In this crazy acting world we live in self tapes are the norm for booking jobs. Casting directors see hundreds of submissions for one project, so your performance has to grab their attention right away. But creating a great self-tape is about more than technical setup it's about making bold choices that showcase you.
Mel Mack is a casting director and acting coach with over 20 years of experience. In her career, she’s seen over 500,000 auditions. As a working casting director at House Casting in NYC and creator of the Nail Your Self-Tapes course she knows the audition process inside and out. Her approach is to help actors feel confident, make authentic choices, and deliver self-tapes that leave an impression.
If you want to level up your self-tape game and make every audition count keep reading for expert advice and practical tips on how to stand out.
- What makes a self-tape stand out to you as a Casting Director? Any tips for actors to make bold, memorable choices?
A self-tape that stands out is one where the actor is fully in the moment, authentic, and not just reading lines. They create the visual environment for me so I'm pulled into their storytelling. Bold choices based on how they would be in this situation; their personbal opinions about what's being said or done to them makes them stand out from the crowd. Too many actors wait for permission to make bold choices. I look for an actor who confidently makes those choices right out of the gate. I love when an actor adds a bit of their own personal flair that still stays true to the character without changing the intention of the writer's words. I like something unexpected that makes me think, “That’s the one.” - When you’re watching auditions, how long does it usually take to know if an actor is right for the role?
Honestly, it doesn’t take long. Within the first 6-7 seconds I can tell whether they are going to engage me the whole way through. - When submitting for a project on Actors Access or turning in a self-tape, how important is it to use the notes section? Are there specific instances when it can make a submission stand out, and what should or shouldn’t be included?
The notes section can be very important. If there’s anything specific about the submission like a note that we've called you in before, you've worked with the director or even an experience that you had that makes you a good fit can go a long way. My pro tip is to keep it concise and specific. I don't need a long explanation or unrelated details like why you got into acting. - If a project doesn’t specify how many takes to submit, what’s your advice? Should actors stick to one strong choice, or is it better to show a couple of variations?
If the project doesn’t specify the number of takes, I suggest submitting two takes. For the first take, give us a grounded, natural read that sticks to how the writer's written it. For the second take, I’d recommend playing with the tone or rhythm to give us a bit of a contrast to the first take; maybe a more playful, intense, or raise the stakes a bit more. It’s not about showing us multiple variations of the same choice, but offering two distinct choices that demonstrates your ability to come at the situation in the scene in different ways. Make sure both are strong, but distinct enough to show your range. - Are there any audition habits or choices that immediately turn you off as a Casting Director?
Over-rehearsed performances that feel robotic or too stiff turn me off right away. I want to see an actor be present, flexible, and willing to take risks. - For newer actors auditioning for co-star roles, what’s your best advice for booking those “one-liners”?
Co-star auditions are often the hardest because you typically don’t have much context or room to develop a character. My advice is to focus on fleshing out the visual environment for us — let us see what you're seeing. Then, try that one line in multiple different ways. The trick is to make the line feel natural, not forced or overdone. A lot of actors tend to overact when it’s just one line, often because they put too much pressure on themselves to book the role. Instead, spend your time immersing yourself in the environment, the relationship, and the purpose behind that one line. Is it introducing a new character? How does it move the story forward, and why is it important? I often hear actors say, “Oh, it’s just one line,” and I’ll say, “Alright, show me.” And then, they forget the line! - You often talk about branding on your Instagram. How can actors make sure their branding comes across in their headshots, resumes, and self-tapes?
Branding is everything and it should be consistent across your headshots, resume, self-tape clips, reel, and even your social media. If there’s no clear flow for us on the casting side, you’ll confuse us. I’ve seen actors with 10 headshots on their Actors Access profile but none of them tell a cohesive story. I’m left thinking, “What are they selling? Are they a small-town mechanic with a big heart? Or a white-collar criminal? A tech genius out to take over the world?” You can be all of those, but there needs to be a clear, systematic approach to how you're presenting yourself with your headshots, reels, resume and clips. And don't forget social media! Sometimes a director wants to see you in real life to get a sense of who you are outside of acting. If you’re being authentic in your branding and understand what you’re selling, having a professional IG account that shows you being you in your life will tie it all together. Make sure everything aligns for us. - What’s the right way to approach emailing a Casting Director? Are there certain do’s and don’ts?
When emailing a casting director it's really important to be efficient and direct because we don’t have a lot of time. But staying connected with new actors is an important part of my job and it can really help when casting. There's been so many times during a callback when a director will ask, "Hey Mel, does this actor work a lot? How do you think they’d be on set?" This is where a quick strategic update can make all the difference for pitching that actor.
For example, if an actor sends me an update like booking a Marvel show, I can use that to "sell" them to the director when they ask me that question: “She works a lot, just booked a Marvel show and we call her in a lot. She’s great with direction, a good human, and easy to work with.” This kind of information is invaluable when we’re casting.
Do’s:
- Send brief, relevant updates: Keep it short. If you’ve updated your headshot or have a new self-tape clip from a booking, attach it. If you’ve booked something notable, let us know!
- Be specific with your updates: If you booked a major project or landed a role with a big production company, share it. We can use that info to keep you top of mind when casting roles.
Don’ts:
- Don’t send long newsletters: We don’t need detailed stories. Keep your emails concise and to the point.
- Don’t send the same update repeatedly: If there’s no new news, it’s best to hold off on emailing. Follow up only when there’s something fresh to share.
- Don’t ask for feedback unless it’s requested: Unless we ask, keep it professional by sticking to the updates or questions relevant to your work.
10. Staying in touch the right way means you’re always top of mind when opportunities arise. A quick, professional update can keep you on our radar without overwhelming us with unnecessary information.
11. What’s the biggest mistake you see new actors making, and how can they avoid it?
The biggest mistake I see new actors make is not understanding the business side of acting and how to effectively meld it with their audition technique. Many actors jump into the business without slowing down enough to build a solid foundation. Taking the time to understand the industry, your branding, and your audition approach will give you longevity and allow you to course-correct quickly.
Doing your research is key. Research your headshot photographers, acting coaches, agents, and managers. With so many conflicting perspectives from coaches and advice floating around on social media, it’s easy to get overwhelmed and think there’s only one right way to do things. The truth is, too much information can cause a lot of self-doubt and insecurity which doesn't help an actors' mindset. My advice is to find one coach who you resonate with, commit to their guidance, and then trust the process.
I see too many actors jumping from course to course, following conflicting advice from multiple coaches. This creates a TON of confusion. Focus on one thing at a time. Be clear on your goals. What do you want to achieve? Then break it down into actionable steps. Once you do this, track your progress: How many auditions are you getting monthly? How many callbacks and bookings are you getting monthly? If things aren’t moving like you want them to, focus on the areas that need the most work, and improve one thing at a time; your audition technique, self-tapes, or marketing. Once you’ve mastered that, move on to the next thing.
