Hey there! I'm looking for 3 voice actors for a short movie I'm working on. I'm ready to pay! As I mentioned, 2 female characters (who have around 10 and around 5 lines) and 1 male character (who has around 26 lines). DM me if you're interested :)
Hey actors. I'm a writer, making a short video of a story of mine. And YE GODS, the things I'm discovering, and the things I'm probably not noticing. But hey. Here we are. The story is about a sorcerer and a broom, you know the rest (don't say it out loud please, I don't want to get hammered by You-Know-Who for copyright - this is based on the POEM BY GOETHE\*, and no other source, thank you very much). At one point, I have to extinguish a candleflame with my finger and thumb. So okay, fine... but there will probably be multiple takes. So I'm going to burn my fingertips a bit. I'd like tips on how to minimize the damage! Any actors out there who've done bare-handed candle snuffing? Thanks everyone! ​ \* "Der Zauberlehrling" (1797), by Johann Wolfgang von Goethe
Hi guys !! Thanks to this sub, 4 years ago I found 5 of the most talented actors I had ever met to collab with me on the WORLDS FIRST HYPER IMMERSIVE AUDIOBOOK (SOB, which we released for free on Youtube this week). Shout out to Anthony Bender, Sherrie Shan, Rasmus Baekgaard, Dom Trimboli, Aldon Jacob, some of my fave people. If there are any directors/producers looking, they are awesome and I am more than happy to push for them in any piece of art you are fishing for here!!! And to the rest of the community here, thanks for helping me bring this project to fruition. Below I have included a description of WHAT exactly SOB is. If anybody enjoys this kind of stuff, reach out to me and I’ll see if I have any projects to direct you to (paid projects only) in a few months. —————- SOB - The most ROIDED UP Audio Drama you’ll Ever Hear ( FREE ON YOUTUBE ^w^) !WARNING! This production contains mature themes including explicit violence, strong language, sexual references. Listener discretion is advised. SOB is an audio-only production performed by a cast of voice actors, enhanced with amazing soundtracks & SFX, and available for FREE on Youtube. Kind of like a roided up audiobook or a blockbuster movie you don’t have to see to enjoy. So go ahead and keep doing what you’re doing, whether you’re scrolling your phone, driving home, working out, gaming or whatever. If you’ve got speakers, we’ll bring you the show :) SAMPLE CHAPTER: https://youtu.be/TM2e_M9gl5g Premise: Main character is about to pay off his debt to a ruthless mobster and hopefully sever his last tether to a life of fear-drenched squalor. FULL CHANNEL LINK FOR THE WHOLE STORY: https://youtu.be/-6y9O4M5QTY Plot description: Our tale finds Theo, a young man with a peculiar power and a truckload of baggage desperately trying to protect his only remaining family from a world he has only ever known as a cruel testament to social Darwinism. Scarred by the memories of the bloody crime scene he used to call his home, Theo scratches and claws to survive amongst Windson’s twisted spires and equally crooked citizens. However, when his last remaining tether to sanity, his younger brother Yomi, is diagnosed with a terminal illness, despair forces Theo’s hand. Defying every voice screaming sense into his ears, he recklessly strikes a boneheaded deal with a ruthless loan shark that forces his hand into innocents’ pockets and ultimately leads to him with a noose around his neck. The trapdoor gives way. The line around his neck tauts. His eyes open, but it’s not the Reaper he greets. He finds himself face-to-face with something else. Something that can give him a second chance. Something that might just lead to that ‘happily ever after’ he so desperately craves...
I've met people who blamed POC for their lack of jobs, or people telling rookie actors to give up on their dreams to become an actor just for the sake of making them give up. How could someone be like this? And is this kind of person common in the industry? Do you guys have a bad experiences with these folks?
what do u think this year of productions will look like? especially for new actors with little to no experience? LA? NYC? when will more classes and auditions be back in person? anyone in LA or NYC with in person things ? etc
Utilize a "Life Rich Background" approach to acting style, character development, and auditioning. - development of the characters history and take on the persona/being of who you are creating We start with analysis of the script - Scrpit=fact the confines of the script is what is there, however it is my job to create the character the resonates with real emotion - that's why it is important to create the background, the life of the character is promoted through background details - character background details will encourage and help illicit authenticity At an audition I need to be 100% prepared to do and know the homework necessary to illustrate the role - reiterate facts about the script and what casting directors are encouraging - not trying to "win" a role but rather demonstrate acting capabilities and collaborate, "you want to be their coworkers." - key note: the goal is to impress the casting team, they can potentially hold roles or have roles for you in the future - create great rapport during the audition BASICS Scripts Analysis. (We discussed and evaluated Breaking Bads, Walter White, "I am the one who knocks." Monologue) - read the script as much as you can, allow it to dissolve and saturate to better understand it "Homework terms/ Larger Concepts" Objective - what the character wants to achieve in that interaction, dialogue, event - to help promote character objective choose specific words or phrases to create energy, "it will charge up, gives authentic emotions - Keep these phrases and charge for you, it creates power in the character development you've worked on Super Objective - broader scope of the characters life - create clues and facts that are not included in the script the enhance the objectives purpose - the super objectives help make a driving motive to what's happening - The movie Flight with Denzel Washington as example - Authenticity and vulnerability are desired and the goal Consider Relationships with every script, every character, every....thing - when we have detailed images of how the relationship developed, operates, dynamic growth, potentially ambiguity gives you more flexibility to be creative - fictional resonance is suggested as it helps avoid real transference, "I might handle a situation differently than the character would." - relationships can create motive - the reasons why we care for what is going on come from the foundations of the character, they need to be engrained - consider the characters romantic/familial/friend relationships, the relationship they have with their career/work, internal relationship, emotional relationships, etc Remember what Coach stated, "We created all this depth from the small chunk of text we had." Scene Analysis - physically visualize the scene, surroundings, scents, sounds, tastes, feels (5 Senses) - Coach recommends utilizing sight last as other senses help illustrate the scene, they are more of the precursors to the visualization - aspects such as time of day, the temperature, location, are all key to help illustrate the sene - the audition is a blank room with a camera, build the visualization skill prior to auditions in order to increase success rates - compile emotions, actors have "tactics and beats" - practice these and better intrinsic understanding of the characters will come These are not gospel so you do not have to use them, tweak them to work for you or not, you develop as your own professional
Hi, i'm 17 and just found a breakdown on actors access in my city that would be for a indie feature film, i'm pretty new at this so don't currently have an agent or anything or professional headshots. I know i'd be great for one of the characters but would it look unprofessional and hurt my chances of an audition if I use non professional headshot images that I took myself on my profile. I do plan on getting headshots done but with covid it won't be for a bit, and I feel like i'm already missing a huge opportunity here.
