So, as some of you know, my BFF Dan and I are looking for commercial agent to represent us. We went through the SAG Franchised Agency and ATA lists. We looked at agency websites, used Google Maps to find their office buildings. We eliminated agencies located in shopping strip malls, apartment buildings, houses, or did not provide an address. We also eliminated agencies that are "referral only". Location of an agency can give us a quick idea of it's net worth. It costs a lot to have an office in Beverly Hills, Santa Monica, Sherman Oaks, etc.; therefore, they are clearly earning a substantial income from their talent roster. Then we started snooping around the agencies' social media accounts, specifically YouTube. Wouldn't you know it, we're finding commercial agent interviews on YouTube. This is giving us a big picture look at our prospective commercial talent agent. Are they having fun? Do they look like they care about being agents? What is their encouraging message to interested actors? What information are they sharing about the interview process [so we can be prepared].So far, only one agent was eliminated from our list of possible candidates, because though he seemed interested in being inclusive, clearly his smile was forced. His message was, you better be a money maker or we really don't want you (stated with a pretend welcoming smile). TIP: Check agency social media accounts.Dan and I are looking for agents who foster a creative safe space and a sense of home and community. I'm pleased to announce at the top of our list so far is Bobby Ball Talent located near Warner Bros and the famous Bob's Big Boy Restaurant in Burbank. BBT is in the same building as "Star Trek: Next Generation" star Gates McFadden's theatrical agent SMS Talent. Check out this video Bobby Ball Talent posted on YouTube:https://www.youtube.com/watch?v=OulH67y0Fzg
2 Amazing Ways Stand-In-Work Improved My Life Use the link below to watch the video https://youtu.be/pdOIW-5S9Ks I have been so fortunate to have been cast to work as a stand-in on several amazing projects.Having the opportunity to watch and study some phenomenal actors was the best actingclass I have ever taken.And, sitting behind the monitors and listen to the directors and others working on the projecthas been invaluable to me as an actor and person. Hope you really enjoy the video.Have you had any behind-the-scenes experiences? If so, share them so we can learn from you as well.
Stage 32’s founder and CEO, Richard “RB” Botto, shares two great videos in today’s blog.The first video shows you two ways to film the same scene.The second video is an Actresses Roundtable discussion with America Ferrera, Emily Blunt, Fantasia Barrino, Julianne Moore, Sandra Hüller, and Eve Hewson.Grab your coffee/tea/drink and jump in!www.stage32.com/blog/coffee-content-two-ways-to-film-the-same-scene-3598
Melanie Scroggins shares five essential tools you need to build a voiceover business in today’s blog.Melanie is a Voice Actor, Audio Producer, and Host of The WFH Voice Actor Podcast. She has worked on campaigns for Google, Nintendo, Hyatt, Target, NerdWallet, AT&T, and more all from home.www.stage32.com/blog/5-tools-you-need-to-build-a-voiceover-business-3596
Be sure to check out Kurt Yue's fabulous YouTube channel. He appears in one of my favorite movies "Greenland" during the Air Force base scenes. He's based in Atlanta, Georgia, and his channel is dedicated to acting. My buddy Dan and I love his channel.https://www.youtube.com/watch?v=f53kvE03WKw
My friend Dan Logwood and I are looking for commercial talent agent representation. The difficult, lonely process is made much easier with a friend. Again, it's like we're (analogy) a couple of high school students getting ready to graduate. We're hanging out at each other's pad looking over a huge stack of college catalogues (i.e. lists of talent agencies). The sky is the limit. One thing we did last night was address an elephant in the room, the actor's dressing trailer: honey wagon, triple, double. A dressing trailer is to an actor what a cubicle is to the office worker. It can be a sterile and impersonal space; therefore, we asked ourselves an interesting question:How will I personalize my dressing trailer, so I feel at home? If I can feel at home, I can focus on the work ahead.Some of the items we selected include: carpeting, pillows, blanket [some trailer sofas pull out into a bed, so if it is a night shoot maybe sheets and a mattress topper], candles, framed family photographs, music, bath/hand/wash cloths, soft slippers, etc.So, I ask you:How will you personalized your dressing trailer, so you feel at home? What are your essentials, and how do they help you get and stay in character?
