Casting Spotlight on Chicken and Chips Casting

audition casting director Mar 02, 2022
Katherine Beck, The All American Actor’s Podcast, Chicken & Chips Casting

Episode 28: Casting Spotlight on Chicken and Chips Casting 

Today I am shining the spotlight on Chicken and Chips Casting. 

 Listen as Casting Director’s Stephanie Pringle and Alison Fowler give us the inside tips on the casting process. 

Learn the do’s and don’ts for your next audition so you can book the role! 

By the time you finish listening, you’ll know:

  • The vision behind Chicken and Chips Casting 
  • The do’s and don’ts to the audition 
  • How to catch the attention of the casting director 

If this episode inspires you then I’d love to hear from you! Take a screenshot of you listening on your device, post it to your Instagram stories and tag me @katherine_beck_

Then follow me on Instagram to go ‘behind the scenes’ with me and my own journey as an American accent coach and Voiceover Actor.


Chicken and Chips Casting:

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You're listening to the All American actors podcast, Episode 28. In today's episode, I'm talking with chicken and chips casting, they're going to give us the inside scoop into the world of casting that's coming up next. Ready to go behind the scenes and learn what it really takes to build a sustainable career as a working actor in the US film and TV industry. Join me Katherine Beck, your all American accent coach, as I give you the insight and inspiration to take action on your career, learn my best tips and tricks to performing with an American accent and hear from working actors and other industry professionals. To give you a comprehensive overview of this biz we call show them. This is the all American actors podcast. Before we start today's episode, I want to give a big shout out to Cal sail who sent me this five star review and says this is a must listen for any actor looking to better their American accent. Thank you so much. And you know, that really is one of my goals with the podcast is to help you improve your American accent and look at other ways to go about improving your accent. So not just focusing on the sounds of the accent, which is you know, how so many actors are taught when we learn about accent is just focus on the sounds. But I like to focus on the other stuff, too, that you know, maybe you're not getting taught and will actually help you book the job. So thank you so much for your review. These five star reviews really mean so very much to me not only to hear how my listeners like you are gaining value from the podcast episodes, but because it helps us get ranked and recognized on Apple, which means we can get seen we can get heard by so many more actors all across the world. So if you're loving this podcast, do me a quick favor. It only takes about 30 seconds of your time. Just make sure to subscribe. If you haven't yet subscribed, tap the five stars and write a brief review about the podcast it would mean so very much to me. You'll get a mention on the show right here on the show. So if you're loving this podcast episode, go ahead and leave us a review. All right now I met these two wonderful ladies. Several years ago at a workshop we were both invited to teach at this workshop. And I was so intrigued by these two ladies because what they were doing in the world of casting just seemed so refreshing. And they are called chicken and chips casting which is a casting office right here in Sydney. It was founded in 2015. It is a full service casting company, which means they cast for film, they cast for television commercials, and all other forms of content and media. Now chicken and chips casting is the creation of casting directors Alison Fowler and Stephanie Pringle, who are known in Australia as a dynamic casting duo. These are two amazing ladies in the field of casting. So without further ado, let's jump into the interview. Welcome to the show. Today I've got the fabulous duo of Steph and owl Al are chicken and chips casting. Hi, ladies. Alison and Stephanie 3:17 Hi, thanks for having us. Katherine Beck 3:19 Oh, thank you so much for being on the show. Why don't we start by just telling our audience a little bit about who you are and what you do in terms of the realm of casting. Stephanie 3:28 So we are adventures casting, we've been a duo for we just had a sixth birthday last week. So excited. Katherine Beck 3:36 Happy birthday. Alison and Stephanie 3:37 Thank you. Stephanie 3:39 So we launched the business in 2015, out of a bit of ambition to explore more creative projects. So we were doing a lot of commercials and stuff at our old casting agency. And we sort of wanted to explore more film, TV long form stuff. So that was sort of why we wanted to do our own thing. I came from a production background before. And then I've worked in casting. Alison 4:06 And I worked in advertising, which is how I ended up working in commercial casting agency. And then Yeah, yep, here we go. Katherine Beck 4:14 So how did the two of you join forces and become chicken and chips? What was the vision behind that? Stephanie 4:20 Sowe worked together at a different casting company, and a client of mine, Rob Spencer, from Ogilvy he called