How We Role: A Podcast for Actors by Casting Networks
How We Role: A Podcast for Actors by Casting Networks, breaks down an actor's journey, one topic at a time. Join award-winning actor, writer and host Robert Peterpaul alongside industry talent and experts as they discuss how to build a successful career as a performer and beyond in the entertainment industry. From inspirational casting stories to practical advice on the craft of acting, tune in to expand your skill set and book that role.
Discover fresh casting calls at castingnetworks.com.
How We Role: A Podcast for Actors by Casting Networks
How to Take an Acting Note & Make it Soar with Casting Director & CGA President Thea McLeod
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What's the best way for actors to work with casting? Casting Director and CGA President Thea McLeod joins How We Role to share practical advice on enhancing this collaboration in a digital age. Thea and host Robert Peterpaul talk mindset, self-tapes, notes, and the small professional choices that make you memorable for the right reasons.
Thea McLeod is one of Australia’s most respected casting directors, widely recognised for her extraordinary eye for talent across mediums.
For more than fourteen years, Thea served as casting director of the long-running and beloved soap opera Neighbours, helping to launch and nurture generations of performers from Margot Robbie to Liam Hemsworth.
In recent years, Thea has expanded her creative reach into producing, working on the Netflix original Measure For Measure, starring Hugo Weaving, which received multiple AACTA recognitions and widespread critical praise. Thea is currently casting Guy Pearce's highly anticipated supernatural thriller Poor Boy in addition to other ventures.
A tireless advocate for her profession, Thea is in her fourth year as President of the Casting Guild of Australia. She is also the founder of the AACTA Young Stars initiative, helping create real pathways between emerging talent and world-leading casting directors.
Together, Thea and I explore the ins and outs of the the actor-casting director dynamic. She graces us with a treasure trove of wisdom from specific self tape tips to how to really take an acting note. Be sure to share this one with an actor friend!
This episode is a treasure trove of creative wisdom, covering:
• How creatives can thrive with a community-driven mindset.
• Tips for protecting your mental health in an unstable business.
• How to make strong acting choices while staying true to the script and tone.
• Little self-tape upgrades that make a big difference
• Why receiving notes is a good thing and how you can really take them in.
• Understanding talent negotiations and timelines.
• On-set etiquette: punctuality, preparation, and respect for every department
• When social media matters and how it can function as a marketing tool, plus much more.
This is - How We Role. Discover fresh casting calls at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
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Welcome And Why Casting Matters
SPEAKER_01Hi, I'm Thea McLeod from McLeod Casting. I am the president of the CGA in Australia, and you are listening to How We Roll.
Thea’s First Casting Jobs
SPEAKER_00When it comes to working in entertainment, there's a lot of hows, and they all boil down to how we navigate this wild industry. While how we follow our dreams is uncertain, how we roll along the way is in our hands. Welcome to How We Roll, a podcast for actors by casting networks. Hello, fellow actors. It's your friend Robert Peter Paul back on the mic. In this episode, we uncover answers to multiple hows on the craft and business of acting as we break down how actors can best collaborate with casting directors in this digital age. As we close out Women's History Months, we're joined by a history-making creative from across the pond. Casting director, Thea McLeod. Thea McLeod is one of Australia's most respected casting directors, widely recognized for her extraordinary eye for talent across mediums. For more than 14 years, Thea served as casting director of the long-running and beloved soap opera Neighbors, helping to launch and nurture generations of performers from Marco Robbie to Liam Hemsworth. In recent years, Sia has expanded her creative reach into producing, working on the Netflix original Measure for Measure, starring Hugo Weaving, which received multiple AACTA recognitions and widespread critical praise. Sia is currently casting Guy Pierce's highly anticipated supernatural thriller, Pork Boy, in addition to other adventures. Porkboy is what I say to myself when I don't book. A tireless advocate for her profession, Thea is in her fourth year as president of the Casting Guild of Australia. She is also the founder of the AACT Young Stars Initiative, helping to create real pathways between emerging talent and world-renowned casting directors. Together, Thea and I explore the ins and outs of the actor-casting director dynamic. She graces us with a treasure trove of wisdom from specific self-tape tips to how to really take an acting note and make it soar. Be kind and share this one with a friend. You can also be kind and join us on social media for more conversations and behind-the-scenes content at Rob Peterpaul and at Casting Networks. There you can submit your house for a chance to be featured on the show. Now, without further ado, here's how we roll with the actor casting director Dynamic, featuring casting director Thea McLeod. Hello, Thea. Thank you so much for being a guest on How We Roll Today.
SPEAKER_01Oh, thanks so much for having me. It's such a pleasure to be here. It's great.
SPEAKER_00Well, like I said before we started recording, I should be saying good morning because I think it's 9 a.m. over there in Australia.
SPEAKER_01Gorgeous. It's so lovely. We're so lucky here.
SPEAKER_00So we're doing sort of a casting and coffee conversation today. Are you a coffee drinker?
SPEAKER_01Yes, I do actually have my coffee here.
SPEAKER_00I love it. That's perfect. It's 5 p.m. over here, everybody, but I probably still need coffee because I don't know what my brain is whirling around today, probably because I'm so excited to talk to you and honored to have such a wonderful leader in this industry on the podcast today to break down the partnership between actors and casting directors.
SPEAKER_03Beautiful.
SPEAKER_00Which is super fun.
SPEAKER_03Yeah.
SPEAKER_00So to start, Thea, what was your very first job in the entertainment industry?
SPEAKER_01Um, well, oh my gosh, that's taking me back a little bit now.
SPEAKER_00Um Yeah, what's the first gig?