Regina Lee, Feature Film & TV Series Producer, Development Exec, and Stage 32 Executive, is hosting a 24-hour Ask Me Anything ("AMA") in the Writer's Room Lounge today, focused on what writers should know about overall, first-look, and pod deals. This is a great opportunity to learn about these key deals that writer's (and producers, directors and actors) strive to make with studios and networks. Here's a link to Regina's AMA so you can hop in and ask her your questions: https://www.stage32.com/lounge/vip/Ask-Me-Anything-AMA-12-29-to-12-30-What-Writers-Should-Know-About-Overall-First-Look-and-Pod-DealsAnd if you aren't a member of the Stage 32 Writer's Room, you can get a first month free by signing up here: https://www.stage32.com/writers-room/plans-vip
We've been rallying for a Stunts Category at The Oscars by posting this banner (pictured) and others like it since 2017. Men and women stunt actors risk their lives each day on the movie set so that we can enjoy an action-packed and believable seamless continuity film. I know a few stunt players and a good friend who did a wire gag on my set and then got stuck on his motorcycle on his way to another gig. He would be proud and love that LAST WEEK this OSCAR-STUNTS Story came out in Variety. https://variety.com/2023/film/news/oscars-stunt-category-discussed-academy-john-wick-director-1235650105/
Record yourself reading monologues and short scenes. You can purchase a book of monologues online or through Industry sites giving you hours of potential roles to inhabit. Pick one and practice it 2-3 times, then tape yourself giving the speech. When you rewatch it, take notes on where you want to improve, what lines sounded great, and ideas you have to make it better. Then re-do the speech, recording again until you’re happy with the results. Choose a variety of monologues, not just the ones you’re most comfortable with. This is practice time, so challenge yourself. It may be worth experimenting, rather than going for a set expectation of perfection. Sometimes a different approach can really make a monologue stand out.What happens if you: - Slow your lines down - Stress different words - Put longer pauses in - Change your tone - Switch it up, you may surprise yourself! Try different accents, and consider learning a new language while you’re at it. New skills to add to your resume is always a good thing. #audition #actor #casting #monologue #sides #selftape #script #workshop #video #manager #agent #hollywood #success
I started the grueling task of search for commercial talent agent representation. I will begin submitting to agents this August. I'm quickly learning this process is similar to finding and submitting to a university to attend in the fall. Agents however, do not offer promotional videos like colleges. In my mind, I want to find a mid-sized agency that has the connections to move my career forward. Analogy: I want to attend an Ivy League with small classes and a tight-knit community. Rather than a Harvard or Yale that are massive and I may get lost in the shuffle (i.e. ICM or CAA), I want someplace like Denison University (e.g. Clear Talent Group). During this search, I'm mentally creating promotional videos for the talent agencies I'm most interested in to help me visualize the agency and my place within its structure. I created extensive lists of questions for myself and for the prospective talent agents. If you are looking for an agent in Los Angeles, New York, or anywhere within the continental United States, you can locate them here: ASSOCIATION OF TALENT AGENTS: https://www.agentassociation.com/SAG-AFTRA FRANCHISED AGENTS (NATIONAL LIST):https://www.sagaftra.org/contracts-industry-resources/agents-managers/about-professional-representatives/franchised-agents-listSelecting an agency to represent you is like searching for a university to attend in the fall:https://www.youtube.com/watch?v=tylcaZAxzuM
Hi, I’m a Brazilian actress and screenwriter and I’m going to London in a few months!! I’d love to have some insight in the industry there so If anyone could give me a hand with that I would love to chat about it!
