I’m looking for an agent and I was told I would struggle because I’m not Canadian. Any advice on agents that take on smaller actors?
Signed with a commercial agent about a year ago, and they had me create a paid profile on casting frontier, in addition to already having profiles on Casting Networks and Actors Access. The thing is, I’ve only had one audition on Casting Frontier these last 12 months, but I’m still paying $20/month. It’s just a waste. They submit me on there, but it’s just a dead casting site. I get about 6 commercial auditions a week through Casting Networks, so it’s not me. Thoughts on Casting Frontier? Do you use it? Think my agent will notice if I cancel my paid subscription.
Actors, camera workers, producers, artists, editors and musicians are needed. Submissions close in easter and the filming date will be this summer, around August in the location London, England. The project is for now unpaid but if it does well at festivals etc this may change. [https://cstng.cc/projects/the-chameleon-project](https://cstng.cc/projects/the-chameleon-project)
I am by no means a voice actor but I do love anime! So I went ahead and fan dubbed couple of scenes from anime. I was cracking myself up while editing them, so I just had to share. Hope you guys get a chuckle or two out them! https://vimeo.com/781654965 https://vimeo.com/771028426 https://vimeo.com/798724186 Lastly I do want to get started in becoming a VO artist, but I have a slight accent. Is it possible for me to still find work?
I know we all love to book, but is there really such thing as a booking ratio? The amount of jobs you book depends on so many factors, and it can highly vary from year to year. And an experienced actor is (mostly) going to book more consistently than a newer actor, so in those situations is it even comparable? Curious to know your thoughts.
I heard a casting director suggest actors have an IMDB Pro account even if they haven't been in anything big but couldn't understand why that would be beneficial to have or what it even offers. (i've only heard actors say they've used it to look up other actors agents.) At $150/ year I'm still on the fence (my film/tv resume is still pretty dismal).
I'm not trying to offend beginners, but this is not conducive to me improving as an actor, by watching bad acting by people who are completely new to this. I'm based in NYC. I don't even care if it's over Zoom at this point, but I want to be in a class where there are actors at my level and preferably BETTER than me, so I can learn from them and be inspired by their choices, etc. etc. I'm tired of paying 300-500$ for a class where I work for 20 minutes and then i'm stuck watching bad acting for 3+ hours. It's a joke and a waste of money. Yes I realize sometimes on set you will be working with newbies but the classroom in which you are paying to learn and improve, I need to be around advanced level actors or defeats it's purpose. How can I find advanced level classes? Preferably straight scene study or on-camera auditioning. Thank you.
My sister and I are starting acting classes soon and one of the weekly classes is Improv, I absolutely hate improv. Always have. But I also understand that it IMMENSELY helps actors. Any suggestions on how I can turn my mindset around? Or work on enjoying it? Do I just have to bear through it?
I‘m right at the beginning of my acting career and just started submitting to student films (and I am taking regular classes) thus I have no connections whatsoever to casters. Do you think it could be beneficial to do an internship at a casting/production company (it’s a production company that like has their own casting office if that makes sense)(I‘m not from the US btw) to get to know the whole casting process and learn what some actors who ended up getting a job did „right“ and basically learn from seeing others audition as well as getting to know casting directors?
Do any actors use any good IMDb star meter services to lower their star meter that actually work? Legit ones only no scams. Thanks
Hello r/acting! I recently decided to submit to an MFA program local to my area - first round submissions require a self-tape of two contrasting monologues that are cumulatively around 2 minutes in length (some wiggle room here). Importantly, the only stated requirement is that they be contrasting in some way. The bad news is that I only made this decision about a month after the listed submission deadline. The director of the program has graciously told me that he's still willing to receive a submission from me but I need to move quickly as that offer is only on the table as long as there is still room in the upcoming Fall 2023 class. In my search for these monologues I've read just about every post in this subreddit about monologue-searching (including the FAQ post) and have begun reading as many plays as I reasonably can in the time I have. But while I will continue to do this in the hopes I find something compelling and appropriate for me, I can't help but feel it's not the most efficient strategy given my situation. So assuming this doesn't get removed and there are some sympathetic, experienced monologuers reading, I would greatly appreciate some assistance in finding plays or monologues that might be up my alley. The good news is despite not having done monologue auditions before I *am* a working actor and understand my strengths and type pretty well. One post I found on here said to provide as much information as possible if asking for help in a monologue search so I'll try to be exhaustive, I am, * Mid 20s and can realistically play from early 20s to mid 30s or so * Mixed (South East Asian / White) * Pretty built / have an athletic frame * Pretty joyous / goofy / have a friendly disposition. I find that some of my best and most competitive work comes when I play to that natural tendency especially in comedic work. * In dramatic roles I often find I feel the strongest playing characters who struggle with their sense of self-worth, are passionate about self-betterment, and generally fight to overcome trauma in order to become better versions of themselves. Like I said I'm going to keep searching on my own and if I find the perfect pieces I'll update this post with them in case it ends up being a useful or interesting read for anyone in the future. But if you're reading this and can think of some pieces that might fit me I'd love to hear about them! Thanks in advance and if there's any other information I can include please let me know.