Hi all! I live in LA and am in a relationship with someone who lives in SF. As a result, I drive up to SF pretty regularly. Since there are a lot of “real couple” commercial auditions right now, I figured it might be nice to get another agent in SF (my current agent is in LA). I have a few meetings set up for next week, but I’m a little unsure of how the rules work... *Would I have to drop my LA agent in order to sign an agent in SF?* Technically these cities are considered different markets, but they are in the same state... Thanks in advance!
I get shivers down my spine when I have to upload there. My non-actor computer-dude bf is aghast at the site and said it looks like it was made in 2002 by a middle school student. And I was like, I mean, yeah. I wonder if the same person that created hamster dance created eco cast /cast it? If an actor that was tech savvy created a new interface with them they would be a God. Thanks everyone. Just wanted to get that off my chest.
Who: any voice actor, beginner to pro What: anonymous survey to gather data on the state of voice-over; looking for 1000+ responses, so please share! Why: data is power! This can help us with pricing, with showing SAG-AFTRA how much work they’ve lost, and so on (see the [current petition](https://www.reddit.com/r/VoiceActing/comments/kvwrw2/demand_sagaftra_aggressively_adapt_to_reflect/?utm_source=share&utm_medium=mweb) by legend Bob Bergen to make joining the union for VO easier) Where: survey at [this link](https://forms.gle/eUASk6NQLxfopfZG6) Reposting from the Facebook group “Voiceover Universe”: Posted with Doug Turkel's blessing! And insight! Thank you, Doug. THE BIG VO SURVEY IS HERE!!!! We need you. The more data we collect, the more comprehensive the results will be. Data is the most powerful tool we have. We need data to make change. For years now, people have given their anecdotal evidence of how the voice over industry operates. You’ll see people say, “80% of the work out there is non-union!” But is that really true? How many people are making a full living in VO? How long does it typically take to go from beginner to pro? How many professionals are union vs. non-union? Does it matter if you live in LA, NY, or somewhere else? How has the COVID-19 pandemic affected how we do business? To answer these questions and more, voice actors from every part of the industry have joined together to create a survey. This is a collaborative effort, sponsored by Voice Actors of NYC, to gather the data we need to move into the future armed with knowledge. And now we need you. Everyone who is a voice actor is encouraged to take this survey. EVERYONE. Beginners and pros, union and non, English, Spanish, hobbyists, big earners… everyone. The more data we can gather the more comprehensive the results will be. The survey is 100% anonymous. We are not collecting any identifying information or IP addresses. There is no way for those giving the survey to know who you are, nor do we want to. The results of this survey as a whole will be published to benefit the voiceover community. The individual responses will not. We’re hoping to get a sample size of 500-1000 voice actors, but more would be even better. So, share, share, share! Please fill out the survey only once. And please be as honest as you can. Once again THIS SURVEY IS 100% ANONYMOUS. (A link to take this survey in Spanish is [here](https://forms.gle/qd5n5RjLzbsUYLQq8) , and included on the first page of the survey itself.) Thank you all so much for being the best professional community in the world. [https://forms.gle/eUASk6NQLxfopfZG6]
Hi everyone, I am currently in the process of trying to decide which private acting school to apply for in Sydney, Australia. I have whittled it down to two that I like the look of and they are TAFTA and Screenwise. The TAFTA Full time program runs for 6 months from Feb and July each year and in the final term you create a showreel, hoping to showcase your talents as an actor for agents to see. During the 6 months you attend 3 full days a week (Mon, Weds and Friday) from 10am - 5pm, totalling around 418 hours (on their website) of teaching and practical work. Screenwise is a 12 month course and is 1 full day a week or two evenings a week and the website doesn't note how many hours but an estimated guess would be somewhere around the 300 hour mark. 44 weeks\*6.5 hours a week. The final term at screenwise also is producing a showreel. The course is in fact called the showreel course. ​ I am very drawn the the TAFTA course as I am lucky enough to be in the position to be able to take 6 months off work and enroll Full time, but I am struggling to find anything online around the reputation of the company or any reviews. Screenwise has a great alumni and great reviews but the hours of teaching are much more attractive at TAFTA. I must note also that both courses are nearly identical in price, circa $9,500 AUD. ​ Does anyone out there have any insight, recommendations or experience with one or both of these companies? Thanks in advanced. ​ Jim
Every year I sit down and tally up everything film wise that I've done as an actor the previous year to gauge where I am at, where to improve, etc. I present 2020. |YEAR|AUDITIONS|CALLBACKS /PINNED|BOOKINGS|PERCENTAGE OF BOOKING| |:-|:-|:-|:-|:-| |2015|40|1|2|5%| |2016|73|2|4|5.5%| |2017|120|7|7|5.8%| |2018|83|5|2|2.4%| |2019|95|2|0|0%| |2020|63|6|2|3.2%| ​ Of these auditions, they are the following (**BOLD= BOOKINGS)**: |YEAR|FILM|TV|SHORT/STUDENT|COMMERCIAL| |:-|:-|:-|:-|:-| |2015|5|**33**|1|0| |2016|8|**49**|0|10| |2017|11|**58**|26|**22**| |2018|**10**|41|17|11| |2019|6|47|22|11| |2020|**1**|**37**|1|24| ​ And the time of year (**BOLD= BOOKINGS)**: |YR|JAN|FEB|MAR|APR|MAY|JUNE|JULY|AUG|SEPT|OCT|NOV|DEC| |:-|:-|:-|:-|:-|:-|:-|:-|:-|:-|:-|:-|:-| |2015|0|0|0|0|0|1|3|7|**11**|**10**|3|5| |2016|2|6|**1**|2|4|3|11|**9**|7|**12**|6|9| |2017|**7**|12|6|**11**|7|**6**|4|14|**13**|14|**18**|**6**| |2018|12|19|4|0|1|4|6|**12**|11|13|**7**|7| |2019|14|9|13|9|5|4|8|8|7|11|2|5| |2020|10|6|11|5|1|2|2|3|6|8|**6**|4| And lastly, location: |YEAR|LA|NY|ATL|SEA| |:-|:-|:-|:-|:-| |2015|39|0|0|1| |2016|70|0|0|3| |2017|115|0|1|4| |2018|81|0|0|2| |2019|94|0|0|1| |2020|59|4|0|0| **NOTES** I am pleasantly surprised how well I did considering COVID and me switching agents start of 2020. So I count my blessings with that. Moreover, I am ethnically ambiguous, I have stunt experience and I can travel easily and as such audition all over to increase my opportunities. Also, as every path is different for actors, what works for me, might not work for you. I am by no means a statistician. I use excel for all this and just manually track each month as I go along. Take it with a grain of Himalayan salt. **FURTHER NOTES** This does not include financials, which I also keep track of and keep separate from my everyday life (according to the IRS this is just an "expensive hobby"). I could further break this down based upon CDs but I'm too lazy. Quick search shows top 3 CDs: Nicolo/Colloff (13), Wendy O'Brien (9) and Jeanne McCarthy and company (9). I also jot down when I get new headshots, swap reps, or take a new class. I'm sure I can also factor that into this, but again, too lazy. Thank you for coming to my TED Talk.
