appropriate vs. inappropriate avenues to solicit work

The below consists of generalized advice on what is normally considered appropriate versus inappropriate ways to “cold-call” potential clients about work. It can be easy for otherwise well-meaning actors to shoot down their chances by reaching out via an unwelcome avenue, perhaps even on the advice of a more established actor or coach!

One thing to keep in mind is that as technology changes over time, so do social norms regarding how people prefer to be contacted. For example, while physically calling someone’s office to pitch your services may have been acceptable decades ago before the Internet became more prevalent, nowadays most people prefer being reached out to by e-mail or some other less invasive manner.

Always follow a company’s preferred submission protocol if one is available!

APPROPRIATE: SUBMISSION ROSTER

Some casting directors, studios, or localization companies may have a talent roster where interested voice actors can submit their materials for consideration. As long as this roster is open and they haven’t specified to ONLY submit if you fit certain criteria, it’s safe to fill out these forms.

Do keep in mind, however, that you always want to put your best foot forward. If you’re planning on getting new demos done soon or significantly updating your home studio setup, it may be best to hold off until you’ve got everything in place.

APPROPRIATE: WEBSITE CONTACT FORM OR PUBLIC EMAIL ADDRESS

If a company or team does not have a section on their website indicating how they would prefer to receive voice actor submissions, then using the general contact form or public email listen on their website is usually acceptable (unless, of course, they specify no unsolicited actor submissions.)

GENERALLY APPROPRIATE: PERSONAL EMAILS THROUGH A REFERRAL

If someone else has referred you to a casting director or client and gives you that person’s contact information, then it’s generally safe to reach out. Remember of course that you are a reflection of whoever recommended you, so be on your best behavior!

GENERALLY APPROPRIATE: PUBLIC SOCIAL MEDIA + LINKEDIN

LinkedIn is explicitly meant for professionals to connect with each other, so it’s usually safe to send a message on there letting the casting director or client know you’d love to work with them in the future and asking if there’s a preferred method to submit your materials. Note that not every casting director will use LinkedIn beyond making a basic profile, or check their messages often, so your mileage may vary.

Other public social media sites, such as Twitter/X, Instagram, and Bluesky, may be acceptable for reaching out if the person seems open to it. Do your best to follow the vibe before sending an unsolicited DM.

GENERALLY INAPPROPRIATE: PERSONAL FACEBOOK ACCOUNTS

Avoid sending friend requests to the personal Facebook accounts of casting directors or other industry professionals you do not know. Unless you have actually worked with them or otherwise have had some meaningful interaction, they probably won’t accept a request from a stranger.

The same generally goes for reaching out on Facebook Messenger unsolicited. However, sometimes a casting director will post on Facebook asking for actors available for a rush job and allowing people to tag and refer others, so in a case like this it is acceptable to reach out via Messenger unless they ask for something different.

INAPPROPRIATE: UNSOLICITED PHONE CALLS

Believe it or not, there have actually been stories of people finding a casting director’s personal cell phone number and calling them up asking for job opportunities…unsurprisingly, those people were not hired!

Even if a phone number is listed publicly on a company’s website, forcing someone to take the time out of their day to listen to an unsolicited sales pitch is usually not welcome. By sending an email, they can review and respond at their own leisure.

Of course, if someone specifically asks you to have a call with them, then feel free to proceed to that step!

EXTREMELY INAPPROPRIATE: WALK-INS

Walking into an office or studio to drop off your demo or ask about work is considered extremely unprofessional and may result in removal from consideration of any future opportunities there. Do not show up at a recording studio unless you have official business there, such as a scheduled session or in-person callback.

REGARDING SELF-PROMOTION IN ONLINE COMMUNITIES

It’s important to follow the protocols of any online community you are involved in (Discord servers, Facebook groups, subreddits, forums, etc.) In most groups, coming in and immediately dumping your materials in chat and/or asking for work is heavily frowned upon and may even result in a warning or ban.

Some communities may have specific channels or scenarios where self-promotion is allowed, in which case you may follow any relevant instructions there, but overall it’s best to engage with a community beyond simply trying to promote your own work. You can always link to your voice acting website from your profile!

dos & don’ts of “networking”

Networking can be a scary word, but most of what “networking” comes down to is simply being a genuine human being getting to know other human beings.

