Casting Director Karen Armstrong Teaches ‘Actor Etiquette 101’

February 18, 2020 | Cat Elliott

In this installment of Actor Etiquette 101, we’re exploring the best practices for actors when it comes to communicating with casting and auditioning in and out of the room. Casting Networks sat down with Karen Armstrong to talk about everything from self-tapes to the appropriate frequency of reaching out to casting. Armstrong is a strong presence in the commercial world and has worked with big clients like Wells Fargo and Epson. Theatrically, she’s known for films such as the star-studded 10th & Wolf and the drama Beyond the Farthest Star. Between her impressive body of work and decades in the industry, Armstrong has a lot of knowledge to draw from when it comes to answering questions on etiquette. Actors, take note.

 

What etiquette should actors keep in mind when reaching out to casting or keeping in touch? 

As far as building a relationship with a casting director and staying in touch with one, social media is super easy. I happen to be very old-fashioned, though, in that I like the personal touch of receiving a card in the mail. A photo business card should be enclosed because I want to be able to associate a face with a name. Every casting director has their preferred method of communication, whether it be snail mail, social media or email. But regardless of how they’re doing it, actors should keep in mind the rate at which they reach out. It should not be every week or every single month. Holidays are good opportunities for actors to send a note, and they can be used as markers so that actors aren’t reaching out too frequently.

 

How about in the audition room? 

Be professional. If you were interviewing for a corporate job, you would dress for the position and have a professional air about you. It’s a good analogy for an audition. You have to keep in mind that your agent promotes you to us, but we have to promote you to our bosses, the director and the producer. And this applies to self-tapes, too. Some actors don’t treat them with the same importance as in-person sessions. Between services you can pay for and the ability to inexpensively set up your own home studio, there’s no excuse for crummy video. That includes distractions, like dogs running around or a TV playing in the background. A poor-quality submission relays the message that you don’t care about the opportunity. Also, send your self-tape in as soon as possible. That allows for any redirects I might want you to make on it, and then you have a buffer in case of any technical difficulties. 

If given the opportunity for an in-person session, always take it. Each time you come in for an audition, you’re building a relationship and a rapport with that casting director.  Be the kind of person that somebody would want to be stuck with on set for 12 hours. Avoid loose chatter in the room. I’ve had people go into personal details during a session, such as how their divorce is going. That crosses the professional line. Keeping things professional in an audition means: You are pleasant when you enter the room, you hit your mark, you say your lines, and you leave the room when they have what they need. 

 

What about after the session?

I advise hanging out in the waiting room for a little bit. A lot of times, actors rush off after their auditions. But if you’ve really nailed it, especially if it’s a producer’s session, you want to hang back for a bit to really make sure that they don’t need you again. Maybe they have questions for you or want to give you an extra page. But if you take off and leave the building, we’re not going to chase you down. It’s happened more times than I can tell you, where the director has said, “Can you see if they’re still here?” I’ll go out into the waiting room and find that they’ve pulled a Houdini. They’re gone. 

 

What should actors keep in mind after booking a project? 

If an actor wants to express gratitude, a simple card is appreciated.  If you want to send a gift, don’t make it too big. I’ve gotten really expensive, extreme gifts in the past, and it makes me feel uncomfortable. But I’ve also gotten some really unique things that are simply thoughtful. For example, someone sent me a packet of seeds in the spring that was enclosed in a card with the message, “Thank you for helping me grow my career.”

 

Anything else on etiquette that actors should know?

I think the way you view casting directors is so important because it affects how you carry yourself in the audition room, as well as the way you interact with casting in general. The casting director is there to help you be the best that you can be. If the actor can simply change their perspective and see us as their helper, it will create the most positive paradigm shift in their career. A casting director can be your greatest asset if you just remain open to suggestions. We want you to be wonderful, and we will make our best attempt to help you deliver your best performance. There is no need for nerves or fear of judgment — we are your ally, not judge and jury.

Actors can keep Armstrong’s etiquette lessons in mind the next time they audition or submit a self-tape. They’ll know the best practices to follow when reaching out to casting directors or thanking them for a booking. And through all of their interactions with casting, actors can remember that the people behind the profession are rooting for their success. Put these lessons from Armstrong into practice to become a star student of “Actor Etiquette 101” and perhaps one day, a star of the screen.

This interview has been edited and condensed.

 
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