me one day and was like, I've got this girl, I think you'd love her. She needs to get out of advertising. So can you just can you give her a trial in the studio? I think she'd be really good at it. As an assistant. I was like pulling my hair out because it was so busy and I needed staff and I was like yeah, and so our came in and like I feel like we just got along immediately. And it was sort of this kind of like love affair from the beginning. Yeah. Because we work really well together. We've got different strengths in terms of, like Al is very organized and like, you know, meticulous and I'm very like crazy and don't know what I'm doing. So I feel like we complement. Katherine Beck 5:11 The yen to the others yang sort of thing. Alison 5:14 Yeah, so I feel like we have different skills and, and stuff. So I think Yeah, from the beginning it was just like, we just got along really well. And, and yeah, I was wanting I was really just wanting to get into film, really it was like my main career goal is that I wanted to cost more long form stuff. And we both kind of agreed on that. Like, I didn't work in costume for nearly as long as stiff. But we once I got this sort of bones of it and got into it. It was like, yeah, long form. Yeah, I want to read scripts, I used to act as a kid. So I really liked reading scripts and doing character work. And so the fact that we both sort of came together and said that was something we wanted to do. We were like, Well, yeah, let's just do it. And so yeah, we were babies. We were 26 or 24. Stephanie 6:03 I can't remember how old we need. Oh, yeah, maybe 26 Alison 6:07 when we open the business, and I think we just because we didn't have kids then either. So it was just like this kind of low risk situation where we were just like, Well, whatever. Like, if it doesn't work, it doesn't work. And at least we can say we tried. Yeah. And then I'll just go be a teacher. That's what I thought. Yeah, we used to have a lot of conversations about what our backup career would be. Stephanie 6:31 That's good. Katherine Beck 6:33 Well, I was impressed. I think I probably met both of you that first year that you're in business, I was thinking, gosh, these women are so young. And how amazing is it that they've just decided from one day to the next just to start a casting office in Sydney, you know, and just put it out there. And I think I read somewhere that you got some award for under 30. Is that right? Stephanie 6:59 Yeah. We won the 30 under 30 Award in Alison 7:02 entrepreneur category. Yeah. I don't know if that's what the year. I don't know. When we were 29. So... we just scraped in. Actually, it was when I was pregnant. So it was 2018. 2018, Um, yeah, so yeah. And no other casting director had ever won that award. Um, yeah, I think we were. We wrote that goal down on a bit of butchers paper. Like in our first year of business, I was like, I'd really like to just enter or enter this award, and we ended up winning it. And we were just like that. Just Yeah, it was kind of kind of a shock. Yeah. came out of left field. Yeah. But then we just we got nominated last year for three CGA awards. So the casting Guild, so I think that was like, really exciting for us to be kind of recognized in, you know, in our industry by other casting directors, which was nice. Katherine Beck 7:57 Yeah, for sure. And what do you think sets you apart? Or made you stand out? right from the get go? I know, for me, it was the name. I saw chicken and chips. And I'm like, What is this place? Chicken and chips casting? It already got me thinking about, oh, I want to know more about this casting office. But from your perspective, what do you think when you started out and got the ball rolling really helped, you know, get that momentum for your business? Alison 8:26 We were very lucky because we had some very solid foundations made in our previous job. So we were we were incredibly lucky that a lot of clients came with us without us having to do anything. And we weren't, we were really, it was really important for us that that happened organically and then did. And then I think you brought things up in name. And just by the sheer fact that we we were young, we didn't really like to bang on about it, because it does sort of morph into a world where people don't take you seriously. But it was more than it was a fresh perspective. And we were we were more driven. we sort of had the fire in our belly. So we were willing to work endlessly and hard. And we're really passionate about making connections and working on new projects. So I think that was a big thing. Yeah. And I think we also had this ambition to discover people who we felt needed a platform and weren't given the space. So just the same the same people all the time. And the like, there was not much diversity, even even just in the six years that we've been doing this, the whole diversity conversation has relaxed has gone from basically nothing to the forefront of our conversations every single day. And also, we were the first casting office to open in like a really long time. Like over 10 years, there hadn't been any fresh blood in costing apart from, you know, obviously people bringing on assistance and Associates and stuff under their own