SPEAKER_01I actually started out in London in the old days. I fell in love with a guy and moved to London as an actress, actually. And I went over to London. I got into casting in London and I started casting commercials, really. So in that commercial, crazy living, you know, in London and that buzzy sort of Soho vibe of doing things. So I guess my first job was sort of gosh, what would I can't remember what commercial because we were doing like millions of them at the time. Um but I was lucky enough to live in London for 11 years, and that's where I got into casting. So pretty much even street casting, you know, like I remember going to markets and trying to find people and doing all that fun sort of discovery talent, which was really good, you know.
SPEAKER_00So did people believe you when you did that? Did were people sort of taken aback?
SPEAKER_01Yeah, but sometimes you'd have to like really convince them, and I'd be doing like, you know, added ass campaigns or Coca-Cola or whatever, and you'd be going to them and you know, but obviously I'm you know quite, you know, I I'm quite I I love people, so I love approaching people and everything. But it was full like old school, you know, you'd get the Polaroid camera, you'd take a photo of them, and then you know, clip it to the thing, get them in for a casting, and oh my god, that was where I began.
SPEAKER_00I love that. I just heard an interview with Jennifer Lawrence talking about that's how she got her start, a Polaroid of her taken in I think Union Square in New York City. Exactly.
SPEAKER_01Oh my god, and and we did that, like that's what we used to do. And like I'd be on like, you know, on the underground, or I'd be like, and you'd always have like your Polaroid with you with your little casting form, and you'd like spot people, and then you'd go to all sorts of like weird gigs or drama schools, or you know, it was like that in those days, you know, got a sad.
SPEAKER_00Do you miss that a little bit? It seems like such a fun adventure to have that running around human first.
SPEAKER_01Yeah, I do. And um, but you know, I guess it's that that journey and doing it, and but I've still got a bit of that in me as well. Like I do kind of, you know, just sort of check out people, and then I'm like, oh my god, that person would, you know, so you you never lose, I don't reckon, you know. So fun part about our job. But yeah, that that but it was really hard work, like it was the really you know, discovering those. But that was different, different landscape, really, you know.
SPEAKER_00Yeah, gorilla casting. And I know some projects still call for that, right? Going to certain regions and walking around.
SPEAKER_01And we have to, especially when you're looking like, you know, obviously there's so many different projects and different briefs, and I think that makes it really exciting. And like, you know, you might be trying to find young kids or people with different backgrounds or you know, different experiences, or you know, and that I love that challenge. I think it's really exciting. Um, and particularly when you get those people in the room and they've never done anything, or maybe they're a bit bra and you know, getting that performance out of them. That's that's really fun.
SPEAKER_00Yeah, and I imagine you have such an empathetic eye to you because some of my favorite casting directors are the ones that started out as actors. You know, you have that perspective under your belt. Yeah. And flashing forward now, I mean, you're not just a casting director, which is amazing in itself, but you are the president of the casting guild of Australia. Okay, bowing down here to the president. Looking at that empathetic eye, what is your philosophy as a leader before we sort of get into the nitty-gritty of the topic?
Leading The Casting Guild
SPEAKER_01Well, I guess I mean, I've been so lucky to be in the in this position for four years now. And I guess it's like all about, you know, working together, bringing casting directors together and agents and actors, and you know, we're all on a common sort of path, and we want to work together because that's what it's all about, you know. So I guess it's about, you know, looking after each other and supporting each other. Because sometimes as a casting director as well, it can be a little bit isolated because you're working in your own little thing. So we were lucky to create the casting guild from scratch in Australia um years ago, and then work together to do that. And um, I think it's about supporting one another, you know, and you know, with looking after actors, but also, you know, building the bridges as well together with like agents and casting, because we should be looking at all three together. So but um it's a real privilege to have this position and work, you know, with all these amazing casting directors in Australia. So yeah.
SPEAKER_00Well, they are lucky to have you because I think that community mindset is so needed in today's world. And I wonder the community of casting directors certainly there must be a different sort of buzz in the air right now with all the recognition that you're finally getting in regards to the Oscar. How does that feel?
SPEAKER_01Oh my god, it's so exciting, and you know, we've again like in Australia, similar to you know, the Oscars and everything, not so long ago, we got the actor awards set up here, which is great. And then originally it was just one casting award, then we got it split into like film and TV, which was really nice, and having that, and then now with the Oscars and everything, you go, my God, finally, because obviously we I mean, we all believe and we know we are so important in that whole jigsaw puzzle of any production, and having the like cast and working with directors and producers to find that magic is so important, and to be finally recognized for it is like incredible, you know. So, I mean, it should have happened years ago, obviously.
Mindset And Mental Health
SPEAKER_00I think so too. Yeah. Repost that. Yeah, yeah, yeah. I'm so thrilled for all of you. And looking at the jigsaw puzzle, I guess right now, let's get into talking about the puzzle pieces and the puzzle makers. So I think of you as the puzzle maker, the puzzle pieces we'll say are the actors to continue this metaphor that I'm just running with today.
SPEAKER_03Yeah, yeah, yeah.
SPEAKER_00I think to me, everything starts and ends really with how we take care of ourselves. And I know that you're a huge mental health advocate. Yeah. In this up and down business, just first of all, what's your advice on trying to maintain a healthy mindset?