It’s best not to think about the concept of networking exclusively in regards to trying to get to know people who are more accomplished than you or those who you think may have the power to cast you in something. Insincerity is very transparent, and people tend to avoid those who are obviously just looking for a leg up. In fact, one of the best ways to “network” is to get to know others who are in a similar place as you are in their journey, because you can help support each other along the way!

DO: Be a genuine person.

Be forthcoming with your intentions when reaching out—don’t attempt to befriend someone for the sole reason of hoping they’ll cast you in one of their projects. This comes off as insincere and opportunistic. It’s fine if you strike up a friendship naturally, but otherwise, it’s better to just approach them from the context of a business relationship. If you already know the person as a friend and aren’t sure how to broach the subject of wanting to receive auditions, you can simply ask them, “I heard you are doing some casting—-are you open to new talent right now, and if so, do you have a preferred method for how you’d like to receive actor submissions?” This shows that you respect their time and process and aren’t just asking for a handout because you happen to know each other.

DO: Always be polite and respectful.

Never demand work from someone or get indignant if they tell you they’re not looking for anyone right now. “Don’t be entitled or speak to a client as if they owe you work,” says Katy Johnson. Treat the animators, artists and developers you are approaching as fellow human beings, not just “opportunities”. Always thank them for their time regardless of whether or not they end up considering you.

DO: Keep demos relevant to the medium the casting director or client actually works in.

If a casting director works specifically on video games, they won’t have a need for your commercial or promo demo. Similarly, if you’re trying to pitch yourself to an audiobook client but don’t have an audiobook demo or even a narration demo, how do you expect them to get a proper idea of what you can do?

Visual reels (a compilation of work you’ve actually done, showing how your work looked and sounded in the final product) can be a great marketing tool if you are trying to pitch yourself for dubbing, animation or games.

DO: Make sure you can actually back up your skills.

Some beginner-level actors are SO focused on marketing and “how to get jobs” that they overlook what should be their #1 priority: being a solid actor. If you manage to get in front of a popular animator or developer for an audition, but it sounds like you’re recording in a tin can and your skills are nowhere near competitive with the other actors trying out, they may be reluctant to consider you again in the future. Before cold-calling indie producers, you should 1) have some type of basic acting fundamentals in place, and 2) have a decent home recording setup and environment.

DO: Keep any pitches short, polite, and relevant.

Casting directors, studios, and developers hear from hundreds of actors who are all hoping to get on their radar on a regular basis, and they don’t have time to read a novel about your life and how you got started in acting. A brief introduction, links to your materials, and a short closing statement is sufficient.

Additionally, it’s okay to be passionate, but maintain professionalism. If you approach a director or industry senior the same way a fan at a convention would, it may be harder to get them to take you seriously as an actor. Remember that they are a regular person just like you. Sincerely complimenting their work is perfectly fine, but treating them as a human being – as opposed to putting them up on a pedestal – will make them feel more comfortable around you.

DO: Have your information up to date and readily available online.

A casting director may look at your IMDB, resume, and/or website to gauge how much work you’ve done in addition to listening to your demo, or when deciding between you and a few other top candidates for a leading role. This online presence is part of your first impression, so if your site hasn’t been updated in quite a few years or your IMDB lists incorrect information, you might want to look into getting these things polished before submitting to casting directors. The same goes for your demo—-if your demo is outdated and you aren’t proud of it, it might be best to hold off on sending that e-mail with your big pitch until you get one you’re really happy with.

DO: Focus on how YOU can benefit THEM.

When you approach someone by asking for work, it can almost be seen as asking them to do you a favor. Instead, focus on what you can offer and how you would be an asset to their team or project. “When this is done well, you’re not selling a service, you’re actually becoming a helping hand. This is how marketing should be,” says Aimee Smith.

DON’T: be too persistent.

This is the #1 “don’t” that comes up again and again. You may have been given well-meaning generic advice in the past about “the squeaky wheel gets the grease”, or “you can never follow up too much!” There is absolutely such a thing as following up too much and it CAN AND WILL hurt your chances. If the answer is a flat-out “no”, leave it at that and don’t bother them again. If the answer is “maybe, but not right now”, it is okay to follow up sometime in the future when they are further along in development, but whatever you do, do NOT repeatedly e-mail or message someone asking if they have work for you.