Hello I am an actor under 18 in the chicago land area. I landed an acting agent during quarantine since I had some theatre creds etc on my resume and a decent headshot. I was super excited for our virtual meeting but she was late with no communication so we rescheduled. Since august to january Its been silent. I try my best by actively taking classes, networking on social media, submitting to projects on backstage, actors access and open calls and I do update her on these things. They also are barley active on their instagram and website pages. Do I drop this agent? I don't know what to do because I know acting is a marathon but I haven't gotten a single audition in 6 months/since signing with them and I feel like I am wasting myself and potential growth and time.
The casting call is still up on actor's access, it was posted January 8th and said that the submissions closed on 01/11/2021. It's the first casting call I've seen that applies to my type which is why I really want to apply if it seems acceptable, but I don't want to make myself seem unprofessional by submitting when I shouldn't. I can't really tell if it is November 1st or January 11th but the casting call is still up 3 days after January 11th. I thought 3 days to cast the main characters of the movie seemed like a small amount but for filming dates it said " o/a Feb 23rd - o/a March 31st" so maybe it is the 11th? I don't really know. I think if the call is still up tomorrow I'm going to record a monologue, take some pictures for headshots and submit because my area only has a few potential acting jobs and most of them are for people of different ethnicities than myself so I can't apply to them. I won't if it seems grossly unprofessional, though, as I don't want to burn the few bridges I have. Anyway I just want input if this seems acceptable or if you'd advise against it - I tried googling but nothing that came up really applied so this is my last resort. All feedback is greatly appreciated. Thanks in advance.
I’m a bit worried that I won’t be able to do acting or get an acting career because of this :(
Use this thread to post your headshots for feedback, get info on your age range/type, find good headshot photographers, ask any questions you may have about headshots. If you are posting a DIY headshot for feedback, and not just a snapshot in order to get feedback on your age range/type/etc, it is advised that you do at least some basic research on what actor headshots look like--composition, framing, lighting. You will find a Google Image search for "actor headshots" to be very helpful for this. Non-professional shots are fine for age/typecasting; please keep in mind that one picture is a difficult way to go about this. Video of you moving and speaking would be ideal, but understandably more difficult to post. For what it's worth, the branding workshop at SAG-AFTRA recommends a five-year age range. That's inclusive, so for example 19-23, 25-29, 34-38, etc.
Beginner voice actor here looking for some work in some form of animation or something like that. I have a condenser microphone which produces very clear and nice sounding audio. Please contact me if you have work.
I am a realtive newbie in the industry, because I have played lead roles in student projects both on stage and film, but nothing proffesional per se, also I live in an Eastern European country. I would like to build a resume with more official roles and I feel like the best step right now would be a Backstage subscription (I’m thinking 6 months) and multiple other sites where there is a limited, but free memebership. If I manage to get jobs and earn a bit of money/experience, then I’d like to subscribe to Actors Access too, but not right away, before any pro credits. Is this a good plan? And once I have the means is it worth it to be subscribed to all the casting sites or are 1 or 2 enough?
I'm looking for 4 voice actors (maybe less if I hire one to play multiple characters) The characters are an American couple male and female in their mid twenties, a narrator, and a slightly older construction worker. It's a short 30-ish second commercial being animated by myself. Entire script is around 60 words. First time hiring VAs so not sure what more info I should provide. Email me your reels & rates [placidoarts@gmail.com](mailto:placidoarts@gmail.com) Budget 30\~50USD
A well-known Hollywood actor Armie Hammer makes headlines over leaked DMs about cannibalism and sex acts! This Hollywood Actor Is A Cannibal! Just watch this: [https://www.youtube.com/watch?v=sXtWYfjfB6o&t=2s](https://www.youtube.com/watch?v=sXtWYfjfB6o&t=2s)
When an actor applies for a role, do they get the script beforehand? How do they get the script?
Does anyone have any recommendations on where to start? Personally I've been looking into a coaching program called "Such a Voice" in which I'd be put into a year long session costing around 5k. I feel as if I'd be better having a singular personal coach rather than an entire company with multiple coaches, that and more affordable options are always pleasing. I'm opened to any ideas and such!
Hey I have a quick question. It might seem like a obvious answer. But can Actra members still be apart of sag-aftra projects? Like for example there is a casting call for a project and the union for that project is sag and the actor is actra can they be apart of it ?
Before the pandemic I had career making jobs lined up but I also had so much passion. Now i have no jobs and i have absolutely no passion. I mean I still wanna act, but it's just so hard to keep my head up right now. We were 6 months through rehearsals, and now the project is dead. And i have nothing now. Like i don't even want a job right now I just want that job back. Do any of you fellow actors and actress have any advice for a relatively young actor?
Hello everyone! I've had my Actors Access profile for a few years now, and I only have one professional headshot on it. I have booked everything on my resume with it, but a casting director recently suggested that I add a few more pictures to show some different looks. My question is: do these other photos need to be professional too? I'm not in a place where I can afford more professional headshots right now, but I have plenty of other good-quality photos that I feel could work, if that's appropriate. My professional shot will still be the one I submit first, and the one I bring to auditions. Any thoughts? Thank you!!