Mark W. Travis talks about a different approach to the casting process than the traditional casting process in today’s blog. Mark is a director, dramaturge, screenwriter, script consultant, theatre director, and CEO at Travis International Film Institute. www.stage32.com/blog/working-with-actors-the-casting-conundrum-3588
https://youtu.be/ABQhEou4c9c?si=GgNlvs3wMf3OcdJ3
I have started a series of videos on my YouTube channel where I create an imaginary lost or cut scene from a well known film. I'm doing a monologue by Edward the Longshanks' from Mel Gibson's 'Braveheart' in a recent video. Suggestions always welcomed, for future videos, I enjoy a challenge)
I had a dream I was training on the focus pads with Hugh Grant in a boxing gym.
Tips for Better Headshots, According To a Top Acting Coach:- Go pro. Spend money-it’s worth it. Go to a professional who is trained, understands lighting, and takes headshots for a living, not some friend who happens to have a decent camera who “sorta knows a little about photography.” - Opt for personality over glamour. Make sure it looks like you. Chill with the airbrushing. Casting directors expect you to look just like your headshot and will not be happy when you show up looking totally different or 10 years older.- Remember: It’s all about the eyes. Just like with on-camera acting, it’s all about the eyes and what’s happening behind them. It’s your closeup, your moment. Your eyes should be perfectly in focus, alive, and energized, not dead and glazed over.- Pay attention to framing, lighting, and background. In general, a good headshot is chest up with good lighting on your face, and no strong dramatic shadows, unless you are going in for “The Phantom of the Opera.” Three-quarter shots are good for print, and extreme close-ups are good for, well, nothing.- Consider natural light vs. studio. Some photographers do both, as they offer a different look and feel. Natural light gives a very real, “film” look, which I prefer. Studio lighting tends to be a little more polished, with a more neutral backdrop. Both can be wonderful. If you are more of a sitcom actor, perhaps a well-lit studio headshot is more suited for you.- Don’t go crazy with clothing and props. I once saw a headshot of a guy with a bird on his head. Why? Because he wanted to stand out. Let’s not get crazy here. Keep it simple and classy. Professionalism not desperation gets you noticed. A simple, solid shirt with a little texture that fits you.- Go easy with the makeup. Yes, lots can be done with retouching. There is no need to put on tons of makeup. You want to look like yourself on your best day and not look like you tried too hard. Do your hair the way you would for every audition.- Matt Newton, On-Camera Acting Coach#actor #headshot
Here Are my 3 Special 2024 Wishes For Youhttps://youtu.be/tqHcVX73swoPlease share any acting plans or goals you have for 2024.This allows us to learn from each other.
In the days of Turner Classic Movies…https://youtu.be/PDBY0A4JnTs?si=TCS8NOkU-x_2Y5RQ
Michael Caine, on The Parkinson Show, 2002. Do you have a philosophy of life gleaned from acting advice that you received during a production? https://youtu.be/GAB89fOdA-I?si=6Rv4tpT0WbMaPSl-
Hi everyone, I was recently emailed by someone claiming to work for [a huge film production company], stating they found my profile on a [very well established private casting page I pay for] and that they are casting for a film in Greece, and invited me to attend a "blind audition". I copy the message I received below. In the audition, the 'team' was muted and off camera, and towards the end of the audition the 'team' became unresponsive. After 10 mins I left the call and followed up with an email. They got back to me 24 hours later stating "the electricity in [their] building" went down and they have since replied to my followup email asking for their social media very quickly (though they provided just an IMDb page and the company's website. Now, the emails are written in a professional manner and if it is genuine, wow. I have tried to cross-reference the name of the person who reached me with IMDb pro and although they match, I am not able to locate any personal social media so as to confirm the person behind the emails is the person on IMDb pro.I'd love your take as I had never done a blind audition before and am now a little concerned about the security of this professional casting page I am a member of. Part of me thinks I am being hyper-vigilant and should let it be, but the worst in me worries I have been scammed and that someone is using this very successful person's name to reach actresses.Any advice would be much appreciated, thank you!- - - - - - -The message I received was:"Hello and welcome to our online auditions! We want to take a moment to explain the unique format we're using today.You'll notice that we, the audition hosts, will remain blind and muted throughout your performance. This approach is intentionally designed to create a focused and unbiased audition environment for you.By removing our presence from the screen and muting our audio, we aim to minimize any potential distractions and ensure that your performance takes center stage. Our focus is entirely on your talent, not on our reactions or comments.Please don't interpret our silence as indifference; it's quite the opposite. We're here to support you and give you the space to showcase your skills without any external influences. After your performance, we'll provide feedback and engage in discussions to help you shine even brighter."- - - - - - - -
I had the privilege of seeing Andre for nearly two years while working on the ground breaking NBC TV show Homicide: Life On The Street.I share my memories about this very special actor in my latest quick tip video:https://youtu.be/XexpalwxyvoDid you ever meet or watch Andre Braugher perform? If so, share your thoughts with others.