banners. But as a new casting office, there wasn't anyonethat had done anthing for a really long time. So yeah, we just we just sort of had a fresh take on it. And I think our clients really love the way we work in the sense of that we're just really easygoing and collaborative and we just kind of, but we're fast paced as well. Stephanie 10:14 Yeah, we do things quickly. And we're out. And I very, we work as a team on every job. And it's really seamless. The communication and, and but we can also provide two different creative ideas on a script, which is unique. I think. Katherine Beck 10:31 That is interesting that you talk about the diversity and all that I know, when I first moved to Sydney, which was 16 years ago, and I moved here as an actor, I found that to be one of the areas that I felt like I struggled, you know, being an American, moving to Australia, it was hard to get work here. So I had to learn the Australian accent and find ways to you know, adapt into the industry. But I did feel like it was very much certain types of people, certain types of roles always being produced out here there was it wasn't as broad as maybe it is now. So have you noticed that even in the before you started chicken and chips to then when you started to now, progression into the types of roles that are available in Australia? Alison 11:21 Totally, I think we started with the vision that we wouldn't that we would have an open mind for all roles, unless it was intrinsic to the story that they required some form of accent, because that was what the character or I needed to be from a specific ethnic background because of the story. So with accent diversity, I know that they used to be shocking, like 10 years ago, they were just particularly the commercials, that people would just write like, Australian accent or, you know, they just weren't open to any sort of form of outside the what they would consider outside the box. But we have like, on every single, every single job, every role, we always invite, like a couple of actors to test that might be completely outside the box in terms of what the director thinks they want. And the statistic is pretty high. Those what we call them wildcards that those wildcards would book the job? Yeah, it's just about about offering different and diversity has such diversity within it. So there's disability and ethnic diversity, gender diversity, and accent diversity, there's so it's such a broad range, and then within that there's such a broad range. So it's, um, it opens up creatively so many more possibilities, if you look at a role that's, you know, not to boxed in not a box way. Katherine Beck 12:57 And in terms of the projects that you're working on, then is it mostly Australian based productions? Are you now branching out into the US industry as well, because, you know, I know there's a lot of projects coming this way, from the US and that sort of thing. Alison 13:15 Our body of work is very much Australian, at this point, we did early on in the business, take a couple of trips over to LA. And we did meet with a lot of people and networks and studios, which was really great and successful. And we made some really good connections, but we were babies then. And I think that we would go back with a very different perspective now, but I don't think that's on the card anytime soon. Hashtag COVID. But we're actually like, we really love working locally. And we love our local teams and talent. So it's a bit... Stephanie 13:53 It's sort of a similar, it's sort of a similar thing to what actors go through, I guess, with building up a body of work in Australia. And we're really proud to work on Australian stuff and help help people tell their stories. Because I think that's, that's really important. And we're really passionate about that Alison 14:12 and supporting our industry. Yeah. But it is like, it is obviously one of our goals to work on a big American contract. That would be amazing. But it is it is like, you know, like I said before, like actors building up credits in order to, you know, get up. Yeah, get bigger projects. That's kind of where, what we're doing. And we've seen such a difference in the kind of scripts that come across our desk now in comparison to what we were working on six years ago. Yeah. So it's definitely there's definitely been like a fast progression for us in that short amount of time, I think. Katherine Beck 14:49 Yeah, that's incredible. Yeah, of course, and that's always going to grow. And so because you've worked on so many different types of content from commercials to movies, to television is, well, I'm assuming, is there any specific part that you enjoy casting more than the other? Or is there a real vision for where you want to take chicken and chips? Alison 15:11 I mean, we want to be left. We want to be an empire we do. We like a bit of everything. So we're not like, we can't pinpoint exactly what we want. because everything's so different. Stephanie 15:25 Well, the processes are different. So like, for instance, we love working on commercials, because they're tight turnaround. They're fast paced. It's very, like, you know, quick back and forth... Alison 15:36 job satisfaction, because you get to just do the job, see it on air. And