Hi all, I’m a student and as the title suggests I’m writing a dissertation on the film industry and inclusivity. I’ve looked at classic Hollywood and now I’m looking at the modern Acting industry and would love to hear from people in the industry themselves by collecting primary research. It’s informal just asking you to fill in a questionnaire I send about your time in the acting industry as a POC in regards to typecasting, casting in general, opportunities etc If you’re interested comment below or pop me a DM it would help so much.
**Does college acting classes look good on resume, agent and actor decision process?** I'm planning on taking (Acting 1) class in my CC. I know it won't hurt to take some and it will help me become better actor but I'm also curious what the industry think about this sort of training. Or it's much better to have an independent school specifically for acting or whatever training course idk..
I auditioned for Yale school of drama and made it to the interview process. I wanted to know if anyone has gotten any invitations for final callbacks or even heard a time frame in which they would be sent? I emailed to see if they could give a time frame but no reply. Sincerely, A very nervous and anxious actor :)
I mean seriously I honestly don’t know. I try to find some flexible jobs and usually look at the typical ones for an actor such as being a waiter but that and jobs like that pay so low I don’t know how I’d ever afford and apartment or a house or even a car. I mean I did the math before for the average amount of money a waiter makes a month and that was way less than most of the apartments near me and the ones that were affordable were just barely because I’d only have 100 or 200 dollars left. Oh and that’s if just if I get many tips. I just don’t know what to do. I want to pursue acting to see if I like it. I want to get a car so I can drive myself to acting classes. To my job which I want to be flexible so I can still audition. But I don’t see how I can afford anything.
Like what gives? I have pretty decent headshots from what people tell me, I don't think I'm ugly, I'm ethnically ambiguous which may or may not be what's hurting me, and I have like five past jobs under my belt including one that was out in theaters I was in the background for. I haven't gotten ONE call back. You'd think I was fuckin' canceled. What am I doing wrong? And if you offer me any of your "services for a fee" I'll report you faster than you can spit.
I feel like LA has 100x as many audition opportunities for screen work than NYC. Obviously it is gate kept by reputable agencies but still. Right now I'm trapped in co-star hell in NYC. I hate my reps, they don't give me personal attention and their reach only goes so far. I've auditioned for about 75% of the major CD offices in NYC. Most of them at least 2-3+ times, a couple at like 6/7/8/10/14 times. But its still sporadic, and I know that if I was at this level in LA, based on the sheer number of tv/film projects shooting out there, I would be auditioning MUCH more frequently. But I've also seen first hand a talented actor with credits in NYC that was repped by Buchwald at the time, read for major major things on a regular basis, that was physically based in NYC. So, it seems like if you have a GOOD agent in NYC, it doesn't matter that you live here, and you can still have access to all the auditions in LA because you're at the guest star & above level. The problem is, it seems utterly impossible to get enough credits IN NYC to be eligible for a reputable agent at the Buchwald level. So, once again, another catch-22 trying to advance as an actor. I've lived in both cities. I have more of a life in NYC, and I do slightly prefer living here because of mobility, it is so much easier to take the subway everywhere instead of dealing with LA traffic, parking, and $7 a gallon gas. But for being an actor... there are just, hands down, no doubt about it, WAY more opportunities for jobs in LA, even student films, there are just way more, and way more reputable on-camera classes as well. The best one I could find in NYC is Ted Slubersky, who I'm just starting with, and I'm excited about it, but that is over zoom. I'm just tired of feeling like my time is being wasted with shitty reps and lack of opportunities. I could keep my reps in NYC and still be submitted to the bullshit co-stars Im being submitted to out here, and physically be in LA building connections and trying to get a BETTER rep out there. OR somehow, i could win the lottery and find a better rep in NYC that has the clout as the guy that was repped at Buchwald, and be able to get tapes for major things in LA and basically anywhere because they are at that level, and stay in NYC, which honestly, WOULD be preferable for me. I just don't know how to advance anymore. I feel like all I do is hit brick walls with everything, like every decision I make is the wrong decision. I'm tired of being frustrated with this, i just want to be in a flow state and have things make sense and work out and know that I'm on the right track. But when you don't have anybody to ask for advice and you don't feel like your reps are personally invested in your success or have the ability to get you where you need to be.. its like.. what the fuck do you do?!