Being an annoyance is not only one of the biggest turnoffs, but it could even result in them blacklisting you from future consideration. “If they get back to me, great. But I’m not waiting on any one answer. I put myself out there, and I’m already off to the next auditions or potential clients. And if you keep pestering any potentially interested parties, you aren’t going to endear yourself to anyone,” says Kamran Nikhad.

DON’T: ask someone why they didn’t send you an audition or why they didn’t put you on their roster.

It’s not only awkward, but straight up rude! Also, even if you ARE on a roster, there are numerous reasons why you may not have received a certain audition. It’s entirely possible that they only needed something very specific for that particular project to which you didn’t fit the profile, the client asked for them to only pitch their top selects, the client requested specific people for each role, etc. Ultimately, it’s not your business.

Ask a mentor, teacher, or trusted peer what you can improve upon in your recordings if you routinely find yourself not making it into casting pools. Otherwise, continue to work hard and excel at what you do, and it’s possible that door may open again in the future. And even if it doesn’t, there are always other opportunities.

DON’T: ask other actors to get you a connection, unless you know they’d be receptive to the idea.

If you message other voice actors you barely know asking them for a client’s contact info or asking them to “get you in” to a game they’re working on, it can be off-putting and uncomfortable. When possible, it’s best to do your own research on how to contact these clients. If all else fails – and you actually have a friendship with the actor in question – you can politely ask them if they have any tips as to what type of submissions the client prefers, but don’t demand an introduction or expect them to do your marketing work for you.

DON’T: use someone’s name as a referral without their permission.

Unless your friend has said it’s okay to mention them, using their name when reaching out to a studio or casting director implies that that person referred you and therefore endorses you. If it turns out your skills actually aren’t as up to par as you think they are, you’ve just created a bad situation for both yourself and your friend. There have been actual situations where actors used a friend’s name as a referral without their permission or knowledge, only for the casting director to come back to the friend and get upset at them for “recommending” someone who wasn’t at an industry competitive level.

DON’T: advertise yourself in response to specs you obviously don’t fit.

When people post looking for something specific, it’s because they need something specific. If they needed something else, they would ask for it! You might think this is your “in”, but it will only annoy them and clog up the submissions from those who DO actually fit what they’re currently casting for.

If the project looks great but you don’t fit the specs, consider following the page to keep an eye out for any potential future castings they have that would be right for you, or consider retweeting the post to signal boost to your actor friends who might be appropriate for the role(s).

DON’T: go behind a casting director’s back to pitch yourself to the client directly.

Many times, clients will outsource the casting process because they don’t want to deal with listening to a million demos and audition files and reading a bunch of emails from actors—-they want to hear a few selects for each role that have already been screened for quality and fit the specs appropriately. If they have trusted a casting person or studio representative to handle the bulk of this process for them, it comes off as rude and inappropriate to attempt to “sneak in through the back door”. Sometimes networking directly with clients will happen naturally, which is fine, but if you deliberately attempt to bypass the people whose job it is to find the right actors to pitch to the client, you risk making both of you look bad.

DON’T: ask a casting director to give you feedback on your auditions, unless they have offered.

Avoid asking “How was my audition?” or “Did you like the reads I sent on your last project?” Outside of the amateur voice acting sphere, it is extremely rare to get critique on an audition unless it’s specifically within the context of asking for a retake or callback. Most of the time, you will never know why you didn’t book a role and the simple answer is that the person casting felt another actor was most suited for that part.

Also, we all know that it’s easy to get impatient waiting for audition results, but please don’t ask if you got a part—if you did get the role, trust that you will be notified. Otherwise, “send and forget”!

reaching out to indie game devs

Indie projects are on the rise more than ever, and many independent animators and game developers are taking to places like Twitter to show off their works in progress. Naturally, this can also mean potential work opportunities for voice actors.

There’s even been a meme going around that went something like this:
Indie game developer: *breathes*
Voice actors all rushing to their DMs: “Hey if you need a VA I’m here, hit me up—“

Unfortunately, sometimes voice actors jump the gun by sliding into their DMs when they may not be ready for voice actors yet (or even at all). Here are some special considerations for marketing yourself to indie game devs specifically.

Make sure they’re at a point where they might actually be ready for voice actors.

If all they’ve got so far is an idea on paper or a few concept sketches, they’re almost certainly not ready to cast voice actors yet. Voice recording is generally one of the last assets to be incorporated into something like a game. Even if they’re interested, it’s likely that they won’t even remember to reach out to you once they ARE ready. What you can do in the meantime is drop a “like” and a “follow” so you can keep an eye on their progress and reach out once they’re further along.

