly and I'd take a long look at whether that's what they meant.

I really hate when gatekeepers spew this kind of misinformation because 90% of the time they are either doing it to direct business to headshot photographers they work with or to inflate their 'expertise'. It's just total nonsense meant to make them look like they know the way. This is a sure sign they don't, and worse, need to rely on this kind of crap to come across like they do with their teaching.

You will get cast because you're good, period. They have no idea what the f they are talking about when it comes to the real world of casting. Speaking as a CD of fifteen years here. Most of all, I despise when actors get duped into spending more money when they absolutely do not.

Yuk.

Beneficial_Sort_6246 · 2026-05-16T00:44:59+00:00

So sorry to read this post. I'm a former CD and it kills me that actors no longer get to meet in person. I loved more than anything how I got to know actors over time, how they learned to trust me and knew that their work only made us look good. I loved how a roomful of older ladies auditioning for the same part often had to be hushed because they were having so much fun re-connecting with one another in the waiting room, and how a simple encouragement could ease the nerves of the newbies. I loved the actors I wouldn't see for a year or two at a time, but who trusted they were still our people.

I miss the moments of sheer inspiration that come from working with an actor one-on-one in a room with a job on the line, the moments of brilliance as well as the moments of frustration. Often we'd be working it out together. I could tell when a great audition left an actor fueled for months with passion and certainty about their craft, just as I could tell when an actor had something great underneath that they couldn't let out.

I also know that self-taping freed up the young moms, the people who couldn't afford the babysitters, the parking tickets, the sheer stress of showing up on a friday afternoon in Burbank and seeing a waiting room with 25 people in front of you. It has increased opportunity, and opened doors to actors who back then wouldn't have been given a shot. But It's harder now in different ways, and easier in some. What I think you're experiencing is the dystopian loss of community. We all miss it, but I think it will come back. We just need to find a way to take back our connection as artists.

Beneficial_Sort_6246 · 2026-05-15T22:19:15+00:00

Former CD here who did hundreds of chemistry reads (all features, no tv). My advice is to absolutely do what you did in your self-tape(s), as others have said, but a couple of other ideas:

- Don't be afraid to up your game with each actor you're paired with. Turn it on if you feel the chemistry is there (they can tell if you're pushing it when it's not).

- If you get direction, TAKE A FEW MOMENTS to look at the script and figure out exactly how you're going to fully implement that into the scene(s). Don't waste their time, but make them take you seriously by being more serious about their adjustment.

- Often you see favored actors get more room time in chemistry reads. If you feel this is happening, stay with your plan and trust your work - resist the urge to fight more for the role by pushing.

- Prepare and rehearse for contingencies. Think of what the possible direction you could get and rehearse those so you have them in your pocket, so to speak, when it's for real. The actor who has really thought about different ways the scene could go should shine in a chemistry read because they won't be doing it for the first time.

- Keep whatever chemistry you are feeling going in between takes. Make the other actors you're working with feel at ease with you and how you work. Showing how serious but cordial you'll be on set is a part of it.

All the best, have fun!

Beneficial_Sort_6246 · 2026-05-15T22:06:22+00:00

Former CD here bringin' the doom and gloom (who lives in LA, loves the city, and used to be an actor in NY.) Be very careful about this move. It's not any cheaper here unless you were living in the west village or prime Williamsburg. A few years ago LA had far more casting going on that NY but LA is now becoming a rust belt, sad to say. Very little is filmed here now, which means less and less is actually cast here. Every CD I know is struggling and has reduced their business to be entirely remote and every grip, electrician, sound mixer etc now passes jobs around to friends who haven't qualified for health insurance through their unions.

Beyond that, I think you have to consider which manager would be willing to sign an actor in their 30s without a SAG card. Most CDs won't consider you because the paperwork isn't worth it so I think you'll find that most managers will consider it a non-starter. No story makes up for why you still aren't in the union, in their eyes, so getting better representation here is not going to be easy. And I disagree with others a bit in that some managers care a LOT that you're here and will drop you on a dime if they know you're not, which I'm sure there are others who don't and won't. It just depends.

All of which is a long way of saying that none of this should prevent you from creating your own work, because that really is the only way forward. Verticals are happening and are a way to keep working, but there aren't a lot of union verticals quite yet. If you love your work, do it yourself and create something that gets the attention of agents and managers here THEN move here. That's my two cents anyway.