In this article, I have listed my top five London photographers who have received excellent feedback from both casting directors and actors. I have also included some tips on preparing and utilising your actor portfolio.It's worth noting that there are many great headshot photographers out there, and this list is by no means exhaustive. https://www.reflectionscareercoaching.co.uk/post/london-photographers-for-actor-headshots
Getting a callback means that the casting team is intrigued by you and your acting, but they may not be totally sold yet. On top of watching you perform, they might also question you about your acting approach and experience. This is the time to showcase your range, ability to portray your character, and overall skill set. Expect to perform the same material in the same way as in your first audition—but know that you might be asked to make a few changes, such as reading a scene with different emotion or really diving deep into your character’s personality.Callbacks often mean performing a scene with another actor so the director can see if you mesh well with others.The casting director brought you back because your type and performance worked for the character and for the tone of the show. Unless you are given specific notes for the callback, do the exact same performance when you come back in but be open to adjustments.Don’t get locked into your choices. In a callback, the director, producer, and creative team may have you take an adjustment and try the scene a different way. Spontaneous decisions are your best friend so practice various versions of the audition just to be prepared.#actor #audition #callback
Nothing to say here, just watch and then…https://youtu.be/oGEEMspTr5o?si=jozljuzp30NCuc98
I decided to free up my schedule by hiring a talent agent to represent me commercially (commercials and industrials). Selecting agents to submit to is similar to selecting a university to attend. I'm taking the following steps:1. Visit SAG-AFTRA and the ATA websites for commercial agents.2. Visit each talent agency website. a) If there is no website, I skip that agency.b) If there's a website but no information (e.g. "About"), I will skip that agency.c) If the website says, "Submissions by referral only", I skip it.3. Read reviews on Yelp. Not all agencies have Yelp reviews.4. Check with California Secretary of State to see if the agency is up-to-date on their tax filings.5. Visit the Better Business Bureau website to check for complaints leveraged against the agencies.6. Check to see if there are past or pending lawsuits against the agent/agencies; if so, what is claimed in the filing.Hopefully this information will help me make an informed decision prior to in-person interviews with agents/agencies.
