How to Get Cast in Emily in Paris Season 6

The beret era is ending. Emily in Paris Season 6 — the final season — premieres December 24, 2026 on Netflix, wrapping production on September 18, 2026. The farewell season expands beyond Paris to Greece and Monaco as Emily faces her biggest choice yet between career, heart, and the life she built. And behind every perfectly cast French colleague, rival, and love interest across all six seasons stands one person: casting director Juliette Ménager.

If you’ve ever wondered how an American actor lands a role on a show shot in Paris — or how a Paris-based production finds its stars — this is the guide.

Emily in Paris Season 6: What the Show Is

Emily in Paris follows Emily Cooper (Lily Collins), the Chicago marketing executive transplanted to Paris, through six seasons of career chaos, fashion, and romantic entanglement. The final season sends the story beyond Paris — to Greece and Monaco — for a 10-episode farewell.

The returning ensemble: Lily Collins, Philippine Leroy-Beaulieu (Sylvie), Lucas Bravo (Gabriel), Samuel Arnold, Paul Forman, Minnie Driver, Bruno Gouery, and Lucien Laviscount. The show has been a global Netflix hit since 2020, and its casting — a seamless blend of American leads and French supporting players — is a case study in cross-cultural ensemble building.

The honest framing: this is the final season, and it’s wrapped. Nobody is auditioning for Season 6. But Ménager’s operation — Joule Casting Studio in Paris — casts American productions shooting in France continuously (Franklin, The Walking Dead: Daryl Dixon, and more). Understanding how she works is understanding how to get cast on the next American production that shoots in Paris.

Who Cast It: Juliette Ménager

Juliette Ménager is the series casting director of Emily in Paris, credited across 50 episodes on IMDb’s full credits (tt8962124) and profiled by Backstage in “How to Get Cast on ‘Emily in Paris.'” She founded Joule Casting Studio in Paris and has been the show’s casting director since 2020.

Ménager works primarily with American productions shooting in France, which makes her one of the most important casting directors in the world for a specific, valuable niche: the American actor who wants to work in Paris, and the French actor who wants to work in English. Her credits beyond Emily include Franklin and The Walking Dead: Daryl Dixon — proof that her office is a standing gateway for U.S. productions filming in France.

Her process philosophy, in her own words: “less is more” — and she has a rule actors should tattoo on their foreheads: know your lines, or never return. Ménager has said that actors who don’t know their lines don’t get invited back. It’s the simplest, most brutal filter in casting, and it tells you everything about how her office runs: preparation is the price of admission, and there’s no second chance for the unprepared.

The best story about her casting instincts: she cast Philippine Leroy-Beaulieu as Sylvie even though Leroy-Beaulieu was considered “too old” for the role as originally envisioned (35–40). Ménager saw past the breakdown’s numbers to the actor’s actual power — and created one of the show’s defining characters. That’s a casting director who trusts her eye over the page.

The Roles: What the Final Season Needed

The leads were set from Season 1. Lily Collins, Leroy-Beaulieu, Bravo — these were the original casting decisions, negotiated at the series level. Final seasons don’t recast leads.

The recurring French ensemble was the signature casting. What makes Emily in Paris work is the depth of its French bench — colleagues, clients, rivals, friends. These roles went to French actors working in English, found through Ménager’s Paris operation. For American actors, this is the key insight: the show’s French roles were never yours. The American guest roles — visiting executives, clients, love interests from back home — were.

American guest stars cycled through every season. Each season brought American characters into Emily’s Paris orbit — bosses, clients, exes, new romantic complications. These went to American actors, often with comedy chops and strong TV credits. Minnie Driver’s presence in the final season is the template: established names, specific energy, short arcs.

Day players and background filled Paris. Café patrons, office workers, fashion-show attendees, party guests — six seasons of Parisian life required hundreds of background performers, cast through French extras agencies. For actors based in Paris, this was the accessible tier.

The model: American leads and guests cast from the U.S. side, French ensemble cast from Ménager’s Paris office, background from the local Paris extras ecosystem. Your tier depended on which side of the Atlantic you were on.

How to Apply: Step by Step

Step 1: Build a casting-ready profile on Project Casting

Complete profile, current headshots, reel, formatted résumé. For international productions, add two things most actors forget: your passport status and your language skills. “Fluent French” or “conversational French” on a profile is a searchable keyword when a Paris-shooting production needs it.

