In the UK acting industry, your relationship with casting directors can sometimes be even more valuable than your agent relationship. While agents open doors, casting directors are the ones who actually put you in the room. Over my career, I've made it a practice to reach out to casting directors every year or so, and these connections have led to regular auditions at new casting offices. More importantly, when I've changed agents, these relationships have carried over. Casting directors have continued to think of me and bring me in for projects. The more connections you make with CDs, the bigger and more resilient your network becomes. In this article I will discuss how to present yourself to Casting Directors as well as the question of if you should be reaching out to CD’s with emails, which you should absolutely be doing to grow your network.
The Professional Foundation: Your Self-Tape Setup
In 2025, your self-tape setup is as essential as your headshots, and the good news is that it's more affordable than ever. These days you with self-tapes the norm you put yourself at a disadvantage without some type of filming set up. Luckily, it’s cheaper than ever to do so.
You don't need thousands of pounds worth of equipment. A basic professional setup can be assembled for less than £100 and includes a neutral backdrop (grey or blue muslin works perfectly), an LED panel light or ring light with adjustable brightness, and your smartphone with a tripod mount. That's genuinely all you need to start producing broadcast-quality self-tapes.
Lighting matters more than you think. Casting directors review hundreds of tapes weekly, and poor lighting immediately signals amateur work. Position your light at a 45-degree angle and bounce it off a white wall or foam board rather than pointing it directly at your face. This creates soft, flattering illumination that looks natural on camera. Soft light from a large source is far more flattering than harsh direct lighting, which casts unflattering shadows and creates hotspots on skin.
Investment Perspective: Think of your self-tape setup as career infrastructure. At £100, it's one of the most cost-effective investments you'll make in your acting career, paying dividends with every audition you submit.
Following Instructions: The Non-Negotiable
Here's something that frustrates casting directors endlessly: actors who don't follow the brief. Jane Anderson CDG states clearly on her website that she wants screen work sent as links to Spotlight, Vimeo, or YouTube, never as attachments or downloads. Some casting offices prefer tapes edited together; others want separate takes. Some request MOV files via Dropbox; others prefer WeTransfer links.
Why does this matter so much? Casting directors process hundreds of submissions weekly. If your file isn't compatible with their system, they simply don't have time to convert it. Your tape goes unwatched, regardless of how brilliant your performance might be.
The same applies to idents. I've heard countless actors complain that doing an ident "takes them out of character" or "breaks their flow." If the casting brief requests an ident, do the ident. These specifications exist for legitimate reasons, often driven by producers or directors rather than the casting director themselves, if it takes you out of character just do it in character. Arguing against industry-standard practices makes you appear difficult before you've even met anyone.
What you're really demonstrating: When you follow instructions precisely, you're proving you're prepared, professional, and someone casting directors would want to work with again. Sometimes I audition for roles I know I'm unlikely to book, but I use these opportunities to impress new casting directors with my professionalism. The goal isn't just landing that specific role, it's getting them to remember me for future projects.
The Contact Question: Should You Reach Out?
There's conflicting advice about whether actors should contact casting directors directly. Some old-school wisdom says never to bother them. But after speaking with numerous casting professionals, the consensus is clear: strategic, professional contact is welcomed.
Nina Gold, the legendary casting director behind Game of Thrones, The Crown, and Slow Horses, emphasises the supportive nature of the casting process: "I hope actors remember that, as casting directors, we're on their side and want them to get the part. We are here to help." She adds candidly, "When they don't get the part, it's got nothing to do with the fact that they weren't good. It's because another person was more right."
Shaheen Baig, casting director for Peaky Blinders and numerous award-winning British dramas, welcomes actor contact on her website: "Actors, we welcome hearing from you but please note we may be unable to respond to you individually due to the large volume of emails we receive. Please note that all emails are read, noted and filed." This confirms what many actors worry about, even without a reply, your email has been seen and catalogued.