Have demos easily available for them to listen to.

Believe it or not, some people will try to solicit indie devs without having readily available voice samples! Nobody’s going to automatically hand someone a role simply because they say “I’m a voice actor”, and if you don’t have any type of audio samples or work experience then the harsh reality is that you are probably not yet ready to be cold-calling indie devs.

Make sure the demos can be easily listened to from your website or a direct link without a lot of extra work (for example, most people aren’t going to dig through a YouTube or TikTok channel just to try to hear what you sound like.) You can say something like, “If you’re interested in hearing what I can do, here’s a link to my website so you can listen to my reels and check out my past work!” Of course, it’s still wise to send an introductory message or tweet asking first if they’re currently accepting voiceover reels/auditions before bombarding them with all your information.

Do a little bit of research on the team/company and the types of games they produce.

A generic DM soliciting work can be off-putting to a dev that only creates, say, sprite-based games that have no VO. Ideally, you’ll want to connect with devs whose work interests you in some way. If it becomes clear that you’ve never even taken a look at anything they’ve done but want them to hire you, it may be seen as spammy or self-serving.

Don’t market yourself as a “casting director” if you don’t know the first thing about casting.

It’s true that everyone has to start somewhere, and if you’re looking to get into casting, indie games or even creating your own projects can be a great way to get your foot in the door. However, there are unfortunately inexperienced actors out there who will prey on developers who have no clue about where to look for talent and charge them a fee to be a “casting director” which ends up with them just casting themselves and their best friends in all the lead roles.

If you’re truly interested in casting, you should – at the very minimum – have a diverse database of actors available to audition, be willing to negotiate for all of your actors to get paid fairly, have great communication skills, have a good (and relatively unbiased) ear as to the best fit for each part…and be willing to collaborate with the client with regards to their choices, too. Casting is an incredibly rewarding job, but it’s hard work in its own right and shouldn’t simply be seen as an avenue to get more roles for yourself and your friends.

If reaching out via social media, consider how you are presenting yourself.

If you’re tweeting or DMing prospective clients, it’s certainly not unreasonable to expect that they might click on your profile to find out a little more about you. If your profile is a complete dumpster fire filled with drama or content that could be considered offensive, they may be turned off from pursuing a working relationship.

Also, while of course not everything needs to be work-related, it’s good if potential clients at least have a general idea of what you can do based on your social media profile. Sometimes you can even “passively market” yourself by following and engaging with people whom you are interested in working with. But if your profile doesn’t even list anywhere that you are a voice actor, how are they supposed to know that? Utilize the bio and website fields on your socials to promote yourself accordingly and have an easy link to your work.

Don’t attempt to bypass the audition process.

If an indie creator holds a public casting call, follow the instructions they give and the deadlines they set. Don’t attempt to shoehorn your way in after the auditions have closed, or reach out in DM if they are asking you to fill out a form or email instead. “Despite us always holding casting calls, we are constantly getting DMs from VAs asking for work. Also our Discord occasionally gets VAs that show up, say they’re a VA and proceed to do nothing. Simply researching the project would show how we cast,” says Jacob Wilson.

e-mail etiquette

Avoid unsolicited attachments (especially .wav files!)

Nobody likes large files they didn’t ask for bloating their inbox, and in some cases it could even cause your message to be sent to the spam folder. Unless you are specifically asked to attach your demos, send them as links instead (even if you don’t have your own website, you can use a service like Google Drive or Dropbox to host and share them securely. SoundCloud and YouTube are OK too, but it’s better to give them the option of downloading your demos and saving them to a folder if they so desire.)

And if you do need to attach, please, please, PLEASE make sure your demo is in mp3 format! This isn’t a final deliverable to a client in which you need to send uncompressed audio, so there is absolutely no reason you need to attach a bloated WAV file. A high-quality mp3 is virtually indistinguishable for demonstration purposes and won’t blow up their inbox.

Personalize your message.

If your e-mail reads like a copy & pasted marketing formula, it just looks like spam. Personalize your e-mail and address the person by name (if you’re reaching out to a company and you don’t have the name of any direct contact person, then include something relevant to their specific company in your message.) Don’t add clients or casting directors you’ve worked with to your “mass marketing e-mail blasts” without permission. A holiday card is probably fine, but a mailing list for your latest fundraiser probably isn’t.