Knowing your “type” is a crucial tool for any actor. While actors frequently book roles outside of or against type, having an understanding of what kind of first impression you make on casting professionals can help you streamline your auditioning process. Many introductory acting courses discuss how to figure out what your type is. Less talked about is the fact that it changes. So what then? You’ve gotten used to marketing yourself one way, what happens when you realize you’re being seen in a new light? Here are some tips to ease the transition. Know the signs. For better or worse, type is based heavily on physical appearance. This means that whenever you go through a distinct change of appearance (changing hair length or style, gaining or losing significant weight, altering the tone of your personal style) your type may change with it. Age is another big factor. As you get older, you will naturally cycle through many different types. A good way to know your type is changing is the type of auditions you’re getting. If you’re accustomed to getting roles like student, assistant, intern, etc., and are suddenly seeing a lot more parents, teachers, and bosses, you may be growing into a new type. New headshots. Keeping headshots up to date is always important, but never more so than when you’re rebranding. If you don’t want to ditch your current headshots completely, consider adding a couple of shots to your roster that suggest your new type. Restyle. If you’re reading for parent roles but still dressing like a college student, it may be helpful to consider switching up your style (at least professionally). A haircut and a slight outfit tweak can do wonders to suggest a character consistent with the types you’re reading for. Embrace it. It’s an easy thing to want to fight your type. But remember, a new type is not a life sentence. It doesn’t mean you’ll never play a role outside that type. It just means that your bread-and-butter auditions, your commercials and day player roles, might look different.#actor #casting #audition #headshot #role #type
The "Choreography and Blocking in Performance" course offered by the New International Performing Arts Institute (NIPAI) is a specialized program designed to equip directors and choreographers with essential skills and tools for creating compelling mise-en-scene, blocking, composition, and movement direction in their productions. This 3-month, fully online course is targeted towards professional growth in the field of performance-making, focusing on choreography, composition, and blocking as key components.Key aspects of the course include: - Core Topics: The curriculum covers a range of topics essential for performance creation, such as Blocking and Mise-en-Scene, Tempo and Rhythm, Montage, Movement for Actors, Acting for Dancers, Improvisation and Spontaneity, and Composition. - Professional Approach: The course emphasizes a professional approach to performance-making, providing directors and performers with up-to-date knowledge and first-hand experience. It's designed to facilitate learning through practice, ensuring an individual approach and focusing on practical learning. - Who Can Benefit: This course is ideal for directors, dancers, choreographers, physical theatre actors, contemporary circus and musical theatre performers, and performance artists. It's also suitable for practitioners from related fields seeking a deeper understanding of movement in contemporary performance. - Certification: Upon successful completion, students are awarded a certificate of completion, which can be a valuable addition to their professional portfolio or resume. - Application and Study: The program offers flexible timing and is conducted in English. It employs a mix of self-study, virtual classroom, and text-based learning methods. Students receive weekly assignments and tasks for self-study to gradually develop their understanding of the topics and the ability to apply knowledge to their projects. - Eligibility: The course is open to international students and professionals with varying levels of experience. The main requirement is a commitment to developing skills in theatre directing and choreography. In summary, the "Choreography and Blocking in Performance" course by NIPAI is a comprehensive program aimed at enhancing the skills of professionals in the performing arts, particularly those involved in directing and choreography. It combines theoretical knowledge with practical assignments, making it a hands-on learning experience for participants from diverse backgrounds in the performing arts. More: https://www.nipai.org/choreography-and-blocking-course
The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers.Key elements of the course include: - Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts. - Active Analysis: The course emphasizes practical, hands-on approaches to play analysis. - Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production. - Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum. - Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line. The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text. The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments. Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning. For more detailed information and application procedures, you can visit the NIPAI website: https://www.nipai.org/the-director-and-play-course
The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of working with unfamiliar performers and aims to develop a welcoming and creative atmosphere.Key aspects of the course include: - Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion. - Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration. - Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers. - Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes. - Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills. - Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach. - Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing. For more detailed information about the course, you can visit the NIPAI website at https://www.nipai.org/the-director-and-ensemble-building .
Hope you're all well. I'd like for to check this 1 min video short out. It's my rendition of an Iconic scene from 'Breaking Bad'. https://m.youtube.com/watch?v=6dbpfoeh7cY Hope all is well with you. Thanks appreciate the support.
Alright, alright, alright... he is cerebral and I love it:https://www.youtube.com/watch?v=fWIB_Iymgg0
Ayerswood Films is now available at the Amazon Fire TV App Store, still streams for free with no commercials. Also at AyerswoodFilms.com, and Chromecast enabled, for those that don't have access to Amazon Fire TV. If you have a film that you would like added let me know. Be seen! Features, Shorts, Documentaries, even Music videos welcome.https://www.amazon.com/Wolfgang-Schuler-Ayerswood-Films/dp/B0CLKVTM8T/
These People Angered Me - No More https://youtu.be/6lvtAZ5wud0 How do you deal with industry people who make you angry? Share it with others.