SPEAKER_01Well, I think, you know, coming from an acting background, it really does help. I think as an actor and um knowing that, you know, my friends are actors and my family and my husband and everybody, like, you know, I've grown up in that world. And I think it's really hard because, you know, mental health is so important and it is really hard. But I think it is about not putting too much pressure on yourself, looking after yourself. And I mean, the thing is, is just enjoying the experience of like, say, with the casting, don't think of the end result, just enjoy that experience and be in there in that moment and you know, put that tape down, or if you're in the room meeting those different people is really important. The fact is, it's not about that one role, it's about multiple roles, and we don't forget actors, you know. It's kind of like there's been so many times where it's like, you know, I've loved that actor for the role, but you know, it just wasn't the right fit within that puzzle, you know. Um, so I think it's really important to, you know, look after yourself and you know, it's you know, it's really hard, I think. You know, you've got to remember to, you know, it's all those things in in everyday life, you know, just debris, like, you know, being fit and healthy and well, and having that support network around you and being open and you know, talking to people and like, you know, believing that the casting director is actually your friend, you know, we want you guys to do a good job, you know. So I think that's really important because I I know that as an actor when I was younger, I it was it was scary, you know, and it is everybody gets nervous for actors at every different level. But it's like at the end of the day, we want to be you we want you all to be amazing and brilliant. So then, you know, our directors and producers are spoiled for choice, and then we're like incredible casting directors as well, you know. So yeah, but mental health is so important and realizing that there is support out there as well, and there's so many different organizations, and we've worked a lot um with mental health in Australia and you know, given people those different um resources that they can use and um opening up the conversation as well because I think people do feel quite isolated at times, especially being actors or casting directors as well, and agents, because again, it is a very, you know, sometimes agents even, you know, they're working from home. You know, there's all sorts of different situations that everybody else is into. So yeah, but looking after each other.
unknownYeah.
SPEAKER_00Oh, I think that's such beautiful advice and such a common theme with how you appear as a leader, that that looking after each other, that community-based mindset. And I even look at my mindset coming to have these conversations. I'm just excited to meet a person. And it's sort of like as an actor, if I'm meeting with a casting director for a role, yeah, it immediately switches your mindset, but it's the same thing. So to just approach things with that excitement to meet another human and have a good time. Yeah, and it changes the game.
SPEAKER_01Yeah. And to learn from different people and having that relationship is so important, you know.
SPEAKER_00Well, I guess chipping away at our topic still here today, what do you think overall makes for that great actor casting director dynamic? Is there something overall that you'd like to sort of lay the foundation with?
Winning The First Digital Impression
SPEAKER_01Well, I mean, I guess uh the main thing, I mean, it's sort of like I want to get that natural sort of performance, you know, that really, you know, making people real and having that and having flexibility because a lot of the time, you know, actors learn different, you know, they've they've made choices within a script and everything, and obviously around the character and they've done their research and all of that, but sometimes actors can get a little bit stuck in their way, and it's sort of like going, no, let's just work together and have that flexibility to be able to shift it around and move it around a bit as well. I mean, I know from my experience from you know casting various productions and especially casting a show like Neighbours for God, 14 years, I wouldn't have the luxury of having a director in the room or anything like that. So actors would be working with me and like we would just sort of play around and get those takes and being able to move it a little bit and making choices and yeah, so yeah.
SPEAKER_00Well, I'm excited to talk to you about making choices and getting in the room, but I think the actor-casting director collaboration almost sort of starts digitally nowadays. And I wonder when you're looking at your lists and your casting networks profiles, how do you think actors can give a great first digital impression? What are your thoughts on that?
SPEAKER_01Obviously, you know, actors are so incredible at, you know, putting down self-tapes and we're so lucky because now it's more easy and we can, you know, search really wide and have all of that. But I think you've got to really, you know, make those choices and but be true to the script, you know. And there is that, it's that magic that, you know, when we watch a tape straight away, we're like, oh my god, that's it. Because obviously we've read the scripts and we've and you know, we've got uh a vision in our head of how we can those characters are. But I think actors, you know, are really they're doing a brilliant job of the self-tapes and you know, having that making choices, just don't be afraid to do it, you know. And I think being true to the script is really important, but I do also, I mean, some casting directors don't like it very much, but I'm opened for you know for people to like send two versions because they might just do it something where they feel that you know they've got the script and then they're like, Yep, this is it, but maybe take a little risk here and there, maybe get up, move the scene around. Don't be always feel like you have to be just like that. Like that's what frustrates me sometimes because I feel yeah, you know, I don't be scared to make those choices and send two takes, you know. But some classic directors don't like that.
SPEAKER_00No, uh I love that. A lot of people I talk to seem to accept that. And that's that's been more fun for me. Even just, you know, one take the person's in a rush, one take the person's not. I mean, it can be as simple as that. Yeah. And I I wonder for you, in looking at that script that you just talked about and doing the detective work and creating a breakdown. Do you have any advice for how actors should break down a breakdown? Because I think sometimes we can stick a keyword in our head and to your point, maybe just run to that versus, you know, being more creative.
SPEAKER_01Yeah, yeah. Well, I think it's really important to look at that breakdown and sort of see how the character is broken down within, you know, the script and everything. And you've you've read the script, like doing research and really I mean, it is a luxury. Sometimes, you know, you could be auditioning for a feature film and you get the full, like a full script, which is like incredible because it doesn't always happen. And normally on the first rounds, a lot of the time that doesn't happen. But if you do have that, making those choices is really, really important and breaking that down. But I also believe that don't get too fixated on it because sometimes people think like what is on the page is exactly what it has to reflect. But sometimes you could be like my wildcard where I've gone, no, I've actually, I mean, I've got that character breakdown from the writers and everything, but then I'm thinking, could possibly go a different way. Keep it a little bit open as well, if that makes sense. I mean, because I was working on very fast-paced TV, we had to do that a lot because I was casting advance. You know, we're shooting five episodes a week. It's like bang, bang, bang. And I would read scripts and I would look at character breakdowns and I'd be like going, mmm, maybe we could go this way with a character, or maybe we're not. And then those actors who, you know, they'll get that breakdown and they'll be like, oh my god, my agent's mad. They don't know who I am. Why have they put me forward in that role or how to audition? And then actors think that there's been a mistake or something, but it's like you're there for a reason, you know. So just play it as you, be you and be there and look at the script. And there's always things that you can relate to as well, you know, with script. And another thing, sorry.
SPEAKER_00Oh no, but keep going, please. We're here to listen.