Know WHEN and WHEN NOT to “reply all”.

In some situations, replying all is expected or even required, and in others, it can be disastrous. Here’s a pretty foolproof way to tell whether or not an e-mail needs a reply-all: Look at who else is CCed on the e-mail.

REPLY-ALL if: The other recipients are people who need to be on the e-mail chain in order to be kept in the loop. For example, if you get an audition from an agency, they might have multiple agents and/or assistants CCed and you will be expected to reply all so that everyone receives your file. If you are responding to a studio booking, they might have several important people CCed including the project manager, casting director and receptionist—-all of whom need to stay up to date.

DON’T REPLY-ALL if: A bunch of actors are CCed on an audition e-mail or cast update e-mail, and your response is only relevant to the original sender. It’s good etiquette on the part of casting directors to BCC everyone when sending out an audition, but sometimes people forget or simply aren’t aware. If you reply all to an audition e-mail with 50 actors CCed, that means 50 other actors get their inboxes blown up with YOUR audition files, which is 1) awkward, and 2) irrelevant to them. Same goes for replying-all to a full cast e-mail with “Thanks for the update!” or something of the sort—-there is no reason the rest of the cast needs to receive that message and if too many people do it, it starts getting spammy.

Read over your message before hitting send.

From embarrassing autocorrect or copy-paste mistakes to misspelling someone’s name, it never hurts to read over your e-mail before sending it off, especially if this email is your first impression with a new client or casting director.

Keep your “From” field and display name identifiable and professional.

Still intent on hanging onto that “cooldude202” Hotmail address from high school? That’s fine, but save it for your personal use or as a secondary address to use for online purchases and mailing list subscriptions. When it comes to professional business correspondence with paying clients, you’ll want to use your first and last name (or whatever stage name you use for your professional credits) in the From field so that your clients can easily identify who the e-mail is from. For the actual e-mail address itself you can get a little more creative if you so desire, but keep it business-appropriate – “narutofan1990” looks amateur as opposed to, say, “kayla.sanchez”, “kjsanchez” or “kjsvoiceovers”. It’s not a big deal for hobbyist/fan projects, but once you start using your e-mail address for important work endeavors, you’ll want one you’re not embarrassed to print on your business cards.

Email address you want is already taken? Try creative variations—-for example, if you have a common name like John Smith, you could try “johnsmithvoice”, “jsmithvoiceovers”, “johnsvoice”, “johnsmithvo”, etc. If possible, it’s best to avoid numbers at the end as it can be easy for people to mistype them or mix them up.

etiquette regarding rates & payment

Never, ever offer to do a paid job for free or cheaper if it means you get the part.

This is extremely unethical behavior, and some indie creators have said they will even blacklist amateur actors who do this. Offering to undercut your colleagues to give yourself an edge in getting the role insinuates that 1) you are so desperate to work that you’re willing to bribe people, and 2) you don’t think your work is good enough to be worth charging for. If you truly just want to voice act and don’t care about the money, consider auditioning for some of the many unpaid hobby projects instead.

Don’t use your “low prices” as a selling point.

It’s considered highly unprofessional – not to mention tacky – to promote your work by saying that you can do it for cheaper than your peers. Rates can be discussed once a baseline of interest is already established (and many projects will have set hourly or per-line rates anyway), but advertising that you’re willing to work for less than the generally established rates basically communicates to your potential client that your work isn’t good enough to be worth the same amount as the other actors they’re hiring. It’s better to wait to discuss pricing until they’ve already shown interest in having you audition.

Don’t “bait-and-switch” when it comes to pay.

If a rate is clearly stated in a casting notice, and you submit an audition, it is assumed that you are agreeing to work for that pay rate. If the casting director submits you to the end client and you are offered the job, but you then suddenly tell them you won’t do it unless they raise the pay or change the union status, it puts the casting director in a bad position because they now look like the “bad guy” to their client. It can also make YOU as an actor look bad to the client, especially if they have to delay production on account of this. (Negotiating terms for future work past the initial installment is a different situation, and will depend on the circumstances of the project.)

Avoid dogpiling indie creators on social media about rates.

