Self-tapes, preparation and different perspectives on your audition.
One person says you should know every line by heart. Another says it's fine to have the script with you. Some want a neutral background, while others prefer a setting that supports the scene.
That's where this guide began. I wanted to bring together what casting directors themselves say and look more closely at both the advice they agree on and where their opinions differ.
Different casting directors may offer different advice. You need to understand the context in which each piece of advice applies.
What do you need to get right? What depends on the role? And what comes down to personal preference? Here you'll find their reasoning and links to the sources. My practical takeaways are labelled Lindberg Showreels.
Start with the instructions for the job. Use this guide to understand what your material needs to show.
Mats Lindberg
Matt Newton – actor and acting coach. Matt Newton gets straight to the point: prepare, understand the scene and stay open to changes.
An audition can also be the beginning of a longer relationship with casting. It's about more than one job.
Watch the video on Backstage ↗This is close to how I see it myself. Do your work properly, but don't let everything depend on a single decision. Give them a reason to want to meet you again.
Read the brief before you start recording. What role are you auditioning for, and what material are they asking for?
She stresses that you should read the casting invitation carefully, not just skim it. [7]
He emphasises preparation: get to know the scene and come well prepared to your audition. [2]
Write down what the brief asks for. If anything essential is missing, ask your contact person or agent.
Casting needs to be able to see and hear you clearly. [7]
She's looking for a character and a clear acting choice. [6]
She wants to see you listening and reacting to your scene partner's lines. [8]
Start with these fundamentals. Then consider any specific requests for this role.
Lande stresses the confidence that comes from knowing your lines. Moiselle recommends learning them by heart for a self-tape. [1–2]
At a first meeting, she doesn't insist on full memorisation. Expectations rise when an actor is called back. [3]
Marci Liroff's advice concerns a first meeting with her. If your casting brief tells you to learn your lines by heart, follow that instruction.
When you don't have to keep looking at the script, it's easier to listen and take direction. [3]
He links preparation with confidence and the freedom to follow direction. [5]
Are you able to connect with your scene partner, or is all your energy going into finding the next line?
She describes an audition as a rehearsal or a rough draft. She wants to see how the actor's energy meets the text. [4]
He emphasises preparation and a willingness to listen, stay present and take direction. [5]
Make a well-considered choice and be ready to change it. They're emphasising different aspects of the work.
Even a role with few lines can have a clearly defined character. [6]
A bold choice doesn't have to be bigger or louder, he says. It should be specific and serve the text. [5]
Decide what your character is trying to get from the other person in the scene. Let that guide your performance instead of adding mannerisms just to stand out.
Your scene partner's lines give you something to respond to. They can change what your character thinks, wants or is trying to hide.
She warns against turning the scene into a monologue with interruptions, where the actor simply waits for their next line. [8]
Watch the moments when you're silent. What happens to you as the other person speaks?
A reader – someone who delivers the other character's lines – helps bring the scene to life. They don't need to be an actor. [8]
They emphasise the value of a good reader who doesn't draw attention away from your performance. [9]
A reader helps, but isn't an absolute requirement under UK industry guidance. If you need help making arrangements, get in touch. [10]
Lauren Evans recommends a clear eyeline just to the side of the camera and warns against turning too far into profile. [7]
This small diagram shows a common setup for a dialogue scene. If the brief asks you to look into the lens or use a different framing, follow it.
She advises against getting caught up in the cost of cameras and backdrops. A clear image, good lighting and strong acting choices matter more. [6]
He emphasises correct framing and lighting, and recording in landscape format for his self-tape work. [2]
Record a ten-second test. Can you see your face? Can you hear the lines? Fix any distractions before recording the whole scene.
She suggests a calm recording space with a plain wall behind the actor. [1]
He's open to settings such as an office desk or kitchen if the surroundings genuinely support the scene. [5]
Choose a simple background unless the brief asks for something else. Any setting should serve a purpose and mustn't make your performance harder to see.
UK industry guidance for drama favours simplicity. Actors generally shouldn't be expected to provide props or turn their home into a set. [10] My practical approach is that clothing can suggest the character without requiring a full costume.
Ask yourself what each detail adds. Does it support the situation or distract attention from you? Follow any specific requests in the brief.
She strongly objects to actors showing their hands in their introduction for a significant film or television role. To her, it signals commercial casting. [4] The same principle applies to your profile photo: keep your face clearly visible and your hands away from it. Not everyone attaches the same importance to such details. But why give anyone something to get distracted by when it's so easy to avoid?
Play it safe. Avoid small things that might distract from your audition. Follow the brief and keep your introduction relevant to the particular job.
She advises actors to set a limit on the number of attempts. [7]
Her advice is to rehearse first, then record the scene no more than three times. [7]
Three takes is Emma Sylvester's method, not an industry rule. Before recording again, decide what you want to change.
Early in the process, she prefers one strong take, possibly two. [8]
They're happy to see two versions, for example one bolder and one more restrained. [9]
The number of times you record is different from the number of files you send. Follow the brief. If you send alternatives, the differences should add something.
Show a reaction as you taste a product. Finish by looking into the camera.
Act out a dialogue with your sister. Keep your eyes on her, just to the side of the camera.
Same actor, two different tasks. These are illustrations, not industry rules. Find out what this particular production needs to see.
She's seen brilliant auditions that didn't result in a role. They were still great performances. [4]
She reminds us that casting directors don't make the decision alone. Directors, producers and financiers also influence the choice. [1]
A rejection doesn't tell the whole story of your work. You can make an impression even when someone else gets the role.
The right material? Scenes, takes and introduction. Does it play properly? Picture, sound, beginning and end. The right delivery? File name, format, access and deadline. Emma Sylvester recommends including your name, role and project in the file name. That way, the material can still be identified when it's forwarded. [7]
Label each file, not just the folder. Then check the actual file or link you're sending.
When the recipient asks for files, I put them in a folder and can send it via WeTransfer. I label both the folder and the individual files.
Folder: Mats Lindberg – Production. File: Mats_Lindberg_Production_Introduction.mp4. Check that you're allowed to use the footage before including it in a showreel. [6]
Follow the recipient's instructions. Some want a link, others want files or an upload to a casting portal.
Choose something to take with you to your next casting: a stronger connection, fewer retakes or reading the brief once more. Showreels and profile strategy are the foundation of my work. I also share practical advice on how to move forward in the industry and make use of the material you already have.
Questions about your showreel, your profile or your next step in the industry? A short conversation is usually easiest. Mats Lindberg · Lindberg Showreels
Here you'll find the original material behind the advice. The passages attributed to named people are paraphrases, while the yellow boxes contain Lindberg Showreels' practical takeaways.
The selection illustrates different approaches, mainly from film and television. It does not represent a single agreed Swedish industry standard.