you're like, I did that. think that in 30 days, you get to see a result. Whereas for film, it's a slow burn, like we could be attached at pre production stage where we're just sort of throwing out ideas, and then this idea might not shoot for a year, and then you might not see it for another year. So that's a really long process. But we love doing that ensemble cast work. Stephanie 16:02 So so like, yeah, piecing together ensembles. Yeah. And nothing can Nothing can compare to saying like, cut pick, like your cast on a big screen in the cinema. And people like, for instance, Ellie and Abby that we cost a couple of years ago. They had a sold out screenings open Mardi Gras Film Festival last year. And it was the most incredible thing because it got us everyone in the theater. It was a standing ovation. People were crying. It was just like, yeah, there was just so much beautiful feedback from that. Yeah. And that I've never experienced anything like that before. So yeah, Katherine Beck 16:17 It's incredible. It is it's a good feeling when you can see and be so proud of your work and see it on the big screen. I'm curious because it has been a crazy year. What is going on now for you? Because I know, you know, Australia's in a different position. Do you now have the casting doors open? Do you have actors coming back for auditions and person? Still, during the self tapes, Alison 17:07 Both. Stephanie 17:08 We've just actually just this week, because last week, we sort of decided that we were going to bring back studio, we were we were kind of hesitant. Only in a sense that self taping was working so well. And everyone's really getting really good at it. And it really does allow you to see, more people and be a bit more creative with inviting people to tape. Because it's less, it's less time in studio, so you can just see more people. But then we got so many projects, we have so many projects on that we're working on that we were like we need to limit our watching time. Yeah. So this week, we've got Yeah, two sessions in studio. Yeah. Which is wild. I'm like, how, how do I do this again? Alison 17:58 Yeah, still are doing a combination. And I think we've always will. Because like Steph, saying self taping just allows us to say a few more people. And it gets us to be more creative, that we might not have the time to do in studio, but we can, you know, push the boundaries a little bit. Stephanie 18:14 And I think it gives up actors like allowing that option for self taping. It gives actors more access. So, for instance, it used to be and I was saying to the beginning of COVID, which I thought was gonna be really beneficial for creative people is that you don't necessarily now have to live in Metro city to be able to be an actor. You can totally and we've had people auditioning from all over the place and living in Newcastle up the coast somewhere. And it's just like, if you're if you're Yeah, it just yeah, gives geographical access, which I think is something that we didn't have before. Because, yes, a lot of casting directors just wouldn't accept self tapes before COVID. We always did, but a lot of people didn't. And I just think that's kind of Yeah, it is. So now we just like everyone's open to it. We're used to the process. I think that will always be a part of it will always definitely be a part of our process. Katherine Beck 19:11 Yeah. And I think it's a great, it's a definite benefit for the actors as well. I'm wondering, because sometimes, you know, when I'm coaching actors, and they're working on their self tape, auditions, do you ever give out requirements, you know, like, just specifically just one take? Or do they have the option of giving multiple takes different, you know, perspectives on the role? Alison 19:34 We've always been, we always do two takes. It's always been what we do in studio and what we ask for in subjects. In fact, I and I know Steph does as well find it frustrating when you get a tape and there's only one tape. Because we just want we do want to see that other perspective. We want to see a different take on it. Or we just want to see try something different because one doesn't, especially because it's self tapes. You don't get the opportunity to meet them and do a run through or it's literally just that one take, and you don't get to see anything else. And you're not sure whether that's them, or whether it was a character or because you didn't even get to meet them. There's just so much like to see the so much assumption to be made just on one tape. So yeah, we always ask you to. Katherine Beck 20:24 Yeah. And in terms of the two tags, so do you recommend, let's say one where they really stick to the rules of what you know, you're looking for in terms of the character, and then they can have a little bit more fun. Maybe give their own perspective on the character in the second one? Alison 20:38 Yeah. And we love improv work. It's one of those favorite things. So a lot of scripts don't really, if it's drama, it often doesn't lend itself to improv. But in any, in any situation where improv can be used, we suggest people just do what they want to do with the character off script is that's their opportunity to be different. stand out. Katherine Beck 21:01 Yeah, I love