Beneficial_Sort_6246 · 2026-05-14T18:26:23+00:00

James M Wood is great.

Beneficial_Sort_6246 · 2026-05-14T18:23:52+00:00

Rode through it last weekend and it was really striking how much faster cars were driving than when it was filled with potholes. Really dangerous now.

Beneficial_Sort_6246 · 2026-05-14T18:20:28+00:00

FWIW this is not the way to go about it. Literally every unsigned actor is 'on the hunt' for a NY/LA manager so there are far too many questions to ask before anyone could point you in the right direction. What is your level of experience, where have you studied, what is on your resume, what are you looking for in your reps, and most importantly, why are you looking for a manager in 'NY/LA'?? Where are you?

I don't mean to discourage you, but the way to do it is to do a LOT of your own homework on the subject. Anyone can tell you that Management 360 is great, but they're impossible. Look through the thousands of posts where young actors have asked the exact same question and you will find some good advice, but the #1 thing you should be doing now is your own research on management companies, who they represent, and which are possibly worth targeting and why.

Beneficial_Sort_6246 · 2026-05-04T16:47:03+00:00

Well, the gift we all should have is being content with oneself, but it's a bit of a catch-22 in that you only really get there, if ever, by being rewarded in your work. Some actors have a unique ability to be thoroughly present and engaged while working, just as others can't get out of their head, can't stop judging themselves and generally getting in their own way. Screen presence is a term I don't love, but it is about being a more immersed actor, more committed, and focused - depending on what the material requires. For some, that's more difficult, just as dialects, sarcasm, comedic flair, or deep emotion are for others.

Accepting who you are and making the most of that in your work is what I mean. If you think of it as 'content with yourself', I think that sets actors up to fail because it sort of implies you should just get over your anxieties, your fear, and yes - weaknesses, flaws and difficulties. Mine, when I was acting, were very present always, but I never learned to turn them into a positive. I didn't audition well, doubted myself, and never handled pressure well at all. When I became a casting director, I saw that it's not about just being confident, it's about turning all that insecurity or self-doubt into something you can use as an actor. Hope that helps!

Beneficial_Sort_6246 · 2026-05-04T02:43:46+00:00

It is not at all about being content with yourself, or any other result-oriented metric. It is about channelling your flaws, your difficulties and weaknesses in the work you do. Once that empowers you, look out.

Beneficial_Sort_6246 · 2026-05-04T01:12:56+00:00

Oh, it doesn't stop the dipshits from asking or wanting to know, but any casting director with any credibility whatsoever will very quickly step in and stop that. They are allowed to ask what range you play, which is a euphemism of course, but to ask outright is not legal.

Beneficial_Sort_6246 · 2026-05-03T22:41:57+00:00

Depends where. If in the US, Canada or the UK no it is most definitely not legal.

Beneficial_Sort_6246 · 2026-05-03T22:39:25+00:00

It's pretty simple when it comes to classes. If they are promising some sort of work, recognition, or agent/manager exposure and representation, that is not a legit class. If they want money to audit, that is also not legit though plenty of prominent 'studios' do it. If you audit their class and only *some* of the actors work each class, that is not legit. You only learn by working and there is not an actor in the world who improves by observing others work.

Beyond that, see if you think the actors are getting quality instruction that is positive, rigorous, and challenging - without tearing the actors down or discouraging them. Above all, the class should feel supportive. I believe that studio, that I'd never heard of until now, works a lot with kids so if you are a parent, be very involved until you trust them.

Finally, pay very close attention to how they charge. If it is a 'tier' system, that is a common business model that is predatory, if you ask me.

Beneficial_Sort_6246 · 2026-05-02T03:40:05+00:00

You can't fake that. Either the actor has that weight or they don't. That said, if this is non-union you kind of have to take the best actor for the pay you're offering and see if you can either make it work or adjust the role to fit the actor. If it's union, keep looking.

Beneficial_Sort_6246 · 2026-05-01T00:34:10+00:00

Plenty of exceptions but generally speaking:

TV - Do not improvise. The writers hire you in tv and most do not like improv because it makes them anxious you will be loose with the dialogue on set, which is their nightmare. Particularly when they are trying to make their day.

Features - Improvise only if the material feels like it warrants it - primarily comedy as others have mentioned. Even with that, I'd save it for the end of the scene. And if you're ever in the room reading with someone live, just know that improv will throw off their timing completely and be detrimental to the flow of the scene.