Hello everyone!! I can imagine this question is asked quite a lot so I’m sorry :( I’m 18 years old with no background in acting at all. My parents forced me to study engineering but I’ve always wanted to become an actor even though I have never mentioned it to anyone because I’m too shy and probably lack confidence since most people would laugh at me if I had told them. (I’m not good looking or I’m not tall etc.) I recently bought IRREVERENT ACTING by Eric Morris but I’m not sure if it is a good book to start with. Since there is a pandemic, I can’t take any courses so either I have to read books/articles or watch videos. Could you recommend me any books or websites that I can check? Thank you so much, have a great day <3
Hi. I am new here, so I’m not too sure on how to make proper use of Reddit as of yet, so my apologies if this post does not make sense or has been posted somewhere it shouldn’t have been. I am hoping to break into the work of commercial acting.. I have representation, I did a couple workshops last year but of course when Covid hit and turned into a pandemic, everything sort of just stopped. I am hoping to find out if anyone can recommend any workshops/online classes, or can point me in the direction of an actors group where reputable resources/great advice can be discussed (obviously Vancouver area) Thanks so much!
>Repost because I'm a dumdum who accidentally deleted important thread. Most of you aspiring actors always pondered about this. "I would like to be an Actor but my country's film industry is crap, America could be a good place to start." "There are various visas to enter the UK/US, I'm sure I could use the easiest to obtain." Well, I'm sorry to burst your bubble but in order to enter the US/UK as an actor you need the O1B and Tier 5 visa specifically. >What exactly is O1B/TIER 5 visa and how do you obtain them? Well, good question! Let's start with O1B first, shall we? #O1B "Extraordinary Alien Visa" Is a visa granted for 'extraordinary' individual in the field of arts (specifically for O1B). This requires the individual to prove that they are "prominent in their field". >How do we show the government official that "we're prominent in our field?" You need to show them at least two of these criteria: - Has performed or will perform services as a lead or starring participant in a production or event that has a distinguished reputation as shown by critical reviews, ads, publicity releases, publications, contracts, or endorsements. - Has received national or international recognition for achievements through critical reviews via published materials by or about the foriegn national in major newspapers, trade journals, magazines, websites, etc. - Has performed in a lead, starring, or critical role for organizations and establishments that have a distinguished reputation as evidenced by media articles, testimonials, letters of recommendation, website reviews, and other similar items. - Has a record of major commercial or critically acclaimed success. - Has achieved significant recognition from organizations, critics, government agencies, recognized experts. - Has commanded or will command a high salary or other compensation. (Source: Lightman law firm LLC website) Along with the VERY IMPORTANT PROVE OF: - Agent or Manager who's willing to be your beneficiary. >IMPORTANT NOTE: YOU ALSO NEED UPWARDS OF $7000 IN ORDER TO FILE THIS VISA TO COMPLETION. So in other words you need to launch your career before you can file for a visa to enter the United States as an actor. >"What's the difference between O1B visa and EB1 visa? The requirements feels so similar to each other?" EB1 is an immigrant visa, while O1B is a non-immigrant visa. Some people on this thread said it's better for us to have the EB1 since there are studios who refused to employ people on O1B because of the extra paperwork, but most are fine with O1B. Also, in case of EB1 you may not need a beneficiary, but the evidence you gave them are going to be very heavily scrutinized, so it's a little harder to get. _________________________________ #TIER 5 "Temporary Worker" Visa. Is a visa used to enter the United Kingdom as an actor or other field of distinction, with almost exactly the same requirements as the US O1B requested: You need all of the following to be eligible for the creative category: - Make a unique contribution to the UK labour market, for example you’re internationally renowned or are required for continuity. - Certificate of sponsorship reference number. - Be paid the minimum salary as set by Equity, PACT or BECTU (except for models, musicians or circuses). - Enough money to support yourself in the UK - you’ll usually need to have at least £1,270 available (unless you’re exempt). - Certificate of sponsorship >You need a licensed sponsor to give you a certificate of sponsorship before you can apply to work in the UK. >A certificate of sponsorship is a reference number which holds information about the job and your personal details. It’s not an actual certificate or paper document. >Your sponsor will give you your certificate of sponsorship reference number. >They must also give you some other information to help you to apply, for example how much you’ll be paid. (Source: UK government website) So on top of being rich with lots of money to sustain yourself, you need to have experience and prove to both the US and UK government that you are in fact, an extraordinary talent. But fret not, you can always start somewhere! If not in your home country, you can kick start your career by immigrating to a country which has requirements that are easier to fill than the two countries mentioned above. There are thousands of ways to do this, you just need to persevere and be diligent in honing your crafts. Good luck to all of you out there!
So, let’s say a CD is casting for a major guest starring role in a major network TV series. Does getting notes during the audition probably mean the actor is liked? Has anyone here booked a job without getting notes? Does the CD always have a poker face and say “Lovely/Excellent/Great work!” to everyone? Do you have to have a backdrop and ring light/umbrella light setup, or can you simply use a plain white wall in your room with natural lighting? When doing Eco Cast Lives, does the CD send all tapes at the end of the day to the director, or do they select certain actors and then forward the tapes over?
Hello all! I’m a twenty year old actor. I’ve been acting since I was about twelve, in various school plays and musicals, and around my junior year I started to get serious about making this a profession. I began submitting to anything I could, at school I booked the leads in both our main musical and play, and started studying the business side of things. Fast forward three years, and I’m still going strong! I’ve booked about ten acting roles in those three years, which range from an extra in a Whatabuger commercial to a principal role in a SAG-AFTRA (planned) wide release film (release got canned due to COVID). I lucked out and had a producer from that movie send my stuff to some talent managers in LA and I flew out to meet and sign with one, and I even booked one of the leads in an indie anthology film during COVID, which really helped me stay focused during the break. However, I lucked into a role that I did not expect to get anytime soon. I booked the male lead in a new series on a major streaming platform (don’t want to risk leaking anything). I am most proud of the fact that this was a role I found and auditioned for myself. My manager was very helpful in negotiating the terms of my contract, but I went through five rounds of auditions on my own, and booked the role! I even got upgraded (I auditioned for a smaller role originally but they then had me audition for the lead). This is very exciting! My name will soon be out there and the pay is expectedly wayyyyy more than I’ve made on anything. I have about a month until I fly to location to start shooting, and most of the time I am fine and excited about it, but every once in a while I get hit with a HUGE WAVE OF ANXIETY. I begin to think of all the lines I have (About 200 throughout the entire season) and the immense money and marketing that is going into the project to trust that I will be a good actor, the fact that I have to do an english dialect for the first time EVER on worldwide television, (I did audition with the dialect though), knowing that my entire family and everyone who’s ever known me will end up watching it, along with thousands of strangers. My meeting with the rest of the cast and producers have gone great, but the terror of possibly messing up lines or just not being good gets me sometimes and it always sneaks up out of nowhere. Has anyone else had a similar experience?? I am worried it will affect my performance as my nerves will be through the roof once I get on set. I could probably say more in this but it’s getting pretty long, so I can discuss more in the comments! Thanks so much.