SPEAKER_01Um, you know, with scripts as well, I think it's really important. There's always a journey, you know, there's always different moments. You it's never one note the whole way through. So find those moments, and there is always something where you can, you know, take it on a little bit of a different way. There's nothing worse than seeing a tape where it's all just like one emotion. Like it's not gonna be like, even when you're sad, you still do laugh, you know. It's like it's like when you're grieving, you know, it's like sometimes you get in the most like I know when I experience grief in life, you get in these ridiculous situations where you could be like absolutely pissing yourself off in, you know, some like ridiculous, odd situation. And it's not that you're just playing that emotion of like, you know, being really heartbroken and sad the whole time. Does that make sense?
SPEAKER_00Oh, totally. I've we've all had those moments in a hospital room where something crazy happens that's actually hilarious, even though the situation is not ridiculous.
SPEAKER_01Yeah, exactly.
SPEAKER_00Yeah, I think it's like just live. Just live in the character, is is kind of what you're saying. And I think that's such great advice. You know, you've worked on projects with such different tones. And so I wonder as we're talking about actors collaborating on the breakdown or the materials they've received. What's your advice on understanding tone? Do you have any thoughts on that before an actor does audition? Because they might make their choice and then it's sort of like would have been such an easy fix for them to just, you know, understand that the tone is actually very heightened versus very melodramatic or whatever it is.
SPEAKER_01Yeah. I think that's really important because obviously you could you do know from looking at those scripts what the tone is. I will do that though. Like, say if we had like recently I've been casting a production and you know, we really did want to make sure that it was very minimal. Don't push it too hard, don't over you know, you could have gone either way. So understanding that tone, I made sure that we gave them a little note before we, you know, obviously we did a massive round of self-tapes first. But it was really good because those actors did understand that little note that we sent through because it's really important to understand that material and you know what it's like, you know?
Self Tape Fixes That Work
SPEAKER_00Yeah. Well, then looking at those rounds, those self-tapes, those auditions, moving into sort of the audition phase of the of the chat today. I wonder, although we can certainly go left, right, wherever we want to go, I wonder, is there one common mistake, easy fix that you see actors making in self-tapes that you would like to share here today that you think is just something we can do to make your job easier?
SPEAKER_01Well, I mean, I uh it's one of those things. I mean, I do feel that I really don't want someone to be just seated in a you know, like sometimes people are just in one position and then that's it. Yeah, I mean, it can work, but I sometimes feel like there is a moment. There's something you can bring in there. So I think that's just one little technical thing. And then the other thing is as well, it's it's really logical as as to it's you know, having the right lighting, the right sound, having like if you have another which is a bit of a luxury though, but having a good reader is always great. Because you know how once you've got a good reader, your performance lifts straight away. Like I know when I'm reading in the room with people, like as soon as you it it really does really help and work, you know, and you've got enough friends and hopefully people in the industry, and doing that actually helps you as well as a performer, too, because having the opportunity to read, it's like you know, practicing, it's like a musical instrument, it's exactly the same, you know. So having a good reader, it really does enhance your performance.
SPEAKER_00That's such a great reminder in this digital world where we have these apps available to us now to just read with us that and sometimes you can't, you know, you can't find someone. Sometimes you have less than 24 hours, whatever it is, but it really is so important and just more fun, frankly, to have a human that you're talking to.
SPEAKER_01And another thing is I couldn't go on for ages about different little things. Let's do it. But um, you know, I think sometimes people overwork the scenes as well. Like, you know, and like it's a self-tape. Like if you're in the room, obviously you're only gonna do like two takes or three takes, or you know, occasionally you get multiple takes depending on what's what the whole situation is. But I feel like sometimes the the scripts get a little bit overworked, you know. And I feel like people are trying to make them perfect. Really, as a casting director, I'm trying to get a taste of you to see if you can be that person, be, you know, I believe you in that role and all of that. So I think sometimes people are really um Trying to make them too polished, it's not what we're not shooting the film here, you know?
SPEAKER_02Yeah.
SPEAKER_01I think it's kind of sometimes people put too much pressure on themselves in the fact that it has to be perfect. But I think that you'll find if you trust your instincts and you don't overthink it and you just go for it and you do it, it's that magic, you know?
SPEAKER_00So yeah, you don't want to overcook it. I love what you said about even just moving a bit more because I think we can get very confined to the little rectangle that we're living in of our phones. And the reality is if we're in the room, it's sort of the director's job, the cinematographer's job to have the blocking create the scene. But if we're in a room in an audition, we can explore the life a bit more. So I think that's such an important reminder to just even if you walk or you move a little bit, you know, versus just being rigid.
SPEAKER_01Into the scene, or, you know, you're actually on a phone when you're talking, or whatever it might be, you know, I think it's kind of little things like that because it makes it alive, you know?
How Casting Remembers You
SPEAKER_00Yeah. Well, you found so many people alive. That was a weird transition. You've brought so many people to life that you've discovered, particularly with your work on neighbors, which I think just ended in 2025. Yeah. You've been a part of discovering talent like Margot Robbie was discovered on the show, Kylie Minogue. All of this in mind, we had polled listeners for some questions for you. Yeah. And one we got is sort of linked to this. It was from at Goulet, G-U-L-A, I don't Robert Goulet. At Goulet, H999 wonders, what makes you remember one actor over the hundreds of others that are auditioning?