Sophie Holland, whose casting office has worked on The Witcher, Wednesday, and major productions with Netflix and Apple TV+, states her ethos clearly: "We cast actors from everywhere." Her team's mission is to "champion new and diverse talent and ensure the worlds we help create truly reflect the world around us."
Timing is everything. I've contacted casting directors when they weren't casting anything relevant, received a polite reply, and then been called in months later for a perfect project. Conversely, I've reached out at exactly the right moment when they were desperate to find my type. You genuinely never know, which is why consistent, strategic contact matters.
Key Insight: Casting directors actively want to discover new talent. It's literally part of their job description. Don’t be afraid to put yourself out there and make some introductions
Don't Overlook Casting Assistants and Associates
Here's something many actors miss: casting assistants and associates are the casting directors of tomorrow, and they have the ear of the casting directors they work for today.
Casting assistants often compile initial lists of actors to invite for auditions and actively scout for new talent. They see enormous volumes of submissions and have significant influence over who gets seen. A casting associate typically conducts first-round auditions and decides who advances to see the main casting director.
Targeting your introductions to the most recent addition to a casting team can be particularly effective. They're actively building their database and may have fewer actors on their radar than more established team members.
Get Repped's Casting Director Database
Building these relationships requires having the right contacts in the first place. That's where Get Repped's casting director database becomes an essential tool in your arsenal.
Our platform doesn't just provide email addresses, we maintain a comprehensive database of casting directors at all levels, from industry veterans to up-and-coming assistants. Each profile is cross-referenced with their recent projects, allowing you to personalise your approach based on their actual work.
The database includes casting directors across theatre, film, television, and commercials, segmented so you can target professionals working in your specific areas of interest. Combined with our email tracking features, you'll know exactly which casting directors have engaged with your submissions, allowing for strategic follow-ups.
The Dos and Don'ts of Reaching Out
DO: Keep It Professional and Concise
For a new introduction, your email should be brief and informative. State who you are, mention your training and key credits, and provide links to your Spotlight, showreel, and other materials. That's it.
DO: Offer Something of Value
If you're inviting them to a press night, mention the venue, dates, and your role. If you've just wrapped a television series, let them know when it's airing or share a private link to scenes. These invitations can be slightly more personal whilst remaining professional and concise.
The National Theatre's casting department states they see approximately 500 productions annually and actively welcome invitations: "If you would like to invite us to see your work, please email casting@nationaltheatre.org.uk with the details."
DON'T: Email Too Frequently
The sweet spot appears to be once every four to six months, and only when you have genuine updates or reasons to connect.
DON'T: Use BCC Incorrectly or Send on Weekends
If you're sending to multiple casting directors, always use BCC, never CC. Nobody wants their email address shared with dozens of other industry professionals. Additionally, avoid weekend emails unless you're close friends with the casting director. Everyone needs time to disconnect and recharge. Luckily Get Repped handles all this for you.
DON'T: Overthink the Response (Or Lack Thereof)
Many casting directors won't reply to every email, and that's completely normal. As Hannah Marie Williams explains, they file interesting actors away for future reference. No response doesn't mean they haven't seen or noted your submission.
The Long Game: Building Lasting Connections
Building relationships with casting directors isn't a quick fix it building a network you will later rely on for work. Some of my most valuable casting relationships took years to develop. I'd email with updates, they'd file me away, and then suddenly I'd get called in for something perfect a few months down the line.
The key is consistency without being pushy, professionalism without being stiff, and persistence without being annoying. Show them you're serious about your craft by maintaining high standards in every self-tape you submit. Demonstrate you're someone they'd want to work with by following instructions and respecting their time.
Remember, casting directors genuinely want you to be brilliant. Treat casting directors as collaborators rather than gatekeepers, invest in your self-tape setup, follow instructions meticulously, and reach out strategically with genuine reasons to connect. Do this consistently, and you'll build a network of casting relationships that will sustain your career regardless of which agent represents you.
The relationships you build today with casting directors and their assistants will pay dividends throughout your entire career. Start building them now.