Many of my peers are stuck auditioning for teen roles despite being in their mid to late 20s, some in their 30s. I know that looking young really helps you in this career, but many of these roles have them acting alongside actual teen actors sometimes they have to play a couple and it is uncomfortable. If you relate, how did you get more age-appropriate auditions?
To start, I'm not a voice actor in general, aside from maybe impressions, and DnD voices. I had in a mind a particular voice for a DnD character of mine, but find it tricky to actually put into practice. The voice I had in mind is a specific Goblin voice from World of Warcraft. This voice (timestamped): https://youtu.be/PIcLx1XR1Gg?t=162 (2:42 if the timestamp doesnt work or whatever.) It's shrill, and gravely, and I just can't really get it. I end up just coming off shrill and loud I think. I can't get that subtle gravel/fray the voice has. So just looking for some tips/tricks to do it a bit better.
I’m studying the Method with the Lee Strasberg institute and I find myself struggling with sense memory. My senses work for a split second the entire exercise, and that is if I’m not imagining it or trying to recall how certain things feel, sound, or work. I aim to really start practicing with the technique for the rest of my time here since I haven’t been doing much since September when we first started learning it, but how long does it take to really start being able to effectively apply it to scene work? This question is for those that do use sense memory techniques as an actor. Would love to hear anyone else’s journey with it. Thank you!
Hi guys, lets say I’m SAG but I work a modeling gig booked through my modeling agency. I don’t know until I show up on set that it’s video content, online-only. I’m not credited by name anywhere so theoretically, I would need to be recognized by a SAG rep and they would have to confirm its me to get me in trouble with the union right? I’m just confused being a SAG actor and also going out for modeling gigs. It feels like a weird classification loophole, or that I’m playing with fire. I’m just trying to earn a living. Any input helps. Thanks!
Hi... if you're on [V.com](https://V.com), what is your revisions policy? And when you share that, can you also tell me how long you've been a voice actor? Thanks!
For some brief context: I am 29, did theatre in high school, took acting courses in university for my arts requirement, and did some improv after university for about a year (which was like six years ago now, lol). I have never been in a television or film production. Lately I have been missing acting and wanting to get back into the craft, so auditioned for a local theatre production (which I did get a supporting role in) and signed up for a local online casting database that specializes in casting BG performers and minor supporting roles. A few weeks ago I got a notification email from the casting database saying they were casting some supporting actor roles for an upcoming feature film being produced locally. I reviewed the project and thought it sounded interesting, so applied, not thinking much of it and with really no expectation of getting a call. Fast forward to today, I receive an email from the casting database that I’ve been selected to for audition for not one, but two, possible supporting roles, and that the production team would like my self tape by Thursday at 5 PM. So now, I’m freaking out a bit. I want to do this, of course, but have never been in a television or movie production, and have never recorded a self tape - so feel totally unprepared. I’ve watched a bunch of YouTube videos today on self-tapes, so feel like I have a decent foundation for them now in terms of lighting, background, etc. but any tips out there I should be aware of outside of the obvious? Also, the sides they sent me for both characters involve dialogue. I understand I’ll need a reader, and am considering using WeAudition. Is this advisable and have others had success using their platform? Last, one of the scenes involves 6 characters, all of which have lines (including mine). I imagine it’s okay to use the same reader for all of those characters? It seems a lot to ask of one reader. Is it normal to have a self-tape audition scene with so many different characters involved? Thanks!
