PR for Actors and Filmmakers

Casting directors, producers, festival programmers and financiers all look you up. Usually before a meeting, sometimes instead of one.

What they find is part of how they read you.

Why press works for screen talent

A showreel and a list of credits tell people what you have done. Published coverage tells them how the work has been received, and gives a sense of who you are beyond a headshot.

For a filmmaker taking a project to festivals or looking for finance, a searchable record of interviews and features makes the project easier to take seriously. For an actor between roles, it keeps the name connected to the work.

Earned coverage and paid features

Reviews, trade news and festival coverage are editorial decisions. The entertainment trades are staffed by journalists covering the business of the industry, they are selective, and no agency can place a story there on demand.

Profiles and features placed in general-interest and personality publications are a different product. They are permanent and useful, but they are not reviews, and they should be described accurately.

We are clear about which route a piece uses before anything is written.

What most actors and filmmakers get wrong

They wait for the premiere.

By then every other project is pitching the same week, and a name with no existing coverage is harder for an editor to place. The record is better built earlier: the interview about how the project came together, the profile around a festival selection, the piece on the subject the film tackles.

For formal trade announcements — casting, financing, distribution — a specialist screen publicist is often the better call. We will say so.

Where we place actors and filmmakers

Features and profiles in publications such as Famous Times and LA Wire, and culture titles such as Rolling Stone UK where the story fits.

For trade press, including Variety Australia and The Hollywood Reporter, we build the positioning and wider record that make coverage plausible, and pitch where there is a genuine story. Staff coverage in those titles remains the journalists' decision.

How it works

Share your work, what is coming up and who needs to notice. We develop the angle, write to editorial standard and manage placement. You review and revise until it is right, and nothing publishes without your approval.

For the detail on trades, festivals and reviews, read how to get press as an actor or filmmaker.

Frequently asked questions

Can you get me into the big entertainment trades?

Not on demand, and anyone promising that is overstating what they control. We can build the record and the story that make trade coverage realistic, and tell you honestly when it is not yet.

Does press help with casting?

It will not book the role. It means that when someone searches your name, they find substance about your work rather than nothing, which helps the conversations that do.

Should I wait until my film is released?

Usually not. Coverage during development, production and the festival run builds the record that makes release coverage easier to earn.