Notes, Direction, And Flexibility
SPEAKER_01They just, there's it's that magic where straight away, and you start to, you know, the I mean, I'm very I'm very lucky as well, because like with Casting Networks, I've got a record of every single audition that I've had, and I go back to that audition history all the time, which is because the fact is, is I really want to see what you like. I I can look at back, like say if you auditioned for me 10 years ago, I can go back and I can watch your auditions from then. Like it's kind of like this magic that someone has, and you go, We can't explain it. And I guess it's one of those things where you go, I've got to remember that guy. Like he is just there's something about him up in the role. And luckily enough, because of casting a show like neighbours, we could write in actors all the time. And I'd be like, you know, chatting with uh executive producer Jason Herbertson, and I'd be like, Okay, remember that guy. He nearly we nearly cast him as a regular, let's bring him back. And Jason was great because he would write roles in and do all sorts of different stuff, you know. So um, but it is kind of interesting because I was lucky because of the volume of actors that I would see daily, uh, you know, each week because you're casting so many different roles. And you don't forget people, you know, but I do think as actors it is really important. This is my belief though, because obviously some casting directors don't like it as much. I mean, I feel like actors should, you know, stay in touch with the casting directors, you know, reach out, you know, there's always a reason. It could be like, you know, you've got a new headshot or you're doing a theater show or you've just been in a TV series or whatever. Um, and I have a bit of a, I guess, I shouldn't say it too much, but of a bit of an open door policy. Whereas like agents will, you know, send actors profiles and stuff, but I'll have actors email me all the time, or you know, and just be like, I mean, I might not have time to respond to everyone, but I'll be like, oh my god, I've got to, that's right. I did see that guy in that show. Or, you know, there's so many actors out there. So I think being proactive as an actor is really important. And I mean, maybe it's because I come from that sort of acting background as well, where you know, you've got to look at it a little bit like a mini business for yourself, and well, it's a massive business for yourself, really. Um, and getting out there and you know, trying to, you know, stay fresh in the mind of casting directors is really important, you know, because obviously I'm putting out those briefs and I've got ideas in my mind already of who I want to see, and I'm going through like hundreds and hundreds of submissions all the time, obviously, and then cutting it down to those people. But maybe that guy just emails me on that day and I'll be like, oh my God, yeah, of course, I've got to get him in, you know. So it's one of those things where I do believe as an actor, if you can have that package together, being proactive is really important, you know.
SPEAKER_00Yeah, that's such a great reminder. My dad always says the squeaky wheel gets the oil. And I think you don't want to be squeaky about it, maybe, but I think if you're doing it in a human way, I I love that you're receptive to people reaching out to you. I think that's so special. And I wish more folks were like that. You know, it made me curious. You you mentioned that staying in touch aspect. Do you have a favorite way for people to stay in touch with you? Is it email? Is that email's social media? Okay.
SPEAKER_01Yeah, email's better than social media, really. I mean, I still get the old social media stuff. I mean, that's fine too. I d I tend not to respond as much, but it is good because obviously you could just send me a link to your profile by whatever casting platform you use or whatever. Um, so then that's really, really good. Um that's fine.
SPEAKER_00Yeah. My ADHD in my brain is like, oh, I gotta email this person out. This person, so I'm calming down. But I wonder talking about working with actors, you know, how do you approach giving notes to actors during an audition or a callback?
SPEAKER_01Um, well, I guess it's kind of, you know, obviously it depends on the material, but I'm kind of firstly I'm trying to make the actor feel really comfortable in the room because I know if I make that actor feel comfortable, they'll understand my notes and they will really, you know, listen and connect with the actor, you know. So I guess my approach is connecting with the actor and giving really simple, like not overcomplicated notes because I sometimes feel that in the room it can be really, you know, obviously it's it can be a scary situation as well. So just simple notes where we can just shift it a little bit. And I'd be doing that particularly because I want to see if you can take the direction. It might not even be for that scene or appropriate for that scene in any way, but I want the director to be able to see that you understand a note and that you can move and you can take the direction, you know?
SPEAKER_00Very smart.
SPEAKER_01Um, yeah, I think it's pretty, and I I I really it's interesting because obviously I've worked with a lot of different directors over the years, and I do believe that actors respond better to really, you know, that that kind of, you know, because I'm there with them to try and enhance their performance and giving them really simple can really help. But obviously it depends on the piece, you know. Yes. It's really because sometimes things can be a little bit complex, and then you have to and they and the actors might not have the luxury to have that background about the character. So in the room, I can then give them that background or give them a bit more of an idea of where the story's going or why it's like this and all of that. So I think as an actor really listening and being receptive to what the casting director is is saying is really important. And don't think like there's no right or wrong. It's like when you're getting to the room and you're getting to that stage. I mean, a lot of the time, I mean, I've been lucky enough where I can be doing first rounds in the room, but a lot of the time these days is is second round, or you might be at recall stage. Like there's a reason why you're there already, you know? So don't put too much pressure on yourself and just be really open and don't get too fixated on this is the way it's meant to be, if that makes sense.
SPEAKER_00Yes, phenomenal advice. I think in this day and age too, it's just such a win to get an audition. So to sort of celebrate that and lead with that mindset is brilliant. I wonder, I know there's different tones, but across the board, since you have worked on so many fast-paced projects and different uh variety of projects, is there one note overall that you give to actors that you think helps them get out of their own way? Because we may have friends listening to this podcast right now about to do a self-tape and sort of looking for guidance. Is there one note across the board you would just give to actors to shake things up?
SPEAKER_01I mean, I'm always kind of like, trust your instincts. Like your gut is there, you know? Like don't steer too, it's not overcomplicated, you know? Make it real, believe in yourself. And I mean, fast paste TV, I must say, like at the uh, we're really casting the person as much as we're casting the actor because you've got to be like bang, bang, bang, ready to go. And we really do look at that person as as much as as them as an actor, if that makes sense. But I I I think don't overcomplicate it, you know? Like it it's sort of like, yeah, you're there for a reason, you know.
SPEAKER_00I'm gonna make this my ringtone. Don't overcomplicate it. That's we just we need to remember that. Don't overcomplicate. Because then sometimes you're in the room and you'll have made a strong choice, and then you'll get the note, and that was actually your instinct, and you're like, Oh, I could have just done it as my instinct. That was you know what I mean?
