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
I am not an actor, but I did find this interesting, and it seemed to fit here in this lounge. Stone challenges not only the pay structure, but the opportunity for women in America. How interesting that Saudi Arabia is more open than the U.S.What she has to say is fascinating.https://deadline.com/video/sharon-stone-gender-pay-gap/
First things first: actors must be ready for a manager before seeking a manager. What do I mean by that? Actors, you must have a career to manage before you pursue management. Managers don’t want to develop a career for you from scratch—it’s more time than we have in the day. At a minimum, you must have professional headshots, training by an actual industry professional, and enough solid acting experience that you have at least a few credits on your resume.You should also be knowledgeable about the business of acting and have an attitude that is professional to this career path you have chosen. You are the business; you are the product you’re selling. Actors, please understand that managers absolutely must have clients that want to work as hard as they do for you. This means we will not tolerate you expecting us to do everything for you with no willingness to get out there and try to find work as well. Whether it be a student film, background work to gain experience on set, or helping out a creative friend for free on their project—show us that you are willing to put in the work and we will reciprocate in kind.We also want to get along with you. Over the course of my career as a talent manager, I’ve experienced various levels of professional and personal conflicts at the beginning of a relationship with an actor. That’s a red flag for me. Difficulty at the beginning almost always guarantees difficulty throughout. When we offer you advice, take it. Know that we put massive amounts of effort into your career but that still doesn’t mean we have the power to create miracles. So when we suggest that you take classes, recut your demo reel, step out of your comfort zone, etc., please listen.We love working with actors who are always prepared. The actors who know their lines. The actors who show up on time to auditions and callbacks with whatever was requested of them. Those are the actors we want to help succeed.We want someone who likes the creative process of thinking about and planning their careers. #actor #management #work
I'll go first - I watched KILLERS OF THE FLOWER MOON ***spoiler alert**** and I love the scene at the end when Leonardo DiCaprio is talking with his wife and fighting with his feelings on poisoning her. I couldn't believe the range of emotions he let run through his face in that moment, and the way he delivered his lines still haunts me.
Hi, folks. I'm seeking out a local publicist who can interview me about my three topics that are based on soap operas and music, and I'm struggling.:( Also, my main concerns are the bill and the cost, because those are the last things that I want to be stuck with. If anyone knows a local(Chicago) publicist, please let me know. Thank you very much.
I once attended an acting school, I found it to be very interesting, I also found that it is real work. I have a great appreciation for actors and their skills, It can take sometime to become a pro.
An Actor's Greatest Competitor? Will Surprise You Use the link below to watch the video https://youtu.be/IZ0ZsUMwB2I Have you ever experienced competitiveness from others? If so, share your experience so we can all learn from each other.
Today is Cyber Monday! Remember that all day long today you get 20% off any Stage 32 on-demand education. If there's anything you've had your eye on today is the day to jump in and take it. You can check out all of our courses here: https://www.stage32.com/educationHave a great and creative day!
Hello all, Can anyone recommend me and agent based in the U.S. who works with U.S. citizen actors who live abroad?
Please donate on Giving Tuesday to The Rebuilding, a timely feature project set in 2050 America. Given the craziness that surrounds us, this just makes sense. Plus due to our fiscal sponsorship through The Gotham Film and Media Insititute, all donations are tax-deductible. But we can't make it happen without you - thanks in advance for your support!
Casting director Laurie Records talks about #socialmedia and what advice she would give to #actors who are trying to build out their social media:"If you hate it, I would say then let it go. You do you. But if you have interest in it, be willing to put in the time, and that means daily or every other day. You need to be active. I would put it on my to-do list. Dedicate a half an hour of your time to cultivating that. I think that consistency is key. Just make it part of what you are doing for your acting career today. It will take time. You are not going to be on everybody’s radar from the get-go. But if you enjoy it, it should be a little bit of fun for you and [it] can absolutely be helpful in some situations. So, take the time, put in the effort and think about what you’re doing. Be careful, don’t slap things up that you might regret later. Be thoughtful. Keep your actor social media account pristine and with a focus that is going to serve you as an actor.""As far as red flags I look for, clients care about offensive content. Stay away from extreme anything, whether it’s provocative photos, extreme political posts. I think that you can express how you feel politically, but it's a danger zone. Staying civil is a good idea, and just staying away from crass, rude, crude stuff. You’re representing the brand in the end, that is how they’re looking at you. If you’re a known jerk online, that’s not going to work out for the brand.""Eventually, it will help you down the line. I think it’s worth the time.I would say, if social media is not your bag, stay off! Don’t have an Instagram account. It’s all right! But I believe that if you have interest in it, you will be rewarded. Follow other actors. Look and see what they are doing. That’s a great way to get some content ideas. Some people do it very well, so watch and mimic them. You’ll be different because you are you, but that way you’re not reinventing the wheel. Actors have come before you and done this social media thing quite well. Be a student of theirs, get some great ideas, and have fun. But keep it focused. Keep it focused on the acting stuff and enjoy it as a fun break you have in the day."
"On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor’s contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she’s willing to travel to go to set."https://teamdeakins.libsyn.com/ellen-lewis-casting-director
Stage 32 is excited to welcome Ryan back! Learn how to do your best scene work - whether you have one hour or one month to prep - with esteemed actor Ryan Cartwright who has starred on numerous television series including BONES, MAD MEN, THE BIG BANG THEORY, KEVIN CAN WAIT and ALPHAS!You will walk away from this class with the tools you need to successfully approach your character, dialogue, and action steps to properly utilize on your self tapes, callbacks and on-set performances for maximum success!PLUS! Ryan will provide you with exclusive handouts to help you hone your acting process. Downloads include:The Audition Process Beat SheetFilming Day Checklisthttps://www.stage32.com/classes/Acting-Workshop-Build-Your-Successful-Preparation-Process
Hello everyone. So I have been thinking which is better for a kids animated series. Child actors the same age as the characters? Child actors a little older so they still sound like kids but have a better understanding of the script or adults who can sound convincing as a child?On one hand I have heard child actors can be hard to work with and they can only work for a limited amount of hours straight or and limited amount of hours for the day, and they take longer to get their lines sometimes forcing the shoot to be longer. There is also the issue of the child aging out and voice changing, forcing you to find new child actors that sound alike.On another hand while adults can definitely work longer, they might not sound like a child. Is it a huge concern if they character playing kids in an animated series, is actually an adult?
Important New Self Tape Rules SAG-AFTRA Negotiated that affects both Union and non-union actors. https://youtu.be/fdVdYQBaAqM If you know about some new rules, share them here.
Hello everyone have a question how do you know as an Actor that your working with an amateur Director?
https://deadline.com/2023/11/justine-bateman-sag-aftra-deal-ai-1235616848/
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.