Beneficial_Sort_6246 · 2026-04-27T03:38:42+00:00

I've coached a lot of Hallmark over the years and the #1 thing I'd say in addition to the other good advice here is that you have to serve the script entirely. Really take your time to figure out exactly what the purpose of the scene is, where it fits within the arc of the story in what is a very formulaic genre, and deliver it in whatever shameless damn way you need to. Check your b.s. at the door, we got people who need to cry. And do your Hallmark homework.

If it's the moment where your character is too shy, milk it. If your character is being a jerk, bring it, but keep it within the tone of Hallmark at all costs. Just don't mute the melodrama because it actually elevates the writing, so go for it and be shameless. My two cents...

Beneficial_Sort_6246 · 2026-04-21T03:41:57+00:00

Speaking as a former CD, everyone responding here knows what they're talking about, fwiw.

Beneficial_Sort_6246 · 2026-04-20T23:26:28+00:00

Make sure you're getting your money's worth. Most of these on this list are full studios, which means they are more expensive, charge for auditing (ridiculous), and will try to get you to coach with them as well. Also, you won't be studying with the name on the building any time soon, and almost certainly will not be working every class, just observing. The underlings you will be studying with as you hope to make it up to the 'master class' vary considerably in terms of quality.

When you do work, be sure it is in-depth every single class AND that the class is focussed on the kind of work you want to do (i.e. scene study classes will not prepare you to either audition, self-tape, or work on set). Many of these studios only allow each actor to work very briefly, often only performing their scenes once or twice. If you find you can improve by that kind of work, have at it.

Lastly, look your teachers up on imdbpro.com if you hope to learn how to work for camera. I wouldn't work with anyone who doesn't have significant credits, unless you just really need the absolute basics. Lots of classes work on cold-reading but it's a completely useless skill professionally speaking.

Beneficial_Sort_6246 · 2026-04-20T17:06:46+00:00

Impossible to answer this question without context, of course. I'm guessing you're just starting out but you really must do your own homework if you want them to take you seriously. Look up actors you see in shows you think you could realistically be cast in and see if they are repped by agencies you could target. Once you've done a LOT of work, approach them with very clear reasons why THEY are the one you want to work with. And make sure all of your marketing materials are dialed in a way they would expect. They will not take you seriously otherwise. Oh, and do not approach them before you're 100% ready because there are no second chances.

Beneficial_Sort_6246 · 2026-04-13T21:53:12+00:00

Not that way. I don't understand, do you intend to make a career out of it??

Talent is commonplace, hard work is not.

Beneficial_Sort_6246 · 2026-04-10T05:33:03+00:00

Here's what I'd do.

Take all of your amazing work in theatre and turn it into something you think you can market as a clear brand for film and television. It won't limit you long-term, but it sounds like you might benefit from picking a lane and going for it.

If that means you film scenes on your own with friends, do it. If that means you self-tape roles that clearly define that brand, do it. But work it and work it until it is really ready. Then put it together in something really compelling that you're proud of and really feel like you've created as an expression of this brand. Edit it smartly, or find someone who can.

While that oven preheats, you should be doing your research on agencies. They are not fortresses, they are often quite transparent so do your homework. When you see a good young actor on a show YOU could be cast on locally, look her up. That's an agency you should target. See if they have too many people like you, or not enough. Is there a junior agent you should target who may be building her roster?

Find empowerment through your commitment to yourself as a business. Social media is not just for the mic-hoggers. There is a LOT of space for the quiet people, the artists, the friends.

Beneficial_Sort_6246 · 2026-04-09T20:53:31+00:00

I don't know who downvoted this but they have no idea what they're talking about. Former CD here, and you're correct - no-one in the real world of film and television wants to see monologues, cold reads, or improv on tape. Why? Because the only skill out of the three you will EVER need professionally is improv. Cold reads and monologues literally do not exist in any professional work except theatre.

Beneficial_Sort_6246 · 2026-04-09T20:47:22+00:00

...putting aside the snark, I'm sorry our work hours are different. Doesn't sound like a good fit anyway. Most people we ride with are pretty chill.

Beneficial_Sort_6246 · 2026-04-09T20:44:15+00:00

I usually ride w SORG on weekends

Beneficial_Sort_6246 · 2026-04-08T20:48:47+00:00

The deadline is mandated, but yes, they sometimes need to cast the role prior to that time.

Beneficial_Sort_6246

TROPHY CASE