SPEAKER_01And it's like it, I mean, it comes down from especially like say if you're casting kids, like you really have to get them to trust like trust their instincts and do that. So it's kind of like what we lose as children a little bit, you know? It's an adult now, like believe in yourself and just be like, okay, this is it, and this is where I would be. But don't, you know, be f free to move it as well, you know.
SPEAKER_00I love that. And is it true overall that usually we were taught as actors to like notes, and usually receiving a note is generally a positive sign because it does mean they're interested in seeing how you could work with someone and usually it's a it's a good sign, right? We can dispel that it's bad.
SPEAKER_01And that's the thing, because uh if we don't give you notes, we are kind of like it could be well, obviously maybe it just totally works straight away, but it could be the other way, whereas you're just not right for that that character, you know. So I don't think don't ever like think, oh, I've done something wrong. It's like basically the fact is, is we want to see more, you know. We want to see what we can do with that note and how you take that note, you know.
SPEAKER_00So I think that's yeah, it's like an investment of more time into someone, and time is our most precious gift that we have to offer. So I think it's always a good thing.
SPEAKER_01And it's exciting when you can like see, and I mean, I'll I might get a self-tape through and I'll I'll call up the agent and be like, oh my god, I love them, but can they do do it again, but do it with this, not before whatever. Because and the fact is is I don't want to submit that first round because I felt like I know this actor really well, and I feel like they can get there. So it's really important to take that note and go, yeah, uh Thea's on my side. You know, don't don't think it's like you've done something wrong at all, you know?
SPEAKER_00Yes. And to my understanding, there's even simple things sometimes where it's like the read was was great, you're ready to submit it, but the person's hair was up, or they their makeup was different, or they're like sometimes it's like just taping it again with a different shirt on, right? Like, are there little things like that that come up?
SPEAKER_01I mean, I probably wouldn't go that technical on it, but you never know. Sometimes that is required, you know. And it could be that that simple, you know.
SPEAKER_00Yeah. I heard the story once about someone auditioning for an ABC, it might have been Grey's Anatomy or something like that, but don't quote me. And they auditioned and they weren't really made up because they were a nurse working in the ICU. And then the casting director said, Have them tape it again with makeup on because ABC it's it's glamorous, Doctor. And then the person got it. And the tape before that, everyone was like, nah.
SPEAKER_01It's funny, isn't it? Like I have had actors in here where I've got like they've I'm like, could you just bring like a few different outfits and then we can work it out when you get it what you can wear? Because it was like, you know, she needed to be have this real sort of edge to her in a certain certain way or whatever. And um, and I knew because obviously this this casting had to go to network and I I really wanted to, you know, it to go to that next level. And like we literally had it in here. I was like, like, yep, the red dress with this and that. And I was like, that works, you know, because we had to get her across the line. And I knew with a few little polishes we we could to, you know, uh persuade them to, you know, really see her in that role a little bit more, you know?
SPEAKER_00That's so generous of you. Yeah, I love that. That's just so fun. It's like we're all just playing together in this crazy business. Yeah. How do you think actors can come into this situation being open, like you're saying, and and staying true to their instincts? Have you learned any sort of exercises that you think would help people get into that more play mentality?
Questions, Wardrobe, And Preparation
SPEAKER_01Um, well, I think it's like it's kind of, I guess, a positive an attitude where you've got to realize that we're actually on your side. Like, I really believe that, you know, I want you to do a brilliant job, you know. So I think mentally knowing that straight away, it's like going, it's not an exam at all, you know. Um I think there's there's really simple things where you can be like, you know, just in your own mind. Like maybe if you are coming into the room, like I have it all the time, I can see them because I've got big windows there. I can see them sort of like coming in, doing a recce, like, hey, that's where Thea's office is, that's where the studio is, that's where I'm gonna see, you know, like and it's kind of you know, not doing that coffee in the morning because you know, you will get a little bit too buzzy on the coffee, you know. Little I mean, there's technical little things as well, like that. But I think doing all that research and making choices around the character is really important. Like, I was casting a feature film, um, Measure for Measure, which is an adaptation of like a Shakespearean play, obviously, but it's very, very loosely adapted. It was like set down in the commission flats, it was all like very hardcore, and like we had, you know, it's an incredible cast in it, actually, obviously. But um, but yeah, it was some of the actors had actually read the play as well as the feature film, you know, because they got to the last round, even though it was so loosely based on it. But in the room, that actor felt really I mean, it did impress myself and the director a lot because we were like, oh my god, he took the time to do that, even though it's so loosely based on it, as well as reading the script and then making choices around the character. It was a really interesting script as well, and hard because of that element of it. Um, and that was like so impressive. And I think that at the end of the day, though, that actor felt so much more comfortable in the room because they'd done the research, and it wasn't like we were going to quiz them. We were just sort of like, oh my god, that's like great.
SPEAKER_00I love that. The details, yeah. The devil is in the details, and so is the booking. The booking is in the details. Looking at quizzing and questioning, what are your thoughts on actors asking questions, whether it's in the room or having their agent email you questions, you know, during the process?
SPEAKER_01I think a hundred percent ask questions, but only ask questions if you really need to ask questions because there's a difference between actors just wanting to ask questions because they want to start a conversation. Do you know what I mean? Um, have that conversation anyway, but I think that you don't have to because you know, when we're when we always go, Oh, do you have any questions? It's like you can go, no, I'm fine, let's just go for it or whatever. Um you genuinely do have a question. My God, you have to ask that question. And when it's a self-tape, if you've got any question, get on the phone to your agent straight away and they will call me. And I I love it. I might be like, no, it's actually, you know, just do this or do that, or whatever the scene requires, you know. Um, I do believe that if you do genuinely have a question, you've got to do it. You've got to ask, you know.
SPEAKER_00I know. I've said this on here before, but sometimes I find myself asking for the co-star or guest star type of audition, just even what headshot was submitted, so I know what sort of look they were looking for, if it's a generic role. And it makes all the difference just to ask that question, like you're saying.