Hey all! I see posts on here a lot from very green actors with no credits/experience trying to get agents. This post is sort of the opposite of that. I'm wondering (in your opinion) at what point in an actors career should they start submitting to theatrical agents? A little about me: I'm in LA. I've been seriously acting for about 3 years now, but in the last 2 years have managed to consistently book paid work, and in the last year, have made 75% of my income from acting jobs. One of my top goals for 2023 was to book my first SAG national commercial. 2 weeks into 2023 I was able to pull it out, which I was not expecting. Very grateful. I had a lot of trouble trying to get my first commercial agent last year, despite having booked 8 commercials in 2022. Not SAG, but non unions spots with big brands. I think this is mostly because my type is over saturated. Blonde, white, young looking girl. I submitted to probably about 25 commercial agents, and heard back from just one. I signed with them about 10 months ago, and have booked 7 commercials with them so far. I'm putting in the work and have the results to show for it. I love doing commercials, but obviously I want to move into more theatrical work. My theatrical credits are interesting. I do a lot of horror based jobs. I specialize in creature work/prosthetics, and have been lucky enough to work with Paramount and The Walking Dead these last few months on multiple projects. I've also booked a few students films that have given me great reel footage, and I do a lot of hosting jobs. I audition about 7 times a week. I'm consistently in class every single week. My on-camera auditioning class brings in an LA Casting Director the last class of every session, who watches us perform a scene and then gives us feedback. 90% of the time I get incredibly positive praise from them, and it always makes me feel like I'm ready to level up. My acting teacher thinks the same, and always tells me she keeps her ears open for me, as far as agents looking for new talent goes. I'd ask my classmates for referrals, but most of them aren't happy with their current rep. I want to start submitting to theatrical agents, but I also want to make sure I'm ready. I don't want to sign with a bad agency, just to say I'm represented. But I'm also realistic and know that I'm not gonna get represented by a top tier agent either. I really want to start going out for one liners on TV shows, and work my way up from there. My past struggles with getting commercial rep, makes me nervous to try and find theatrical rep. Everyone says commercial agents are so easy to get, but I really really struggled with that, despite having a hearty commercial reel. At what point do you think an actor is ready to submit to mid-level reputable agencies and have a fighting chance of getting called in for a meeting?
Long story short, male (29)naturally baritone since I was little I always had a love for performing voices. Still to this day I get people at my work or online in a game saying I got a an amazing voice. All I ever wanted was to voice characters (more so the villains, or characters between the dark and light) I had many inspirational voice actors to look up to. However when it comes to the recording/editing side of things no matter how many bloody tutorials I cannot grasp and retain any of the information I gather. I cant even figure out audicty. Sucks being dumb as a stump.
You guys have to get a load of this. Background- I'm a working actor who joined CN maybe 10 years ago. I think I may have started with a basic account, but must've quickly upgraded to paid. Now I have had a paid account with unlimited photo and videos, but with the price hike and bad quality of jobs, I was thinking up "downgrading" to basic membership. Here's the rub- my personal account is also connected to 3 different commercial agent accounts, and those agents send out my stuff to castings. I asked my agent if I were to downgrade, if they would still have access to my account to send out my stuff, and they said yes, but only the two free photos and one free media the basic membership has. OK makes sense. I wanted to get certainty on that from CN itself, so I sent an email. ENTER crazy scheme from CN to force people into paying the outrageous yearly premium fee every year. My second email to them (after they said I could downgrade to basic membership, but didn't answer my question about what that means): Well, I wanted to know- if I cancel my membership, do my linked profiles to my agents disappear? After stopping my account, can my agents still submit me to things from their agent accounts? If you can look at my account, you can see I have linked with [listed my agencies here] I would just like to know if those agencies can still submit my profile to things after I stop paying to be a member. Their response: We would like to inform you that any photos, videos, or audio uploaded under your Premium membership will become locked and will not be displayed on any of your profiles if you downgrade your membership. In order to self submit to casting projects, upload new or maintain your current photos, videos, and audios, you will require to have a Premium Membership service active on your account. The basic (free) membership does not provide these features. Your representative will still be able to submit you to casting projects whether you have a Premium or a Basic plan. Please let