It’s best to give the benefit of the doubt, at least initially. Plenty of indie creators have never worked with voice actors before, and may not be aware of how to pay appropriately. Also, they may be self-funding or working with an extremely limited budget, and genuinely can’t afford to pay industry standard or union rates. You can always politely reach out to ask if there’s any way the rate can be negotiated (and link to the VAC Indie Rate Guide if they seem receptive to it), but otherwise, it’s best to simply ignore and not submit if the rate is not acceptable to you. Piling on to bully a small creator can end up turning them away from wanting to work with voice actors in the future.

If approached directly by a client whom you previously worked with through a casting director or studio, avoid undercutting if possible.

Sometimes, clients may approach actors they like directly for future bookings for any number of reasons. Please remember that the casting director or project manager likely fought to negotiate the proper rate for their actors and if you’re willing to go cheaper simply because the client approached you directly, it encourages this behavior. Not only do you end up hurting the casting director or studio who worked to get you your fair pay (and they may not work with you again if word gets back to them), it can hurt the other actors on the project who don’t care to underbid.

Similarly, if a project has previously paid industry standard rates and then switches studios in hopes of getting the work for cheaper, you should stick to the previous rate you were already getting paid before.

Of course, there are always niche situations where you might want to do a one-off favor to a studio who’s otherwise been good to you or they just need something urgently, but always use your best judgment—if the client’s intent is to undercut, it’s usually transparent.

referrals + recommendations

Whether or not you believe in karma, if you are generous when you have the chance to open doors for others, people tend to do the same for you. If the client mentions they are looking for additional voice talent and you know someone who would be perfect for one of the roles, it usually doesn’t hurt to ask if you can recommend them. However, there are a few guidelines to keep in mind when it comes to referring other actors.

Don’t give out e-mail addresses of studios or casting directors unless that information is already publicly available online.

These people tend to be very busy and may not want their e-mail inboxes inundated with demo submissions and messages from people hoping to get their foot in the door on a project. If you want to recommend a friend for something (and can vouch for both their skill and professionalism), YOU should be the one to send an e-mail on their behalf, and then it’s up to the recipient to reach out if they so desire. Don’t simply pass the casting director’s email along to your friend and assume it’s okay, unless that email is listed on their public website. If a friend or aspiring actor asks you for a studio’s contact information, it’s perfectly acceptable to say “I don’t want to get in trouble for giving out that information. Why don’t you look on their website and see if they have a contact form you can try?”

Remember that whoever you recommend is a reflection of you, and vice versa.

Before recommending someone for a professional job, you should be relatively certain that they are a skilled actor who is able to take direction and conduct themselves properly in the booth. If they end up being difficult to work with or breaking NDA, the casting director or client may regret having listened to your recommendation—and it could potentially even sour their opinion of you.

The same goes in reverse: If you miss deadlines for no good reason or ask for more money after payment contracts have already been signed, the end client may go back to the casting director and say “what were you thinking, hiring this person?” If the end client is being unreasonable, a good casting director will often be willing to go to bat for a good actor, but if you’re the one being unreliable or demanding then it puts whomever hired or referred you in a negative light, and they may hesitate to do so again.

Resist the urge to recommend people just because they’re your friends or you think they deserve a “leg up”.

Casting is first and foremost a business, and the ultimate goal is to make a great end product. While it’s okay to refer a friend if they’re truly a great fit for an audition or job, some actors will notoriously and repeatedly attempt to get their friends in the door of a studio even if said friends aren’t yet ready or professionally competitive. In turn, the casting director or studio may be reluctant to consider this person’s referrals in the future.

While it’s impossible to fully predict every situation, recasts cost a studio and client time and money. It’s important to think twice about doing a favor for a friend who is new to the business whom you’re not truly sure you can vouch for yet.

Avoid inundating a casting director with unsolicited referrals if you’re working together for the first time.

Unless there is language in the casting call indicating that referrals are encouraged, it’s generally best practice to be conservative with them if you’ve never worked with a certain casting director or studio before. After all, if they don’t know you, how do they know they can trust your word? Once you build some sort of rapport with them, you may feel a bit more comfortable passing along a recommendation.

Never forward confidential audition sides without express permission.

Auditions sent to a closed casting pool are almost always considered confidential, and should not be forwarded to others unless stated in the e-mail that you are permitted to do so. If you have a friend whom you know would be a GREAT fit for a job but isn’t on the casting list, you can give the director that person’s information and it will be up to them to reach out—-don’t give your friend the audition sides or the director’s e-mail unless they say it’s okay. It will look bad on both of you otherwise.