SPEAKER_01Yeah, exactly. Then you know and you get a bit of a vision of, okay, I'm gonna go like that, that today. And that's another thing which is really important.
SPEAKER_00I'm not gonna shave, yeah.
Deals, Timelines, And Set Etiquette
SPEAKER_01Yeah, yeah, exactly. But it is like I feel like you know, addressing to the character is really important just to for yourself. It's not so much like I mean, obviously it helps with the directors and producers and networks and stuff too. But the fact is, is, you know, if you are a lawyer, like obviously coming in a suit or just you know, wearing a suit when you're doing your self-tape, whatever you feel like that lawyer, you know, you've got that that vibe going on, or whatever you decide within that scene and what suits the scene. I think those simple little things really do help you as a performer. And depending on also, like obviously, I've had a lot of old school directors and producers in the time as well, over time, sorry, um, is sometimes people can't imagine you as much in that role. So it is really important to make this, you know.
SPEAKER_00Yeah, show the essence of the character. You know, I'm hopeful for you, for casting, and for actors that everybody books the job, you book the project you want to work on. Do you have any advice once there's a booking on the negotiation phase, which representation handles a lot? But if we don't have reps or even just to know, what do you think actors should know more about that part of the process?
SPEAKER_01Um, well, I guess it's a very important part of the whole process. It's one of, you know, that's half my job, you know. So it is one of those things where you need to, you know, obviously in Australia we have the MEAA, you need to be understand rates and how it works and all of that. You guys obviously have SAG. Um, but like knowing what the scale is and how it all works is really important, you know, because it is a big part of our job. And, you know, I think it's also you have to, you know, realize there are timelines that we have to deal with as well, which are really important. So like having that communication, understanding, asking questions to your agent and getting your agent, you know, to look after you and making sure that, you know, obviously, again, the casting director and the agent are working together to get this deal across the line. So it is really important to make sure that that is all really smooth, you know. I mean, luckily enough, we've uh it would be the same over in the US as well. We're lucky to have, you know, really good, pretty straightforward, you know, agreements and everything in place which you can polish up and read and you know go through via, you know, even like with the MEAA and the CAA and asking advice on any of that stuff, we're always open to it. And then if you have any issues reaching out to whatever body that you need to.
Australia’s Industry And Creating Work
SPEAKER_00Yeah, no, that's that's such great advice. And then looking at the booking, getting onto the set. Do you have any advice for on set etiquette for actors, especially with a show like neighbors, where you'd probably see people coming in and out? It's like, it's not your show, get in there, go in and you know. So, what are your thoughts on that?
SPEAKER_01Well, I think you know, you've got to be, you've got to treat it like a job, you know, be on time, like um be someone who wants to be there. And, you know, we you know who those people with attitude and stuff like that that don't last, you know. So it's kind of like where we were so lucky on neighbours because obviously we would look at the people as well as the actor because that green room is pretty small, like having 25 people in that green room over you know, it's bang, bang, bang the whole time. We'd want to know a little bit about the person and all of that. And we were so lucky that it it's such a beautiful environment. And you know, being organized, knowing those scripts and doing it, it's it's a massive part of the job, you know. So I think being on set and you know being a great person is so important, you know, because yeah, you're always remembered, you know, those people who, you know, work well with the crew, and the crew notice it just as much as the you know, every every different person, every department is so important, and having respect for every single department is really important from from the tiniest little role to the biggest role, and it is noted when you do respect everyone on set. So and I think you know, I reckon we're pretty lucky in Australia, so I think you know, you're because we've got to pretty work hard, you know, good people to be around. Um, but I think we're taught that from the beginning on film and TV sets, which is really important because you don't last long in this industry if you're not kindness, kindness, and Australia certainly has a reputation for being kind.
SPEAKER_03Yeah.
SPEAKER_00Speaking of Australia's reputation, we have a lot of listeners in Australia, but certainly all over the world. I wonder, is there a particular medium or type of entertainment or anything really you want to shout out about the market in regards to maybe why it's a great place for actors to live?
SPEAKER_01Um, oh my god, the whole of Australia is brilliant to live, you know, and the industry's thriving over here. We're really lucky. I mean, it obviously everything goes in waves, and you know, we'll be busy in the Gulf Coast, then we'll be busy in Melbourne and Sydney. And I mean, just a shout out to Australia as a whole and the whole industry. So and it is, you know, it is still hard, you know, in the film and TV industry, getting projects up, especially like independent films and all that sort of stuff. But you've just got to get out there and do it and believe in it. I mean, I also I produce productions as well, so I kind of get that side of it and I understand how every different element works from the very beginning. And you know, obviously the the film I was talking about before, Measure for Measure, I produced that as well as I cast it, which was really interesting to be a part of that process. So it's a thriving industry, it's a hard industry, but um I think you know, if you're creating stuff, and I think also as performers and actors, like don't be scared, get out there and make your own projects and do all of that and look at look at what you can create, you know. It it's really important to understand, you know, every different element of it. So if you can create your own work, I think that's really important too. And we do notice that. So yeah, I I really do encourage it. And I guess in Australia, we have a lot of access to be able to do that as well. And you know, the resources here we're we're quite lucky, you know.
SPEAKER_00Yeah, that's that's very lucky. I love that. And you you mentioned, of course, I mean, we kind of glazed over it, but I kind of okay. Also, you're a producer wearing so many hats. Can you share what being a producer specifically taught you maybe about the casting process? Because obviously that's a collaboration. It's a decision made all together with the director, with the producers, everybody. So, what's something you learned from being a producer that you were like, oh, now I kind of see why this wouldn't work or this works? Yeah.
SPEAKER_01I mean, I've been lucky enough to do it. I mean, the thing is that I produce projects with my husband as well.