us know if you’d like us to apply the offer or choose to downgrade to a Basic membership after your current membership expires. OK so this gets me thinking... what? So like the photos I uploaded 10 years ago would be my main photos again, with NO WAY to change them, not even a one time swap out fee? But I check my media library- those photos aren't even in the system anymore. My headshots from 4 years ago are though- as well as my new headshots last year that I replaced them with. So I email back: "Firstly, thank you again for taking the time to answer my questions. There are a lot of actors on the internet forums that are at a loss as to how the casting networks memberships work, in regards to their media. I know the acting reddit community have specifically been wondering since the changes to casting networks, so I would love to be able to post correct information right from the source. So my main question would be- you can't replace the first two photos you've ever uploaded to the site? What happens when you get new headshots every few years? That doesn't quite make sense to me- because that would mean the basic membership would only ever be helpful in the first couple years of its use, then you would be forced to move up to a paid membership in order to update anything. Unless I'm misunderstanding? For instance, on Actors Access you can have two photos that are free, then add other paid photos. However, you can trade out the free photos at any time, because there's an understanding that as a working actor who outgrows their headshots, they would need to replace them. What it seems like is the only solution Casting Networks has to a person growing older and getting new headshots would be to delete their profile completely and start a new basic profile with new photos? I I think I may be misunderstanding and there's a more reasonable solution. Please let me know, - ME I can let you all know what they say. But that's a crazy scam right? Like they are MAKING you pay
This video will be 30 minute or less (honestly probably like 10 seconds.) The "script" goes Atreus(yelling and a bit annoyed): Noramlize being a furry Kratos (angered tone): Noramlize being fucking normal, boy. It's a joke my friends and I made during a playthough. I think it will be funny for a quick edit. $5 per actor.
[View Poll](https://www.reddit.com/poll/111w1bq)
Trust me, the things he does is evil. But how can I avoid him as much as possible, when we are both actors in the same big city?
There's many union productions I go for, but I'm always wondering if I can choose not to be in the union and still get those roles. I'd like to remain non union, or eligible, for as long as I can. I know some SAG-eligible members who still have done union stuff, but wonder how easy it is. And especially for Canada's ACTRA, i have no clue (but I'd love to get work in Canada)
I'm curious what people here think about the recent NYU thesis castings taking place. I saw a breakdown on AA for a role. I submitted and then received an offer to submit a self-tape audition. However, there was one problem; the sides were at least four pages long with more than ten very lengthy mini-monologues. That's a bit much for a short turnaround and a rate of $125. As a working actor, I thought I'd submit just to do some work and keep my skills sharp. But I think this is a bit much. Would you submit a self-tape for this or would you decline?
Hi everyone. I'm an aspiring voice actor but a complete amateur. To practice, I have been narrating over manga panels and I have uploaded them on profile. The most common feedback I get is that I need to work on making my voice sound more distinctive because sometimes I'll read lines for more than one character and it just sounds the same across the board which I do agree with. Do I need to focus on just voicing one character at a time when I do these practices so I can force myself to focus on one thing which might help with making it sound more distinctive? Any tips are greatly appreciated.
I've heard hit and miss stories with weaudition with a lot of people saying they struggled with too many technical glitches on the platform. is it still the go to site for actors in need of a reader?
By role i mean specifically for a big budget show or movie, that agents submit actors to. what do you think?
I’m interested in the hearing about the paths you all took and what your journeys have been like since you decided to become actors or work in the industry. •Where did you get your start? •Where and what did you train in? Why did you choose that? •How did you live/are living while auditioning? •How did/have you managed to get by in life while pursuing your career and working on your craft? •How often did you book or get cast in something? What was it? •What are some of your greatest triumphs in your career? What about difficulties? •What medium do you work the most in? Theatre or film/tv? •Anything else you feel the desire to share. I’m asking because I’m genuinely interested in your stories, but also because I’m young and am uncertain of what to do or where to go as a beginning actor. I’m graduating soon, and I don’t know what to do. I don’t know whether I should work or train first, or where to go or what to do. I am also kind of looking for some pointers and things to maybe follow so I can navigate my start a little better and less anxiously without the fear of uncertainty. Thanks everyone!