Hey guys, I know it's part of the job, people will mess up and things won't always go perfect but I'd love to get your take on this. I recently filmed a corporate video where the role I was playing had a script of 180 words unbroken. Short and sweet. I spend the week learning and had it drilled in my head but when I got to the studio they said "Ok, we'll do script 1 now and then straight to script 2" I had hoped he made a mistake but he confirmed I was meant to have received another script, also 180 words. Both scripts needed to be read back to back with no cuts. He then says "Ok we still have an hour, so learn this and we're all set" I don't know if you've ever tried to learn a script so fast that the old script is now a distant memory but this was the case here. Both scripts have pretty much the same words in different order (weatherman) blustery winds, heavy showers, north-west torrential rain etc) so my mind was now muddled between the two scripts. He kept coming in the room to read with me and correcting my mistakes as he needed the words said exactly as in script. Long story short, they ended up having to do a make shift auto-cue app next to the camera for me to read from. The first script was now a muddle and it took far longer even with the auto-cue as the speed was either too fast/slow. But boy did I get the feeling that they thought I was incompetent, they seemed to be getting annoyed as the auto-cue phone app was taking so long and after many takes we got through it. I guess this is just a rant, at the time I took a deep breath and saw it as an opportunity to learn from, definitely my worst experience. Had they sent the correct scripts I'd have been in/out in an hour. I think I was there for 4, including lunch. The whole day was a strange atmosphere, from the moment I walked in I met the team of 2 and no one said a word to me for at least a minute. Later, the director brought in a guy to meet me and basically lightly grilled him for not sending me the script, it was so odd. It made no sense. I'm grateful for every role I can get, acting isn't even part-time for me so I'd love to know how a more experienced actor would have handled this. Do you just get on with it? Mention your concerns?
[https://www.youtube.com/watch?v=3z\_8UYWuj-o&t=15s](https://www.youtube.com/watch?v=3z_8UYWuj-o&t=15s)
Some sage advice from Don Cheadle on what actors need to do, to have a real shot at a career! #actor #actorlife #actingclass #ActingChallenge https://www.youtube.com/watch?v=4qVLxLi_13s
Here’s what I noticed about our fellow brothas & sistas: 1. The importance of how to walk into a room. Energy & demeanor. You’re judged the minute you walk in. 2. Follow up after (this was for a play I cast) but a quick 3-line “all the best with project thank you for the audition” made a difference. 3. Dress & attempt at their version of the character. 4. Openness to play with role and make split second changes right there if directed. Some ppl simply cannot take direction. Also some ppl were amazing but were too young / too (whatever) and no matter how good of an actor there was they just weren’t the part - this is why the right headshot to show YOU and your ENERGY is so important - not just a “pretty” picture unless your casting is just “pretty picture” and honestly who wants to engage with that all day - find your accurate casting and stand out that way. I used to think it was just being “a great actor” being off book and having your choices made but it is so much more about your casting & ability to take direction in the room than anything. Sadly I’ve learned it’s more casting v. acting ability. What have you learned while casting as an actor?
Diversity in casting seems to finally be the golden rule to casting. With social pressures, producers are demanding diversity becasue, without a diverse cast, a show or film is almost automatically at a disadvantage and can easily be negatively portrayed. I've heard non-white actors complain of being stereotyped as drug dealers and thug roles and it's absolutely true. I've heard the complaints from our LBGTQ brothers and sisters that LGBTQ roles should be filled by LGBTQ actors and I love this approach. Here's where my question comes in. As someone that has done a couple films myself, I've struggled with wether or not to cast drug dealer/thug roles with actors that are non-white. Is it better to not give into a stereotype or is it better to simply cast the best actor for the role? Are actors of color weary of roles that live in the criminal world or is more a case by case basis? As an actor myself, part of the fun is playing villains and bad people but as a filmmaker, I don't want to further the issues that non-white/LGBTQ actors already face. I've actively tried to find LGBTQ actors to fill roles that were LGBTQ in the film, but this has it's own challenges. LGBTQ could be anyone with any personality and with any background. Is casting LGBTQ only about the sexuality of the actor or is actively seeking LGBTQ actors that live in and understand that world and the unique challenges that a true LGBTQ actor can bring to a role (as opposed to an actor trying to imitate being LGBTQ)? Just curious what the truth on the ground is? Should filmmakers push for diverse casts no matter the subject matter or does it seem forced?
The man amazes me and I’m wondering if trying to build a character actor resume instead of a leading one would be smart. Does he play himself but hide himself within a costume?
I'm looking for people to submit lines for the audience of the mange Record of Ragnarok! Please click the link to join my server and look the "general-soundclips" channel for more info! [https://discord.gg/9yXVmsET](https://discord.gg/9yXVmsET)
Title basically
I’m a new actor (in an older body) and I’ve been invited to audition for representation. I need a monologue, 1 minute or shorter that would be right for me. I’m a late 50’s male with somewhat of an ethnic NY vibe. I welcome suggestions for a monologue that will help me land an agent. Thanks!
Hello! As many people here in an actor and because of COVID I cannot find auditions in my town or anywhere because they’re closed/canceled; which bring me to my question. Is backstage helpful? Because of this pandemic outing my resume on there and sending audition tapes for roles seems to be the best choice but I cannot afford to lose $150 on an app that I don’t know if it’s legit. Thank you.
About a month ago I submitted myself to an audition on Actors Access and they requested a self tape. I sent it in, never heard anything, and forgot about it. But now, a month later I’m looking on AA and I see they’ve posted again looking for people to submit for the same role? What is the proper etiquette with this? I don’t want to be annoying but I’m just curious!
I am applying to a BFA acting program and they require a letter of intent. I have never really written something like this... I was told by my teacher: 1. Include you experiance. 2. Include why you want to be in that specific program. 3. Include what you hope to achieve as an artist. Is that a good format? Three paragraphs kind of deal. It's only supposed to be one page, so that should be enough. My main problem is that I was hoping to figure out my goals as an artist through the program. I want to be an actress for a ton of reasons, but I do not yet have any concrete goals. Any tips on what they might be looking for and how to write it would be appreciated. Thanks!