SPEAKER_00So it's I read that. That's so good.
SPEAKER_01Talking about different things and stuff. But knowing from a producer, because putting that that puzzle together, which obviously we know, but it is a really, really hard thing because obviously, you know, you want to get get a film off the ground. And you know, we were lucky enough to have Hugo Weaving playing one of the lead roles in it, which was brilliant. And surrounding him by, you know, some incredible uh other cast was great. And a young uh, well, he's actually Harrison Gilbertson was. One of the um one of the leads in it, well the the lead kid in it. Well, he wasn't a kid, really, he was in his twenties, but like putting that magic together and doing those chemistry tests, and it was really hard casting, but we were so blessed to have some of the best actors in Australia doing, you know, great work. But I guess it is every different side of it. You're looking at, you know, the finances, the every different department and being on set, and you know, it's one of those things which is so complex, but I love, I mean, I I think I love the energy of it as well. And uh it it is a really fun thing to do, but it's it's a lot of hard work, but it is one of those things. Sounds like which I really enjoy as well, you know. And I guess also because I've you know, through, you know, obviously doing a lot of negoti all the negotiations on neighbours and stuff over the years and understanding all of that stuff, I'd kind of um it it did really give me a really good foundation. Um getting out there and creating your own work and being a part of it with all was incredible, you know, and understanding it as a whole and how how complex it is. Um, but when you see that magic on the screen and you know, it it's brilliant.
Casting Keywords Speed Round
SPEAKER_00You know, as far as producing goes and and wearing all these different hats, how much in today's world for you, because I know it's different for everybody, do things like social media followers and that sort of stuff factor in? Uh if it's an indie project, I'm guessing that helps more than if it's an established show like neighbors because you're trying to get financiers, but how much does that sort of carry weight?
Final Advice And Goodbye
SPEAKER_01Um, well, I think it's kind of one of those things where we call it stunt casting a little bit, like we used to over the years where, but you know what? We're always like we do now because we've got such good access to all, you know, people's social media and we'd be checking it out all the time, and there's a lot of younger producers out there and doing all of that. So I mean, it's kind of finding, I mean, at the end of the day, we're looking for the best actor for the role, but then obviously we might be casting like a personality. And like I I've done it where we have cast people who haven't had any acting experience as well before. So I think social media is one of those things that as an actor, you can choose to use it as a marketing tool for yourself. You can use it um for so many different things, and it gives you access. So it's entirely up to you as a performer of how you would like to use it. But I mean, I think it's interesting because it's giving you access to people. Um, but you know, gosh, I remember this was long, a long time, probably gosh, we're probably talking good 10 years ago, where someone had 20 million followers or whatever it was, and it was kind of like one of those things where we're gonna we do need to actually, you know, cast someone with that presence, and it was four neighbors. But then we auditioned the actress and she was like incredible. We got her some extra acting coaching, we worked with her, and it was a really good choice for the role. We did also audition other people as well at the same time, but that was one of those things where we were sort of testing the waters, and I feel like now we uh we we look at it for it just depends on the role, but we do look at it, you know.
SPEAKER_00Yeah, I appreciate you sharing all of that, and I think it's amazing. I think you're amazing, and I would love if we could play a surprise game, my friend. Yes. This is called casting keywords, and so we revamped it a little bit this season. So I'm gonna say a sentence or a phrase featuring a keyword from the casting process, and you just finish the sentence with the best piece of advice you have to offer.
SPEAKER_01Okay, great.
SPEAKER_00Okay. Okay, does that make sense? You'll you'll get it in a moment. It's pretty easy. All right.
SPEAKER_01So the most eye-catching headshots are I like the natural headshot, which is in natural light with strong, beautiful eyes, but still neutral, so I can imagine you're in all different characters.
SPEAKER_00That's good advice. Okay. My favorite actor resumes have uh links to their showreels.
SPEAKER_03Okay. Yeah.
SPEAKER_01Love that. And um a good uh body of work in film, TV, and theater.
SPEAKER_00Oh, I love that's great. When I say to make a choice, what I really mean is trust yourself. That's so good because I think make a choice sometimes. I know this is a flash round, but I never stop talking. I think sometimes make a choice gets a little ambiguous in people's heads.
SPEAKER_01So I'm starting to get the gist of this game. This is good. I love it.
SPEAKER_00Yeah, yeah, here we go. We're having fun. Okay. Yeah, yeah. You've made so much magic happen with me today, this morning, this evening, whatever coast you're on. And I would love if we could just end our time together by you sharing a gotten or a given. So the best piece of advice you've either gotten from someone or that you have to give to people in this industry. I know it's a big question.
SPEAKER_01I think my advice would be is enjoy the audition. Don't think of the end result. Think of the audition as the performance and believe that the casting director and all of us are actually on your side, you know? I think it's really important because we're always casting so many different roles, and I think actors can, you know, overthink things. So enjoy the experience and I mean have fun. I know actors don't like to say, you know.
SPEAKER_03Yeah, but I love it.
SPEAKER_01So enjoy it, you know, um, and don't overthink it. Just enjoy the opportunity.
SPEAKER_03Yeah.
SPEAKER_00Well, I've enjoyed the opportunity to talk with you, Thea. Thank you so much for your time and joining us on How We Roll. And I'm grateful that we have leaders like you in this industry who are leading with community and connection. I think it's so important. And just keep doing what you're doing.
SPEAKER_01Oh, thank you. And it's so beautiful to meet you. It's been such a pleasure to be here today. So yeah, and um, I look forward to meeting you in person, hopefully.
SPEAKER_00I would love that. Yes, I'll pop out from uh behind a tree with a holding a koala, which is my dream. Exactly. I hear they're not a kangaroo. Yeah, you'll see me popping out of a pouch, and you'll say, Oh wow, there's that little that little muppet. But thank you so much.