Here are some examples of how stunt liabilities can impact: Personal Injury:Example: Tom Cruise broke his ankle while performing a rooftop jump stunt for the movie "Mission: Impossible – Fallout." See: https://www.youtube.com/watch?v=Sjn3ELLcy2UProduction Delays:Example: The filming of "The Matrix Reloaded" faced delays when Keanu Reeves sustained an injury during a wire stunt, pushing back the release date.Insurance Issues:Example: Production insurance costs for a film may increase if an A-list actor insists on performing risky stunts, potentially impacting the overall budget.Reputation and Public Perception:Example: After Jackie Chan suffered multiple injuries throughout his career, there was increased public admiration for his dedication to performing his own stunts, enhancing his reputation. Positive or Negative. Legal Issues:Example: An actor performing a stunt without proper safety measures may face legal repercussions if injuries occur, leading to potential lawsuits against the production. This can take down a production. Expertise and Training:Example: Chris Hemsworth underwent extensive physical training to perform his own stunts as Thor in the Marvel Cinematic Universe, showcasing expertise in combat scenes.Impact on Other Crew Members:Example: A poorly executed car stunt by an actor may endanger the safety of the stunt coordinator, camera operators, and other crew members involved in the scene.Psychological Impact:Example: After filming intense war scenes in "American Sniper," Bradley Cooper discussed the psychological impact of the role and the toll it took on his mental well-being.The Armorer:Baldwin and Hannah Gutierrez-Reed, the armorer who oversaw firearms on the set, were each charged with involuntary manslaughter in January 2023. It is the Armorer's job to check the weapon before handing it to the actor. When people decide to cut cost and use Non-Union people they can run a high risk. I believe during covid- 19 there was a lot of cost cutting and Union worker cutting in the name of cutting costs. The armorer on a movie set is responsible for handling and overseeing all aspects related to firearms and weapons used during filming. Their role is crucial in maintaining safety on set while ensuring that the production achieves the desired authenticity for scenes involving firearms. Here are some key responsibilities of an armorer:Weapon SelectionWeapon PreparationSafety BriefingsTraining ActorsCoordination with Stunt CoordinatorSupervision on SetAmmunition ControlCompliance with RegulationsEmergency ResponseMaintaining RecordsEquipment MaintenanceA big responsibility...as you can see. This is why more and more people are doing gun stuff in post for safety.
How can the Fight Choreographer (People like myself) help the actors.Actors can gain valuable skills and insights into the art of performing action scenes by actively engaging with fight choreographers. I love choreographing slaps to the face.... They tend to make me laugh.Attending workshops or classes led by experienced choreographers provides actors with fundamental techniques, safety protocols, and hands-on experience. Collaborating directly with choreographers during rehearsals allows for personalized guidance and correction in real-time. It provides a different layer of experience. Yes, some want a stunt double I get it. Things you can do:Observing rehearsals and studying well-executed fight scenes in film and television enhances understanding of choreographic processes and techniques. Seeking individual training, enrolling in martial arts classes, and practicing choreography regularly contribute to building proficiency and muscle memory. Actors should actively ask questions about choreography, safety protocols, and emotional expression through physical actions. Attending industry events, networking with choreographers, and embracing constructive feedback foster continuous learning and potential future collaborations. This multifaceted approach enables actors to master the skills necessary for convincingly performing fight scenes on screen. I love what I do, yet working with actors who take good safety instruction is crucial.