[Hiring] Overview: If I am allowed to post this here, thank you for reading. You probably never seen this type of gig before, but are you familiar with TikTok ? It’s an app where you can share short videos. Most directors are hiring for series’s or movies, but I’m looking to create short videos. I write short, comedic skits, but I am a terrible actor, so I am looking for actors/actresses to bring skits I write to life. This is for a person who is able to work from home as TikTok allows for self recording to be used. Skits will never run over a minute as that is the time limit TikTok allows its videos to be. Since skits never run over a minute, my skits are very time efficient and even if multiple takes are needed, skit takes won’t ever exceed 2 hours, and that’s honestly worse case scenario. Currently, I have one skit I’m working on with one role available as a test run, so if you are interested, you can leave a reply or send me an email at “KarmaTheJock@gmail.com”. (Karma is my real name) If this test run goes well, I would love to work with you again for future skits, or I may even make more casting calls here again. *TikTok is a 13+ app so no type of nudity will be involved* Skit overview: “What if Little Red Riding Hood had an OnlyFans ?” This role will have some implied adult language/actions in the script, but no curse words will be present. I try to keep most of my skits clean since there are kids on the platform That is the question I asked myself when I seen a woman walking down the street with a red trench coat on. (I wasn’t by any means assuming the women had an OnlyFans or trying to sexualize her in anyway. The red coat simply reminded me of Red, and I just seen an ad for a woman’s OnlyFans on TikTok believe it or not in the previous minute and the idea had made me chuckle a bit) The role will be you imitating Red (Obviously the grown up version) standing in the wolf’s door way in a red hood after knocking on the door. (Completely clothed underneath. Like I said, nudity won’t ever be in my skits) talking to the wolf (In this case the camera’s pov will act as the wolf’s pov to make the skit as effortless as possible. You will playfully, but yet in a flirty tone explain to the wolf that in addition to her usual treats (Red helps deliver baked goodies in the stories), she is also now selling other treats, but if you want to find out what they are, you have to subscribe to her OnlyFans. Once Red’s dialogue is finished, Red will leave a dessert on the step as a teaser, and then happily skip off Talent wanted: Female: 18-24 Skin color: This role requires no specific skin color, but white would be ideal since Red is primarily known to be white) Height: 5’9 and under Pay: This current skit will be paid out with a sum of $10. I haven’t decided on a set pay yet per future videos, but depending on the difficulty of the skit, you can expect to compensated anywhere from $10-$15 per video. This is a great way to get some extra cash if you already use TikTok for fun in your spare time while also getting to work on your craft even if you’re just acting out scenes or playing a character for up to one minute Sorry for leaving a long message. I like to be as detailed as possible whenever I am looking for people to hire
Most of you aspiring actors always pondered about this. "I would like to be an Actor but my country's film industry is crap, America could be a good place to start." "There are various visas to enter the UK/US, I'm sure I could use the easiest to obtain." Well, I'm sorry to burst your bubble but in order to enter the US/UK as an actor you need the O1B and Tier 5 visa specifically. >What exactly is O1B/TIER 5 visa and how do you obtain them? Well, good question! Let's start with O1B first, shall we? #O1B "Extraordinary Alien Visa" Is a visa granted for 'extraordinary' individual in the field of arts (specifically for O1B). This requires the individual to prove that they are "prominent in their field". >How do we show the government official that "we're prominent in our field?" You need to show them at least two of these criteria: - Has performed or will perform services as a lead or starring participant in a production or event that has a distinguished reputation as shown by critical reviews, ads, publicity releases, publications, contracts, or endorsements. - Has received national or international recognition for achievements through critical reviews via published materials by or about the foriegn national in major newspapers, trade journals, magazines, websites, etc. - Has performed in a lead, starring, or critical role for organizations and establishments that have a distinguished reputation as evidenced by media articles, testimonials, letters of recommendation, website reviews, and other similar items. - Has a record of major commercial or critically acclaimed success. - Has achieved significant recognition from organizations, critics, government agencies, recognized experts. - Has commanded or will command a high salary or other compensation. (Source: Lightman law firm LLC website) Along with the VERY IMPORTANT PROVE OF: - Agent or Manager who's willing to be your beneficiary. >IMPORTANT NOTE: YOU ALSO NEED UPWARDS OF $7000 IN ORDER TO FILE THIS VISA TO COMPLETION. So in other words you need to launch your career before you can file for a visa to enter the United States as an actor. >"What's the difference between O1B visa and EB1 visa? The requirements feels so similar to each other?" EB1 is an immigrant visa, while O1B is a non-immigrant visa. Some people on this thread said it's better for us to have the EB1 since there are studios who refused to employ people on O1B because of the extra paperwork, but most are fine with O1B. Also, in case of EB1 you may not need a beneficiary, but the evidence you gave them are going to be very heavily scrutinized, so it's a little harder to get. _________________________________________ #TIER 5 "Temporary Worker" Visa. >Is a visa used to enter the United Kingdom as an actor or other field of distinction, with almost exactly the same requirements as the US O1B requested: You need all of the following to be eligible for the creative category: - Make a unique contribution to the UK labour market, for example you’re internationally renowned or are required for continuity. - Certificate of sponsorship reference number. - Be paid the minimum salary as set by Equity, PACT or BECTU (except for models, musicians or circuses). - Enough money to support yourself in the UK - you’ll usually need to have at least £1,270 available (unless you’re exempt). - Certificate of sponsorship >You need a licensed sponsor to give you a certificate of sponsorship before you can apply to work in the UK. >A certificate of sponsorship is a reference number which holds information about the job and your personal details. It’s not an actual certificate or paper document. >Your sponsor will give you your certificate of sponsorship reference number. >They must also give you some other information to help you to apply, for example how much you’ll be paid. (Source: UK government website) ___________________________________________ So on top of being rich with lots of money to sustain yourself, you need to have experience and prove to both the US and UK government that you are in fact, an extraordinary talent. But fret not, you can always start somewhere! If not in your home country, you can kick start your career by immigrating to a country which has requirements that are easier to fill than the two countries mentioned above. There are thousands of ways to do this, you just need to persevere and be diligent in honing your crafts. Good luck to all of you out there!
