A young actress writes:
>" I want to know can I send my head shot to a Casting Directors" >

Sure, you can send your headshot and resume to the President of the United States if you like, it doesn't mean he will consider it seriously. Most casting directors want headshots and resumes submitted to them through an agent - not always, but generally. There are several reasons for this:

First, in casting large productions the agents can distill down the process of casting for the casting director and submit only those who fit the description in the "breakdown", which is a short profile from the script of the actor needed for the part, called "character type". This prevents the casting director from shuffling through thousands of direct submissions from actors who are the wrong type for the role. Every actor envisions themselves to be the next Marlin Brando or Julie Andrews or whomever, but reality often exists in sharp contrast to one's own subjective self-concept.

Second, agents are familiar with the paperwork involved in employing actors under film and television contracts, which are typically long-worded legal documents with lots of small type, sometimes called a "deal memo" or "performance agreement" or, if a union production, the terms of the "signatory agreement" come into play... these documents can be quite complicated and incomprehensible to actors not familiar with legal terminology and contract law (which most new actors starting out are not).

The casting director is either the employee of or working under contract with the producer. The agent represents you. Together they serve as an intermediary team (theoretically) between you and the producer. The agent tries to cut the best deal for you; the casting director tries to cut the best deal for the producer. This all works well in theory, but the reality of the matter is much different.

Over the last one hundred years or so of its evolution, the Hollywood agency and casting system has become so corrupt and artificially "elitist" it is exceedingly difficult for any new talent to break into their ranks. The fact of the matter is there are simply not enough acting jobs to go around for the talent who are already under contract with the well established agencies, which are heavily entrenched and slanted toward employing union members first. This same system is also pervasive in New York and other areas of the country where you find a large number of film and television productions. If you are not already in the clique of film actors represented by the major talent agencies, the fair-haired boy or girl of the union, the son or daughter of a major film star, or an independent actor already so talented and famous you don't need agents anymore, you have a better chance of hitting the lotto than of being cast as a principal player in a major studio production. Talent are not often cast on the basis of education and skill level, but on the basis of, nepotism, patronage, group affiliations, and in short, who you are and who you know.

For the first time ever, independent, non-union films are offering actors a way out of this corrupt system. You may not make as much money in the "short-term", but in the "long term", you will probably work more films and gain more experience and exposure in the world marketplace by working non-union productions; and, considering that eighty percent of all union actors make less than $5,000 per year on an average, the differences in money and pay scale are almost insignificant.

Because independent non union films are typically smaller in scale and more relaxed in their organizational structure, submitting directly to their casting director is not out of the question and may even be preferred by some independent, non-union casting directors. Just be sure to carefully read the contracts they offer you, or seek the advice of a lawyer or agent, watch out for lopsided and usurious and exploitive wording, and try to negotiate for a piece of the pie, for "points" or a percentage of gross sales.

If you are not one of the main players, you will probably not be able to negotiate much over and above what they have budgeted for your role, but you should at least make some money, enough to cover your expenses; and, in the worst case scenario, you get to work before the camera, and you can walk away with some footage of yourself you can show to other producers and casting directors who may use you in the future.

Best regards,