Stage 32’s founder and CEO, Richard “RB” Botto, shares two great videos in today’s blog.In the first video, the SAG-AFTRA Foundation interviews Tom Hiddleston, and he breaks down his experience working on the MCU series LOKI and nearly 15 years playing as Loki.In the second video, screenwriter and studio executive Steve Douglas-Craig discusses the three "worst" ways to start a story.Grab your coffee/tea/water/juice/pumpkin spice latte and jump in!www.stage32.com/blog/coffee-content-tom-hiddleston-qa-for-loki-3566
Matthew Cornwell tells you how you can master the art of the self tape in today’s blog. Matthew is an actor, editor, producer, screenwriter, and co-founder of Get Taped! (an audition taping services in the Atlanta area that he founded with his wife). www.stage32.com/blog/mastering-the-art-of-the-self-tape-3574
A great watch. Instead of actors going after each other for box office sales they helped boost each other up - https://m.youtube.com/watch?v=MecVr3Bz4o0
Hi all, I would love to know which agents based in the US are willing to work with US actors based abroad. Appreciate very much any recommendations
https://www.youtube.com/watch?v=hmzkuBWr9oE
What exactly does it mean to be a local hire? A local hire means that you are able to work in the shooting location without the need for travel expenses. If you consider yourself to be a local hire, it means you are willing to: fly yourself to the shooting location, put yourself up at a hotel or other residence, and get yourself to/from set without any reimbursement. Is it worth it? That’s a question you’ll want to ask yourself and your agent. If you have an offer for a weekly scale but you have to be a local hire in another state, the cost of airfare, accommodations & rental car/Uber will have you barely come out even (taxes & agency fees are other contributing factors). At the end of the day, it’s important to prioritize what it is that you consider valuable to your career. Will this job be your first credit? Will it give you career-changing footage for your reel? If so, it might be worth it. It’s important to know the facts & rules when it comes to being a local hire. Just saying you can be a local hire and having some friends/family in that region may not be enough to fully qualify as a “local hire.” Productions are going out of state due to the many tax incentives offered there and lower cost of shooting. However, in order to qualify for these incentives, they must hire a certain percentage of local cast & crew. Many times, for cast, the percentage that can be out-of-state is reserved for the larger, leading roles. This means that some states will require either a state ID, or a document proving you are resident within a certain number of miles from the shooting location. (these requirements differ by state) #actor #actorslife
In 2013, I was a casting director, and I cast the horror feature film "Axeman At Cutter's Creek". One of the actors I promoted to the producer/writer/director was Stephen Eith. I previously cast him in a UC Irvine student TV studio project, and I thought he'd be great for "Axeman". From time to time, I like checking in on my actor. It is a source of pride for me to see them on the screen, because I helped put them there. But something seems to have happened to Stephen Eith. Either he completely quit the acting profession and all social media, he died (maybe Covid-19), or he was placed in witness protection for some reason. After "Axeman" I got Stephen his first agent here in Hollywood. He eventually moved back east and signed with an east coast talent agent. He was getting plenty of auditions for shows in Atlanta (e.g. "Nashville"). I was happy for him. He had other things going for him too. He was working in real estate and involved in ice hockey. I see his and scream queen Elissa Dowling's images are featured in the Amazon.com link to "Axeman", Moreover, someone is trying to sell Stephen's "celebrity" headshots on Ebay. He just vanished. He has a profile here on Stage32, and it says he was last on 2 weeks ago; however, it has said that for more than a year. I'd just like to know that he is all right, happy. He is a promising actor. In fact, the character he portrayed in "Axeman" seems to have been based on me.
Like a lot of mom‘s, I put my career and my dreams on hold when I got pregnant. My son is the most precious person in the world to me, so I don‘t regret it but I‘m not gonna lie… when he became a teenager and didn‘t feel like hanging out with me anymore (weird, right?) I realized that things were going to change.All of a sudden, I had time to consider what I wanted and the answer was pretty unsettling to everyone — including myself. At 47, with a gaping 16 year gap in my resume, I wanted to give my dreams one more chance. But how? I didn‘t have any industry contacts and had no current showreel material. I had no idea where or how to start.When I was younger I had been able to work enough to join SAG/Aftra and was working on my equity card. But none of that was repeatable. I didn‘t have a plan or a strategy I just kind of… got lucky. I knew that wasn‘t going to work this time around - not at my age. I needed to figure out how to show agents and casting directors my value even though I physically had no „proof.“That was 10 years ago. Today you can see me on screens big and small around the world. If you have the Hallmark channel, you can catch me in the current Christmas movie, A Heidelberg Holiday, and this week I‘ve got a callback for a national beer commercial shooting for 10 days in South Africa.Am I a big star? — definitely not (obviously), but I am a working actor. I don’t say any of this to brag, but so that whoever reads this will know that your dreams are worth pursuing but you need a plan and a strategy. There is no age limit on success. Actors are the most resilient, empathetic people on this planet and I truly believe that there is room for anyone who wants to fill it.If you have your own journey to share, I'd love to hear from you. This is obviously a subject that is near to my heart. I’m actually working on a project that dives into all the challenges second-act actors face when trying to get their careers off the ground. If my story resonated with you I’d love to jump on a Zoom and hear about your experiences. Your insights would be incredibly valuable to my research and could even potentially help other actors who are also facing similar challenges. Just DM me and I’ll send you all the details.P.S. That’s my sister pointing to me on the TV - I couldn’t resist.