I took this workshop last year and I have been recommending this to every voice actor I know. It's game-changing. She's cast/voice directed Overwatch, Diablo, World of Warcraft. If you're free on March 18, definitely consider taking this workshop! I'm such a fan of her style of teaching and methods. She provides such great tools to rock auditions and book more work: [https://www.halpacademy.com/event-details-registration/voice-acting-battle-chest-with-andrea-toyias-2](https://www.halpacademy.com/event-details-registration/voice-acting-battle-chest-with-andrea-toyias-2)
After few years of theater classes, after covid ended, and after few months of not getting any auditions then getting auditions but no callbacks, I started to work as an actress last year. Got some TV spots (with known directors), did a few shorts, and got a part in a movie! I was really happy and thought "oh now things are going to start moving a little more", like getting an agent, or more parts/auditions cause my resume was more substantial. This year I had more auditions, for bigger parts, and callbacks but I'm not getting the parts.... This month, 4 big projects I had auditioned for that called me to tell me they didn't select me for the role. I know 3 of them I did a good audition ( I had callbacks, the casting directors where laughing and even called me to say that they really liked my audition etc). **How do you not loose hope ? How do you keep going ?** ​ I'm applying to filmmaking schools rn to diverse my skills in other areas of the film industry, in hope it will get me more "independent", but I know I really want to be an actress.
I am an ex actress, currently based in EU. I want to act again but I am having big trouble understanding how the industry works in here and in need of any advice. I have my own equipment but don't how to go on.
hello, I work in VFX industry and I am doing some research for the short movie I am planning. UK, London based. I would like to POTENTIALLY find/hire some actors for mocap shoots. Most likely a day of work or 2. It would be a NO budget production. so any kind of costs would be most likely on me. unless maybe I would get some financing but didnt get to do that research yet. its still early stage and I looking at what is more plausible to do. This would be acting, Dialog, monologue. NOT stunts or wire work. Think Andy Serkis's Facial capture work for LOTR etc. Project genre: think Tarantino+Stahelski. **so my question would be how would I find someone? how much would it cost?** **Most likely I would be looking for someone older, no teenagers. Someone with a good deep voice. Someone who could act the style. Someone who could tell a story and you would listen to it. how hard would it be to find someone like this and how much would I have to pay?** just a reminder, this a research. If this is unrealistic I could just hire a voice actor and the rest would be animation.
For context, there's this game I really enjoy. However, it still needs voice actors for certain characters and they are currently accepting volunteers and/or applications. I wish to voice act one of the characters of the game, but they require a voice demo reel. From what I understand, a voice demo reel is like an auditory resume showing what previous projects you have worked on. As someone who has recently turned into a legal adult, I do not have ANY past experience voice acting other projects (except for fandubs that I did during my free time but I'm pretty sure those don't qualify). So how exactly do I create a demo reel for voice acting if I have no previous experience? I know the obvious would be, "Well, get some experience!" But most other projects also require voice demo reels, something I do not have. Am I overthinking this? Is there something I'm not understanding? I'd really appreciate any advice or help being commented below this post, as I am an absolute novice in this type of thing. Thank you for your time.