so in general, ive always had quite a bit of ego in terms of my acting. i make a point to be extremely confident about everything, as ive found pretending to know exactly what you are doing greatly helps my stage performance but STILL. i have never had to do anything along the lines of seducing a girl. i am one of those people, that only ever interacts with his closest friend. i am NOT skilled socially. And now, my acting teacher, (bless her soul) just said that im going to have to seduce my "wife" in the play. I've never had a part like this. My usually completely confident act in class and in general is completely crumbled in the face of actually having to speak to a girl. i know this sounds absurd, but honestly. Other than my mother, i dont speak to girls. like EVER. i have not had a legit conversation with one it literal years. WTF do i do. also, to make matters worse, this one girl happens to be the only girl in my school i happen to find hot. i imagine this is a necessary step if i ever want to become a famous actor, but JESUS WHY NOW
* edit- “why” in title, i meant to say SHY. Lol Hey everyone i’m sorry if this is a bad place to say this or ask but i just want some input! so i’m 17, junior in HS. I’ve always been extremely shy and “backwards” (as my family says) very anxious person, most introverted as it gets. Since i was about 13 i’ve been editing videos and i’ve become very good at it, but i’ve always had the idea in the back of my mind for acting. I think only because i know i’d be good at it (which sounds narcissistic i think, but i literally know i’d be good at it) but i’m scared that i’ll fail. Idk if it’s myself wanting to make a difference for people (LGBTQ shows and actresses made a difference for me, so it’s kind of me wanting to do the same) Idk if it’s a real passion i have, but i feel like i’m already late to the game or something. I have absolutely no experience, i’ve only taken tech classes in high school, no acting classes. Idk if i’m just hyperfixating on the idea of my love for celebrities, or maybe the fame that will come with it (relates back to the inspiring people thing) or what. Idk, this is all a bunch of words but any input would be nice! and if i do want to pursue this, what would i do in college? i mean, i don’t believe there’s an “acting major” or something like that, so what would i do or like how would i build up to it? (sorry i know this isn’t a sub for the mentally deranged lmao) I also think that my connection to fictional characters is influencing my “want” to be an actress. i can cry my little heart out at the way actresses play fictional characters, and i get so in to it.
I just feel so pressured. i guess the weight of needing to be "successful" but also being financially stable are getting to my head. I love acting. I love acting just for the pure feeling of acting. I don't care to be famous or get super big. But i do want to do this. It makes me happy. I've been doing acting since middle school. I've done many school plays all throughout middle school, high school, and now college. I've even done some short films with friends for fun. I currently major in theatre and although so many tell me otherwise i can't force myself to do something else. acting just makes me happy..you know? I feel success is something that's different to each person. And i guess for me, success would be, being the best actress i could be and doing film and theatre. but i just don't know HOW. I'm so stuck in my brain and scared of failure. But at the same time, how could i fail when doing it for free would make me happy? but free won't pay bills. I wanna try getting into a talent agency soon. i wanna try. i wanna try really really hard to make this work. I'm just scared.. is it worth getting just my associates and just trying to get more hands on experience with the local theatres + whatever agency i join? or should i go for a bachelors and then try it out? ugh i don't know.. i live in texas. i feel NOTHING happens in texas like it does in LA or new york. could i still have a shot? or should i move to those places? could i still book stuff and not live in those places? i don't know..
What do you think about these groups on facebook? Many of them are real actors? If it's yes, why they searching job on a facebook group? is it because they are graduated but still hasn't any agent yet? The casting calls are legit? I still don't understand if these facebook groups are full of graduated people without any agents in search of a job to start, and directors with low budget in search of affordable new actors, or in reality they are all amateur, where most of them don't have any degree in acting and such and full of scams
Long post. Due to anonymity I'll also delete it in the near future. I will still appreciate advice. I'm 25F undergraduate student in Europe and will probably be between ages 27-29 when I finish major. As a child I loved the idea of being in a film and theatre as a job. Unfortunately due to lack of charisma I was never suggested to do such thing by people around me growing up. When I was 19 I did a very stupid decision. I dropped out of college because most successful actors dropped out of school. I didn't think things through, that they did it because they were actually busy acting unlike me not even starting and lost a year I could spend doing anything productive whether related to acting or not. Few months after dropping out I changed major (not related to acting though more than the previous, because I couldn't find a drama school I could trust, I was an easy trap to waste money as I was inexperienced and had fear the schools only wanted to take my money). I decided to take some acting classes and spent 400€ on a course that took place once a week for 3 months. I didn't understand much what was going on, maybe it was too advanced. I took the class that was compatible with my college schedule. I also joined FB casting groups and I feel like I only made a clown of myself because I was completely off the profile. I applied because this ain't LA and there are much less opportunities. While there were no direct remarks I feel that I got weird looks and might as well be the next Tommy Wiseau. Yes, I am working on my English and pronunciation, but for an actor perfect pronunciation is not enough. I know I lack a lot of self-awareness like Tommy Wiseau, but I don't know where. I don't feel the cringe others probably feel when I act. But seeing any videos of me make me cringe. And when I try to change it I still cringe. I also did some work as an extra and ended up feeling extremely insecure. All of the movies I was in even if at first they kind of put me right in front of the camera I feel like they cut me out completely now. Now, I know, I am not naturally talented at acting. I could hardly focus in a hobby group after I went broke because of that course. Still, I really wish to be in a movie once. I am ok with not becoming an actor as a source of living, but I really would like to be good enough to once be in a movie, even a small role is ok. My dream role, however is to play eccentric characters, doesn't matter if villains or normal. But if I manage at all to actually become an actress that would be great. How can I start? Due to covid many drama schools are closed and also, I cannot really afford classes at the moment. Are there any exercises that actually help and I can do at home, alone? Preferably not too loud not to disturb the neighbors, I did consider pursuing a degree in acting, maybe after I finish my primary studies. But I am getting old and like I said, I'm afraid I'm not naturally good to gain enough from it. But even if I decide to pursue acting after college (I'll be in my late 20s or 30s), what can I do NOW, that my 30 year old self can be thankful for? I gave up many times, but I always end up dreaming of it again. TD;LR 25F with no talent or much experience would like to get on the wagon by the age of 30. What can I do now?
