You've got the script. Maybe you know where to get a camera. You have somewhere that will let you shoot. Now you need someone to say your words on camera, and maybe you know an actor already—but what if they're not a fit, or you want someone with a specific look, age, accent, etc.?
Attaching an actor is one of the more mysterious parts of indie filmmaking, mostly because nobody explains the business side. Who do you email? What do you offer? What does "attached" even mean?
Let's walk through the steps, from your budget to a signed deal.
David Corenswet in his self-tape audition for 'Superman' (2025) Credit: 21 Casting
1. Know Your Budget
If you're super indie or low-budget, these numbers are probably pretty straightforward. Maybe you can do a day rate or a flat fee. Maybe, just maybe, you're getting by on favors. If so, great. You're probably talking to the actors directly through some type of connection.
But it's always nice to pay your talent, right?
Before you dream up a wish list, figure out what you can pay, because your budget decides which union agreement you fall under.
You also need to know if you can do union or non-union. Union means SAG, which means a lot of paperwork you need to do ahead of time. If you're non-union, you can pretty much pay what you like, and you're not governed by union rules.
SAGindie's signatory guide lays out the tiers. The Micro-Budget agreement tops out at $20,000, the Short Project at $50,000, Ultra Low Budget at $300,000, Moderate Low Budget at $700,000, and Low Budget Theatrical at $2 million.
Rates went up this summer. Under the 2026 TV/Theatrical agreement members ratified in June, minimums rose 3% on July 1, putting the Ultra Low Budget day rate at $257 and the Low Budget day rate at $834, according to SAGindie. Pension and health contributions also climbed to 22% for principal performers in September. Budget for those, too.
You also need to know that if you go union, everyone on your project will get the SAG day rate, regardless of union membership. So consider that as you're thinking about what you can pay.
2. Build a Realistic List
You'd be so surprised how many people at the indie level think they can write their first script, attach a producer, and immediately go after big names. Look, we love the confidence, but that's just not how things work.
Be honest about who might do a project at your level. A character actor with a solid TV résumé is a far more plausible target than an A-lister booked through 2028. You can also look at people who are doing indies already. They'll be scrappy and used to the environment you'll likely be working in.
It's also cheaper to look locally for talent. Then you don't have to worry about flying someone out, putting them in a hotel, etc. That's an easy way to double your budget.
Also ask yourself whether you need a name at all. At a SXSW casting panel we covered, casting director Monika Mikkelsen said, "You don’t need names in your film, only studios need names in the film." If your financing doesn't hinge on a star, cast for the role.
If you have money for a casting director, consider one. They know the reps, they know who's working, and they handle the agent and manager calls so you can focus on directing.
This takes time. That same panel said a standard feature casting process takes around 10 weeks.
We also talked with casting director Manuela Romero Samacá about what she wants directors to know, even on shorts, so definitely check that out, too.
'Entourage' Credit: HBO
3. Find the Right Rep
Now comes the fun part. (That's sarcasm.) Most working actors have an agent or manager, and in most cases, you must cross that threshold unless you know the actor personally.
Producers typically look up representation on IMDbPro. Find the name, and prep a cold email. Express your interest in the actor and ask if they would be willing to look at your script. Typically, you'll also send the character breakdown with some basic information about the project, including union status and proposed shoot dates.
I've found it's helpful to attach a pitch deck, too. You can convey your idea more visually using comps, and also include a director's statement and some crew/team bios.
Another tip is to learn who else that agent represents, since agents love packaging several clients into one funded movie. You might also contact producers of the actor's recent non-studio films to get a sense of what they were paid and what they expect.
When you start talking money, it can depend on the situation. Sometimes reps will wait for your offer, then counter. (They will almost always counter. Don't panic.) Sometimes they will give you a quote, then you negotiate from there.
Big tip: do not cold-email an agent asking if their client might be interested "someday." Your project should be real, and you should have the money as ready as possible.
You'll hear no a lot. Sometimes it's scheduling, sometimes money, and sometimes the actor just doesn't connect with the material. Our own Charles Haine and GG Hawkins talked about learning to accept a no and keep the relationship intact.
Say thank you, move to the next name on your list.
If you're making a short or a micro-budget feature, you've probably skipped the rep and just held an open casting call. You post the breakdown and sides, collect submissions, and hold auditions or request self-tapes. (If you're asking for tapes, read up on what makes a great self-tape so your instructions are clear.) But know that this can lead to a lot of submissions, so again, you'll need time to go through it all.
4. Make the Offer
Once the rep or talent expresses interest and you and your team decide they're right for the role, make a formal offer. An offer is a letter from your side to the actor's side laying out the role, dates, locations, pay, and terms like travel and any deferred compensation.
Two rules. First, you can only offer a role to one actor at a time, something NFS founder Ryan Koo walked through in his First Feature podcast episode on casting Amateur.
Second, put an expiration date on the offer. The producing newsletter Film Specific suggests a deadline of two to four weeks, so you aren't left waiting indefinitely on someone.
Once they accept, you draft a formal employment agreement. There are definitely ways to do this at the indie level (check out templates to get started), but definitely have a lawyer look at everything before you send.
If you're going union, SAGindie says to start the signatory process four to six weeks before your cast travels, rehearses, or shoots (the Micro-Budget agreement moves faster). You'll need a completed script and budget, and once you apply, SAG-AFTRA assigns you a business representative to shepherd the rest.
Then get a signed contract before anyone steps on set. Congrats, you have talent!