that. That's so great, because I think a lot of times actors worry about, you know, thinking about getting inside of the casting directors head and what are they looking for? And am I doing it right? Or should I be doing this or not doing that, that they end up making a lot harder for themselves? So I think that's really wonderful feedback, and really beneficia. Stephanie 21:21 Some times is that we don't even know what we're looking for. So, and it's so beautiful when an actor does something that is, like so different. Yeah. And because everybody we tell this to every actor, everyone gets the same materials, we will get the same words on the page. And it's just about thinking, How can I bring something unique to this character? Not what what are the what is the casting director looking for? Because it's just sometimes we just don't know. And you could try something so crazy. And we're like, That's it? Alison 21:57 And that's what I was looking for. But I didn't know that. So had you asked me that before you audition? Sometimes, the actors surprise us that's in their control. Katherine Beck 22:06 Yeah. And is so on the opposite side, then is there anything that really turns you off? Aside from just giving you one take? Is there anything else that really turns you off? In the audition? When it comes to actors and their whole, I guess, delivery, or even when they come into the room or anything really where you're like actors, please, I think we need to move past that. Stephanie 22:29 Yeah, I think it's really important to note that your audition starts the minute that you walk in the door of the waiting room, not when we hit record. Because and this is this is one, one thing about self tapes, and why we can't rely on them solely is because we need to be able to meet you and make sure that you you know, you've got to fit into a whole culture on set, right. And so, so it's fine, maybe for 110 hour shoot for a commercial, but if you're if we're going to cast you in a film, and it's shooting for four weeks, in the middle of nowhere, and you have to be, you know, with your heart with the whole crew and cast for that long, we need to make sure that you are going to be able to cope with that as a as a human. And we don't want to be you know, we have to recommend you. So as a person as a as a person as an as an actor who is, you know, great for the role. So there are a couple of different things that we have to do. And yeah, I think there's a lot of actors have done themselves a disservice by walking into the waiting room and, you know, bad mouthing projects or actors or other casting directors or, you know, it's just sort of a bit of your head behavior. Alison 23:51 He literally just said this morning, the self tapes, I think one of our biggest bugbears is not having it actor as your reader. It's important, but it really is, yeah, because we hear them and it's more frustrating to listen to that. And know that you're just not getting delivery that you need as well. Katherine Beck 24:14 So that becomes a distraction to you then you start focusing on the reader and not the actual actor on screen. Alison 24:21 I mean, they need they cannot give them the right tone. The tone is just not there. They think that the person just needs to read the words, but that's not what an actor's doing. They should be reacting and actually engaging with that person. And they can't. Stephanie 24:39 I mean, I've had some actors put forward self tapes with no reader. And I'm just like, what is happening? It just doesn't it doesn't obey you like some of the some of the acting is amazing. And it's great, but it's just like, but I still need to see you you react to what the other person is saying. Yeah. So, yeah, there are two things that. Katherine Beck 25:03 Yeah, those are great things, too. I think that's, you know, very valid things. I'm curious as well, is there? Do you think like, from your perspective, do you think it's important for an actor to, cuz I think, you know, thinking back to when I was acting, and especially when I was younger, you just want to act and you want to just do all the things and you want to prove that, you know, I can play an eight year old and I can play 18 year old, you know, I just want to perform. But do you think it's important for an actor, you know, to start thinking of themselves as a business, as you know, what style or what types I am appropriate for and can play? Am I good at drama? Am I good at comedy, and start to hone in and focus on that, in the sort of beginning stages of developing their career? So they know, I guess, when they present themselves to casting directors that this is the area that they really shine? Would you recommend that a great way to sort of think about it at the beginning stages? Stephanie 26:06 Yeah, I, I've always been a bit of an advocate for actors thinking about it. Like, it's Yeah, like your business. I think it's, it's clever. And it's also it's also proactive, in a sense of, you know, making sure that because you like, for instance, we get like over 1000 submissions on her role on projects sometimes. So the more of a presence that you have in terms of, you know, I mean, I can use Instagram as an example. But we follow lots of actors on Instagram. And