Step 2: Know your lines — the Ménager rule

This deserves its own step because Ménager made it her doctrine: if you get a self-tape or an audition for any production in her orbit, be off-book. Not “familiar with” — off-book. Her office has a stated policy of not bringing back actors who weren’t prepared. Every other casting director in Paris talks to every other casting director in Paris. One unprepared audition can cost you the whole market.

Step 3: Understand the agent vs. self-submit split

• Series regulars and major guests — agents and managers, on both the U.S. and French sides.
• Co-stars and smaller guests — through agents primarily, but Ménager’s office works the Paris market directly. If you’re a Paris-based actor, being known to Joule Casting Studio matters more than which platform you’re on.
• Background — Paris extras agencies. No agent needed.

Step 4: Get into the Paris production pipeline

The show is over, but the pipeline isn’t. American productions shoot in France constantly, and Ménager’s Joule Casting Studio is one of the offices that casts them. If you’re an American actor who wants this kind of work: get to Paris with a work setup, get known to the Paris casting offices, and build French-market credits. If you’re a French actor: English fluency plus strong local credits is the combination every U.S. production shooting in France is buying.

Step 5: Tape “less is more”

Ménager’s stated philosophy is restraint. For her office, the winning self-tape isn’t the biggest performance — it’s the most precise one. Know the lines cold, make one clear choice, and trust the camera. Overacting in a self-tape for a restrained casting director is an instant pass.

our self-tape best practices guide

Realistic Tips

Preparation is the entire filter. Ménager’s “know your lines or never return” rule is the most actionable intelligence in this guide. Most actors lose auditions on preparation, not talent. Be the actor who’s off-book, on time, and easy to work with, and you’re already ahead of half the field.

The breakdown is a starting point, not a cage. Ménager cast a 60-year-old as a role envisioned for 35–40 because she saw the right power. Casting directors with real authority override the page when the actor demands it. Your job in the room is to be undeniable, not to match the parenthetical.

Language skills are a career asset. For Paris-shooting productions, French fluency (or even strong conversational French) moves you from the general pile to the short list. It’s a searchable, verifiable skill — invest in it like you’d invest in a headshot.

Follow the office, not the show. Emily in Paris is done. Joule Casting Studio is not. Ménager’s next American production shooting in France is your next opportunity. Casting offices outlive shows — build relationships with offices.

Paris-based actors: the local market is your edge. If you live in Paris, you have a structural advantage for every U.S. production that shoots there — you’re already where the local casting happens. Get known to the Paris casting offices (Joule and the others), keep your materials bilingual, and work the market that’s in your backyard.

One primary CTA — don’t skip it: international productions, traveling series, and local hires post breakdowns on Project Casting every day. Build your profile, list your languages and passport status, set your alerts — and be the actor who’s ready when the next production shooting in Paris drops its breakdown.

FAQ

Is Emily in Paris Season 6 still casting?

No — it’s the final season, production wrapped September 18, 2026, and it premieres December 24, 2026. Anyone claiming to hold auditions for it is running a scam.

Who is the casting director of Emily in Paris?

Juliette Ménager, founder of Joule Casting Studio in Paris — series casting director since 2020, credited across 50 episodes. She also casts other American productions shooting in France, including Franklin and The Walking Dead: Daryl Dixon.

How do American actors get cast on shows filmed in Paris?

Through the Paris casting offices (like Ménager’s Joule Casting Studio) working with U.S. productions, via agents on both sides, and — for smaller roles — through casting platforms. Passport readiness and French language skills are major advantages.

Do I need to speak French?

For French characters, yes. For American characters on a Paris-shot show, no — but French skills still move you up every list, and they’re essential if you want to work the Paris market broadly.

What does Juliette Ménager look for?

Preparation above all — “know your lines or never return.” Plus restraint: her philosophy is “less is more.” Precise, prepared, and real beats big and showy in her room.

Can beginners get cast?

As background in Paris, yes — the city’s extras agencies are open to newcomers. For speaking roles, you need training, credits, and usually representation on one side of the Atlantic or the other.

Is there really a “too old” or “too young” cutoff?

Breakdowns list ages, but casting directors with authority override them — Ménager cast Leroy-Beaulieu as Sylvie despite the age mismatch because she was right for it. Be undeniable, not age-perfect.