[Hi all, with the permission of Bob Bergen (legendary actor, known for voicing Porky Pig), I’m sharing his words from a Facebook group. Bob has long been deeply involved in the union, and is a proud member. Feel free to share, comment, email, etc. Here’s his post (the attachment he refers to is [this link](http://chng.it/6V2jBddttt)):] Gang, this is long and detailed. But it is one of the MOST important issues I have ever been involved with on behalf of my fellow voice actors. Read the attachment below first, then come back to this long text. I’ll cut to the chase. With the exception of animation, the majority of voiceover is non union and has been for years. This has contributed to the disastrous lack of funds in our Pension and Health. The top agents in the industry are seeing fewer and fewer union opportunities everyday. I ask that you sign the attached petition and make your voice heard at SAG-AFTRA that their Board approve the proposal below, which has already been approved by both The National Voiceover Committee as well as The Hollywood Voiceover Committee, but stuck in the red tape bureaucracy of the union for over 2 years. This proposal is a 5-7 year plan, where SAG-AFTRA will suspend membership qualifications for voice actors. Actors may pay off their initiation at $50 a month for 5 years, during which they may continue their thriving non-union voiceover career while union staff works to aggressively organize their non union buyers without disrupting the buyer’s day to day. The union has been blind to the erosion of the union vo industry for 20 years. I believe this proposal is a proactive way to reclaim this work. But leadership needs to understand the landscape of today’s vo industry outside the union bubble. I have been trying to get the union to address this for these 20 years, which has come down to this proposal. Time is not on our side, and I truly believe this is our one and final shot to get a handle on this. I ask that every actor, from beginner to working pro, union, non, fi-core, as well as agents from every market large and small, and casting directors sign this petition and if comfortable comment on their experiences. IF WE ARE GOING TO MAKE A DIFFERENT AT THE UNION AND BRING THE VO INDUSTRY BACK TO THE UNION FOLD, WE NEED A HUGE SHOWING OF SUPPORT BY THE VO COMMUNITY BY SIGNING THIS PETITION. The bottom line: SAG-AFTRA is completely oblivious that the majority of the vo industry is non-union, and they need to make the hiring of union talent as fast and easy as it is to hire non-union. They need to embrace this thriving majority of voice talent into the union fold so more voice actors can enjoy guaranteed minimums, P&H, and residuals. By reclaiming the union vo industry we will bring more money into our P&H fund, reversing the current state which has been detrimental to so many performers. Some bullet point details: * We have seen disruptions in the entertainment industry for decades. Film disrupted Vaudeville. Sound disrupted silent films. Television disrupted film. Cable disrupted network TV. Streaming disrupted broadcast television. With every disruption, since the creation of SAG and AFTRA the majority of our performer contracts stayed union. Until the internet, whose disruption to the voiceover industry transformed voiceover from a geographic industry to a technological industry. For the first time turning the majority of a professional acting genre non-union. I call this the “Amazon-ization” of voiceover, creating a faster and simpler business model. * This all started with the perfect storm, as the launch of the online vo industry coincided with the commercial strike of 2000, technologically taking the vo industry outside the backyard of the union. And since non-union work is not tracked at the union, many if not most union staff and leadership were clueless this was even going on, let alone growing and thriving over the past 20 years. * Depending whom you ask, voiceover is anywhere from 60-80% non union. Bottom line: THE MAJORITY OF THE WORK IS NOW NON-UNION! It matters not how great our union contracts and benefits are if the majority of the voiceover industry doesn’t us them. * A HUGE issue with the union’s current business model is the majority of working voiceover actors around the country do not see enough union auditions to even qualify to join SAG-AFTRA. * The non-union vo industry is thriving. But these actors deserve for their work to bring minimums and benefits such as residuals, pension and health. These actors have for years been shunned and shamed by the union. They should be welcomed, with their business model studied and embraced. * I have been hands on with the vo community throughout the country. From actors, to agents, to casting directors, for the past 20 years all have shared with me their frustrations as they attempted to get the union to address the erosion of the union voice-over industry to deaf ears. We are living the results today. When I got into the business in the early 80s there was very little non-union vo work. Non-union used to mean less competitive, less talented. You could hear a non-union read a mile away. Not so much today. Watch an evening of Network Television and you cannot tell the union from the non union voiceover commercial. * Please sign the attached petition, and share this with every vo player you know. There’s power in numbers and we need to send a loud message to the union. I appreciate this is a radical proposal. But if we are going to reclaim this industry, if we are going to bring in more union work to more union members, we need to make radical changes. Because status quo has not, and is not working. Los Angeles and National Voiceover Performers Committee Proposal October 4, 2018, modified December 8, 2018 Summary: Due to major technological advancements over the past two decades, the majority of the voiceover industry (as much as 75% or more, by some estimates) is non-union. Voiceover work is increasingly being produced non-union and voiced by non-union performers, who along with their buyers have created a faster and easier business model, which is thriving. Simply put, voiceover can be recorded by anyone, anywhere in the world. The opportunities for SAG-AFTRA members working in voiceover areas has been steadily decreasing over the years and will continue to do so unless we take action now. Voiceover performers live in an anonymous and atomized landscape, unlike the vast majority of our peers who work on camera. Reclaiming this work will require an approach that may feel uncomfortable for some; it is an approach that meets the industry where it is, rather than where we would like it to be. The purpose of this proposal is to reclaim union voiceover by helping to bring both non-union buyers and voice actors into the mix and under the umbrella of SAG-AFTRA contracts. In order to mitigate the erosion of union voiceover work, the Los Angeles Local Voiceover Performers Committee recommend an added way to bring non-union voice actors into our Union. Our proposal is designed to modify the current payment plan for joining SAG-AFTRA and to make it easier for these performers to choose to join the union. Currently, SAG-AFTRA offers two payment options for new members: • Full initiation fee payment plus current dues , or • A down payment plus five (5) equal monthly installments until the balance is paid in full after six months. This proposal applies to New Joins who exclusively work in voiceover and our recommendation is that the $3,000 (or applicable) initiation fee be paid in equal increments over a three (3) to five (5) year period. Our proposal also recognizes the need to concurrently organize non-union buyers; something we believe can best be done by granting an organizing waiver temporarily suspending Global Rule 1 for these voiceover new-joins during the five year initiation payment period. This would allow voice actors to work for their existing clients while paying the initiation fee. We feel this would encourage them to report their work to a union representative, who can then begin a process of education and organizing of the buyers in this space. During the proposed three (3) to five (5) year joining period, the Los Angeles and National Voiceover Performers Committees and Voiceover Contracts Department, will work with agents, buyers, and talent throughout the country to help educate and proactively assist in converting non-union work. Another important piece of this is to concurrently develop technology that will streamline the signatory and hiring process for union actors in the voiceover arena. We believe this proposal enables the union to most effectively recapture an industry that has slipped away from us. This will allow us to organize in a way that recognizes and accepts the technological shifts that have occurred in the industry. We will also be working with the necessary SAG-AFTRA departments to: • Streamline the online signatory process; • Educate Members, Agents and Non-Signatory Producers; • Make the hiring of union voiceover talent as fast and easy as it is to hire non-union; • Create a business model within the Union that consistently and continuously organizes non-union voiceover work. [http://chng.it/6V2jBddttt](http://chng.it/6V2jBddttt)
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.