then the minute that I hear a name that I don't know, I just jump on Instagram, and I look for not not to stalk not to stalk you at all, just to see what is who you are, if I haven't heard your name before. But also if I go to a theater show, and I see someone that's not represented, it's a really great way for me to be like, Oh, this person is really great. Like, why aren't they ripped? Alison 27:03 But I think it's right. It's the same thing is like for us as an actual business. We think about our goals and where we see ourselves. And then it's taking, making sure that we make the right decisions and take the right steps now to work towards those goals. And I don't think it's like actors should be doing the same thing. they're entitled to make decisions and choices. That that enabled them to reach the goals that they want, rather than just saying yes to everything, and just, it might not be right for them. And they need to forward think that. Stephanie 27:38 Yeah, and I think it's I think a lot of actors think that they mean that they need to say yes to everything. Because if they say no, we won't come back and ask for the next thing. Yeah, but that's just, that's so untrue. Because I respect and know, just as much as I, even though sometimes it's really disappointing for me to hear no, when I've thought all these actor would be great for this. I just hope that they and when they say and then they say no, because it's not for them. I'm just like, dammit. Okay, but it's okay. Like we say no to things all the time. Yeah. So there's, there has to be an element of, I think, actors think about casting directors like with some higher being on but we're, I guess, you just need to think about the fact that we're all on we're all on the same page a little bit, because we also have to do the same thing on our end to get those projects. Yeah. So if you think about it, in a business sense, if you think well I'm an actor and I'm a business, but chicken and chips, even though they cost you notice they also a business. So everyone, you know, thinking about like that is a little bit more empathetic. So you can kind of understand where each other is coming from. And then it just drops the stakes. Yeah, it also just allows you to know that we're just trying to do the best job that we can, and good. So, you know, Alison 29:01 but also, they could take the pressure off themselves a bit as well, because I think a lot of them think think of a lot of actors think they need to be really, really, really good at drama and really, really, really good at comedy and really, really good at horror, right? Like if you can't do it, or you're not good enough, and we just go blanket rule. No, you're not right. That's, that's not true. We fully we just have complete respect for someone who just nailed comedy, but drama is just not a thing. That is okay. That's your thing. And that's, I don't feel like you have to be doing dramatic pieces. Because if you're not comfortable and it's not your thing, that's probably okay. Stephanie 29:39 We also say we're also a big fan of the leaning into your strengths. Because if you're booking work, and you're and that's where that's where your strengths are, then you should totally just lean intothat. Alison 29:52 And yes, like what you were saying, Katherine, finding things that are appropriate to you. Stephanie 29:56 You do need to be aware of the roles that you want to do and that you can do and yeah, and are likely to be casted in, I think is what needs to be thought about. Katherine Beck 30:10 Oh, this has been so wonderful ladies, I thought I'd wrap up just asking you, are there any sort of words of advice that you might have for actors out there, in terms of the casting process? Or just starting out as an actor, you know, anything that they could be doing that you think would be really great? Stephanie 30:30 Yeah, I think in terms of the audition process, I know, this is probably really difficult advice. And this is probably difficult to put into play. But I think if you think of the audition process as an opportunity to act, rather than a pressure, a pressurized scenario, where if you don't nail it, it's and you don't get the roll, it's going to be really hard for you to remove yourself from it. I think that's a really nice way of when you walk out the door, feeling like you just got a really great, you just had a really great audition and we love the actors give us feedback all the time that we could make them feel really comfortable in studio, and they always have a great experience with us. So I think Yeah, just learning how to Alison 31:19 Enjoy it. Stephanie 31:20 Enjoy it and play rather than it being the be all and end all. If you don't get the job. Yeah, it's very hard to put into practice, Alison 31:29 But comforting to know. Katherine Beck 31:30 I think I got some great advice from an acting teacher, like when I was 18 years old. And he said, walk into the room, like it's your first day on set. And that's always stuck with me. And it's always been such great advice on those moments where it's a big audition, he starts to get really nervous and put that little extra bit of pressure on I think now let's imagine like it's the first day in set. And really, you just