- Cindy Tolan (The Marvelous Mrs. Maisel, Straight Outta Compton, Unbreakable Kimmy Schmidt, Aladdin, If Beale Street Could Talk)“I give adjustments. I want to find the person for the part, so if there is something that is right about you for the role, but your choice wasn’t going to best tell the story the director or writer wants, then you make an adjustment. Then maybe it’s almost there and you make another adjustment. I work with actors. There is also so much that goes into casting. You as an actor cannot be everything. You cannot twist yourself into a pretzel and say, “I could have been this.” There are so many factors that go into casting that the actor is not privy to. They just have to feel good about what they did in the room and then leave it there.”- Meg Morman & Sunday Boiling of Morman Boiling Casting (The Baxters, In The Vault, Hello My Name is Dorris, Betrayed, Man With A Van, The Dead Girls Detective Agency)Meg: “When we audition actors (with or without the director present), our rule is that the actor reads all of the pages they prepared at least once. If nothing else, just out of basic respect for them. We’ve given them specific material and they took the time to prepare. You’re showing them that you respect that time they’ve put into their craft. After that, if we want to redirect, we do but redirection is not always given.”Sunday: “We never interrupt an audition. We’ve heard of directors doing this and it’s horrible. If you encounter this we’ll say, ‘Let them finish this scene and then we’ll go back.’ Auditioning is a very nerve-wracking process for people. You’ll get better performances if you are respectful of that.” #actor #castingdirector
Do you know exactly what equipment is needed and the costto shoot great self-tapes? You might be surprised. Watchthe video and learn.https://youtu.be/PufWkDyHzOAWhat equipment are you using and how much did it cost?
As we sat at tables arranged around the room and the Lecturer sat in the centre. I felt the nerves set in. You know, the dry mouth and sweaty palms. We had all taken a character each in a Shakespeare Play in my "A" level English Lit classes. The girls were natural and one girl performed with such gusto that my feeble delivery seemed all the more timid. I knew I would never be an actor but I did love stories. The irony is I did in some ways become an actor. An "Actor with a pencil". I became a Lead Animator for Walt Disney Feature Animation. With a pencil I could hide behind I could become anyone or anything....................... https://www.linkedin.com/pulse/art-acting-richard-bazley-fpbse%3FtrackingId=bb4oSwLvRi64Qv7BC7I%252Byg%253D%253D/?trackingId=bb4oSwLvRi64Qv7BC7I%2Byg%3D%3D
Hey everyone - Matt Bierman, Producer, Studio Executive, and Stage 32 Educator is hosting a 24-hour Ask Me Anything ("AMA") in the Writer's Room Lounge today, focused on Writing and Selling Your Holiday Rom-Com. Here is the link to his AMA so you can hop in and ask Matt your questions: https://www.stage32.com/lounge/vip/Writing-and-Selling-Your-Holiday-romcomMatt is also teaching a lab where you will create all the tools you need to actually sell your original holiday romantic comedy starting tomorrow - here's a link so you can grab one of the last spots: https://www.stage32.com/classes/Stage-32-8-Part-Lab-Create-All-The-Tools-You-Need-To-Sell-Your-Holiday-Romantic-Comedy-Nov-2023Also, If you aren't yet a member of the Stage 32 Writer's Room you can get a first month by signing up here: https://www.stage32.com/writers-room/plans-vip
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
