Casting Without a Net

My Process for Sweet Nothings

Making a film is both exciting and terrifying. Casting is an area I have experience in – having worked for both a talent manager and a casting agent. But doing it for my own projects, that’s a more intimidating beast.

Sweet Nothings is my first short film in a long while. I don’t have a huge team or big resources. I know it’s a small cast, and I guess the good thing is I know what I’m looking for: people who are prepared to collaborate and build something together.

APPROACHING CASTING

Be Upfront About What’s Involved

My casting calls include a logline, genre, tone, character descriptions, and what I can realistically offer. If there’s pay, I say so. If it’s just credit, meals, and footage, I say that too.

Actors deserve clarity. If they know exactly what they’re signing up for, they’re more likely to bring the right attitude—and avoid disappointment later. Transparency also helps weed out people who aren’t a good fit.

The Friendly Filmmaker recently published a fantastic live stream soup-to-nuts guide on putting together cast and crew calls and it’s well worth the watch

Keep Submissions Simple

I don’t need a polished reel. For early auditions, I’m happy with self-tapes shot on a phone. I send over short sides and ask actors to turn something around in 1–3 days. That’s it.

I’m not trying to waste anyone’s time (including mine). I just want to see how someone connects to the material, no bells or whistles required.

Don’t Overthink the Look

This one’s tough, especially when you have a certain “vision” in your head. But I try not to fixate on hair, body type, or small physical details. If someone walks into the role with presence and energy—even if they’re not what I imagined—I’m open.

The right actor might not be the one I pictured. And sometimes that surprise is what makes the film stronger.

AUDITIONS

Using An Unpolished Script

One of the things I want to do for auditions this time around is using sides from an unpolished script. Actors bring their own take on the material, and sometimes they’ll see things I haven’t.

It also leaves room for improvisation and discovery. Some actors come up with ideas I hadn’t thought of, while others ask questions that make me rethink the scene. That early collaboration is crucial, especially when the project is still taking shape.

If something doesn’t work in the script, better to find out now than on set.

Test Direction, Not Just Talent

If someone sends in a great first take, that’s awesome—but I’m more interested in how they respond to a note. I’ll usually follow up with a small adjustment: “Try it like you’re keeping a secret,” or “What happens if you smile through the line?”

I want to see how they take direction. That tells me more than a perfect first read ever could.

Chemistry Is Everything (Sometimes)

For roles that involve a lot of interaction—especially romantic or high-conflict ones—I hold chemistry reads. These can be over Zoom but I really prefer in person. The goal isn’t to get a perfect scene; I just want to see if two people can listen, react, and spark something real.

If that chemistry isn’t there, no amount of acting skill can fake it.

Follow Up with Everyone

I make it a point to follow up with every actor who auditions. Someone once told me it old fashioned and maybe I am but there’s nothing wrong with being kind and courteous to people who made an effort to submit to my project. Even if it’s just a short “thank you,” I want folks to know I appreciated their time and effort.

If someone isn’t right for this project, that doesn’t mean they won’t be right for the next one.

WORKING WITH ACTORS

Make Your Cast Comfortable

Once we’re working together, my focus shifts to making sure the cast feels safe and comfortable. I try to check in often, especially during scenes that are emotionally or physically vulnerable, including any intimate scenes.

Sweet Nothings has scenes that require close physical contact. Because of that, I prioritize clear communication, consent, and respect for boundaries. But I also have budgeted an intimacy coordinator as I believe that creating a space where everyone feels safe, supported and heard is key to making sure those scenes are handled with care.

I try to create an environment where actors feel supported and able to take risks. When people feel safe, they’re more likely to give you something real—and that makes all the difference.

Collaboration Over Perfection

This is not a big-budget set. It’s a passion project. That means I’m not looking for the “perfect” actor—I’m looking for someone who wants to build something with me. Someone who’s down to experiment, roll with changes, and maybe even wear more than one hat if it comes to that.

Finding The Fit

If you’re making your first film (or your first one in a while), and casting feels intimidating, know that it’s okay not to have all the answers. I don’t either. I’m learning what works, what doesn’t, and how to build something meaningful with the tools I’ve got.

So far, being honest, clear, and open to collaboration has gotten me further than trying to fake like I know it all.

If you’re an actor, a fellow filmmaker, or just curious about the process—thanks for following along. And if you know someone who’d be a great fit for an indie short, feel free to reach out.

Let’s make something together.