A. We have standard rates for commercials, industrials, print and voice-overs, which we will gladly provide upon client request. For feature film and television work, every job is different and requires a different fee schedule based upon the production budget, the number of talent needed, etc. Feel free to call us and we'll be glad to give you an estimate tailored for your project. Also, most clients call before they bid a job so that they'll be able to factor my fees into their bid.

A. It's actually more economical for the client and more efficient for us. We may take several days to Prep a project that requires two characters which is far more effective in determining the best candidates from which to choose, who are available at the time and we can still keep the cost down to one prep charge. Or we may get a last-minute "cry for help" from a client that requires a far larger cast list. If we charge a Prep “per day” with only one day to prep, then we end up on the short end and are not paid in proportion to the actual work we'll cram into that day. We charge one prep rate for every seven characters that are specifically different. Example: If the cast requires ten moms that are all Caucasian and between 25 and 35 years old, that equals one character. If one of those moms has to be Asian, that equals two specific characters and so on.

A. Because we are outstanding longer than everyone else on the crew. Casting is the first production activity undertaken after the job awards and most producers pay the checks at the end of the shoot even though half of the production budget's money is usually deposited up-front to start the job. Even still, most times we're paid within about two weeks of billing which usually puts us even with the rest of the crew.

A. Yes, we do and we are industry specialists in negotiating a fair agreement with actors within your budget given the scope of the work and its usage. However, we prefer to work under the union codes because we have access to more and generally better talent to cast your production. We can also advise you on the possibilities for being able to cast your job union even if you are not signatory to the applicable union code.

A. No, we handle principal talent only though we can recommend excellent, local extras casting for your production. And on the casting sheets we provide our clients, we ask those auditioning for principal roles if they are willing to be extras as a courtesy to our clients. Producers are then free to contact those actors to whom they would like to offer extras roles. But for those actors who have agency representation, they must be contacted only through their agency, which is also listed on the casting sheets.

A. Absolutely. We can set up, organize and schedule the entire casting session along with negotiation and booking services for just our prep charge while you run the session at your facility.

A. Well, we can but for every distinct change to the characters, it's like re-starting the job for us so we have to generate a new prep charge because the old specs have become outdated. Even worse, with so much information being given piecemeal, the possibility of miscommunication increases exponentially, which can cause production problems. For these reasons, we prefer to start when all the specs are in and up to date.

A. Unless you actually know George or Tom personally and can get them to sign on to your film, then the answer is ‘No’. Strangely, many aspiring filmmakers approach me like this thinking this is the way to get their film funded. Name actors are always being offered projects and if they aren't funded, agents will quickly inform you that they don't consider an offer on an unfunded project- a serious offer unless it comes from an equally big-named director. I recommend first getting several coverage reports done on your script by qualified coverage readers. This will help you to approach investors to get your production funded. If you have a good script, then you have a great start – as a good, funded script will usually generate interest with an agent and their client. I do read and consult on unfunded scripts for a fee, which can be applied to my salary to cast the film if I decide to take the project once it's funded. I can advise on feasible, market rates for offers, available talent and possible casting challenges and options as well as potential plot and story arch concerns. I only take on projects I truly love because it's too hard to entice agents and actors with a script that doesn't first grab me.

A. The Casting Society of America® is an association of professional casting directors who come together to establish guidelines and bylaws, to address mutual concerns and share ideas. To be granted membership, a casting director has to have three current members who can attest to that fellow casting director's significant body of professional work and ethics and then be voted in by the membership. It is requested by the CSA that members use the CSA suffix after their professional credits and titles.

A. The Artios Award is given for outstanding achievement in casting and is the equivalent of an Academy Award for casting directors. It's given once a year in all casting categories and nominees and winners are chosen by ballots voted on by other casting directors who make up the membership of the Casting Society of America. Winners can either be the lead casting director of the project or part of that principal's team.