want to see you know, our work and what we can do. And when we come from a place of ease and being comfortable. It's so much easier for you. Right? Yeah, totally. Stephanie 32:08 We want you to do the best job that you can do when you walk in the room. Right. So it's counterproductive for us to be to be you to feel under pressure. Yeah. For you to for you to feel pressure. And yeah, like you. And the last thing we want to do is let you guys walk out of the room, thinking that you haven't done a good job. That's not Yeah, that would be that That to me is probably the worst thing as a casting director. Katherine Beck 32:34 Yeah. And I think from you Al, any words of advice. Alison 32:38 I think we're on the same page with that? Yeah. I think at the moment, especially in the landscape, now, I reckon, good advice is for actors to use the time to educate themselves on the casting landscape, and how different casting directors are operating. And what it is that they like, not to see, but how they service, the self taping. And in the studio thing, I think just being knowledgeable about everyone's different circumstances has really helped me because it brings that comfort that they need, because I think most actors are going into and this is why actors do our workshops, because they get to know exactly how we operate and what it's like to be with us. Anytime you have an opportunity to go to a workshop with the casting director, I think it's a really good idea. Because if you can at least remove the question mark of what's it going to be like in there? And how do they function? You've already eliminated a whole area. Yeah, a whole area of nerves is, and we find it every time we do a workshop. We think we're saying things that seem so obvious to the actors, but then their minds actually blown into just key things that we feel is so mundane. So I think then we'll actors can just educate themselves on every casting directors porocess , the best they'll feel. That's great advice as well. And in terms of your workshops, are they all in Sydney? Or do you do workshops online? Stephanie 34:15 Yeah. Well, during COVID, we were doing this thing that we call the same jam. And we were doing it once a week. And it was just a really quick, very small classes, like eight people, an hour and a half. Everyone got a scene. And it was like we we had hunt. We've taught hundreds of actors in that time in like a, you know, six to eight month period, I think it was that we were running them. And it was just a really great, it was great. It was a great way to just kind of work with a whole bunch of different people from around Australia that we wouldn't generally get to work with. Alison 34:50 And we have done a few online like that, like by zoom through classes, by through schools. Yeah, they've invited us to come in Do it. So we are doing another we are doing in person workshop coming. Stephanie 35:06 And they just asked us to do another one because it's sold out so quickly. Alison 35:10 And usually our chicken chips ones were in person. That's what we did before COVID. But we just haven't figured out when they're going back and how and if and how we do it because it's just a bit Stephanie 35:22 we'd like to do, we'd like to do more of them. It's just the, the format and capacity at which we can can do it. So it's a tricky, a tricky balance. Katherine Beck 35:34 Well, if any of our actors want to get in touch with you for workshops, whether they're in Sydney, or if you do end up doing any more online ones, what's the best way for them to get the information. Stephanie 35:45 So if they go to our website, they can sign up to the mailing list, and that will give them we'd usually send out newsletters, like once a quarter. And that will give you like all the upcoming dates and what's happening and our social media. So if we've got a workshop coming up, so say the hub one, we post that we'll just share that on our Instagram, usually, and you can and we'll just put the link there and you can go in and have a look. So haven't keep an eye out on there, actually, because when the second one gets released, we'll do a story and post it up on our Instagram. Katherine Beck 36:17 Okay, great. And what's your Instagram handle? Stephanie 36:19 It's she can end chips, underscore. Katherine Beck 36:26 I'll put it in the show notes for everyone. Oh, well, thank you so much. It's been so wonderful to spend this time getting to know chicken chips a little bit better. I really appreciate your time. And I know our listeners do as well. So thank you so much. Alison and Stephanie 36:40 Thank you, everyone. I hope everyone learned a little bit from that. Katherine Beck 36:43 Most definitely. Thank you so much chicken and chips casting for a wonderful insight into the world of casting. Now if you've been listening to this episode, getting inspiration wanting to jump into the US industry and get to work well. Let's start getting to work on your American accent. Go ahead, grab my free American accent guide that's going to break down my step by step process to get you sounding all American. It is yours. It is free. Just head over to And don't forget to let me know if you loved this episode. 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