please pass this along to the voice acting directors in your life. i WISH every person running a voiceover session would read this. i have done hundreds of VO sessions at this point, and I've compiled a list of the most annoying traits of these sessions (DIRECTORS TAKE HEED! And VAs: if you encounter a director that does any of these things, THEY SUCK. Not you. You are amazing) VO DIRECTORS "DO NOT DO" LIST: * do not have TYPOS in your script. **please proofread the script.** don't waste everyone's time with a script that wasn't proofread. also do not ever leave shorthand in a script. you need to spell it out how you want it read (example: recently I received a script that had "FY23" written throughout, with the instructions to read that as "Fiscal Year 2023" - WTF? Just write out Fiscal Year 2023! Do not make me memorize acronyms during a session! Do not make a voice actors' job harder. * this is directing 101, but **do not give the actor line reads** unless for some reason, you absolutely have to. if you have to, *acknowledge that you know it's a shitty thing to do,* but the client needs their tagline said in a specific way, etc. *Bad directors/inexperienced directors give line reads because they do not know how to direct* (pleeeeease take a directing class if your job involves directing talent!). I once had a very inexperienced director think that the best thing to do in a session was have me PARROT THEM, line for line, through a 60 second spot. They read the line how they wanted it read, and I copied them. It was humiliating and totally unnecessary. Also, the director's reads were terrible, so my job was not perform like the audition they hired me from, my job became placating this director and making them think they are a genius. * similarly, **make sure you, the director, know how to pronounce every single word on that script.** I can't tell you how many times the director couldn't decide which way "data" should be pronounced, or there's an obscure Danish word that no one looked up before the session. Then we're doing 10 different takes to "cover all the options" or waiting 30 minutes for a coworker to slack them back with an answer. Figure it out BEFORE the session. * **do not pressure the voice actor to have their camera on during a Zoom session.** \#1. Video lowers the bandwidth and you'll be more likely to hear digital glitches (not on the recording, but on the Zoom call). #2. Video might make the voice actor more self-conscious, which is exactly what you want to avoid with actors!! Honestly, visuals are more distracting than helpful when it comes to voiceover. Let the actor perform in the way that makes them most comfortable * it bears repeating: **MAKE SURE THE VOICE ACTOR IS COMFORTABLE. do not add to their insecurity in any way. constantly build up their confidence.** constantly tell them they are doing a good job. NEVER let the thought creep in that they might have been hired by mistake. if you get in the actor's head, the performance will SUFFER. A director once started a session with me by telling me everything they DIDN'T like about my audition. I honestly felt at that point they had hired me by mistake and said "was there anything you liked about my audition?" I was so insecure throughout the session that I made mistakes on every other line. When I'm confident, I never slip up. When I'm insecure and nervous, I cant speak for shit. Actors are being incredibly vulnerable by performing for you. That deserves immense respect and praise. Constantly. ***(side note: director, please consider taking a directing workshop or class. seriously. put it on the company card).*** * do NOT surprise the voiceover artist with extra scripts in the session! **always always always make all the terms/scripts/pay rate clear before the session starts.** do not surprise the actor with additional scripts without proper compensation. * **please say SOMETHING positive after each and every take. ANYTHING.** Good thing to say: "I'm really liking where this is going" (actor confidence meter BOOST!). Do NOT come in after the actor finishes the take with simply "Ok... let's just try that again" or "That take was way too fast, you're probably nervous, adrenaline going. Let's slow it down." (actor confidence meter DROP). A bad director only points out mistakes or things they didn't like about the take. This will demolish an actors confidence. And guess what? A confident actor is a great actor. *praise the great things about the take and gently lead them in a new direction to get what you need.* If something is mispronunced, of course mention it. but say something nice first. seriously, it goes a long way. * if the actor stumbles during the take and corrects themselves and gets a clean record in the end, for god's sake do not mention it, **do not draw extra attention to mistakes. you're going to get in their head!**!. the actor already knows they fumbled. and worse, don't speak for me and say why you think I stumbled ("Oh you're probably nervous and still getting warmed up with the script and there were some stumbles in there. Let's do a clean take" - WTF?!). Don't play psychologist. Don't even mention the stumble. Do you want the stumble to happen again and again and again? Then get out of the actors head and don't draw attention to it! Again, your role is to up the actors confidence, not make them more insecure. * do not spend more that 10-15 minutes "figuring out the sound." **director, you need to be decisive and know what you want. your ambiguity is going to leech into the actor's brain.** and please god do not make me do multiple takes of the entire script in 3 different styles because you can't decide what you want. I know you have to deal with a demanding client, but seriously you need to LEAD them. be confident in your stylistic choices. be a DIRECTOR. LEAD your clients to victory with your creative vision. * similarly, for god's sake, **do NOT overexplain everything**. Pay attention to how much of the time YOU (the director) are talking. I cannot tell you how many sessions I've had where the director (sorry boys, it's usually a cis white male director) that spends 90% of the session talking, explaining, metaphors, giving background, over-analyzing ever single line of the script. it's condescending, aggravating, and often, I'm more confused and overwhelmed than if they just boiled down their point to a few sentences. **direction should be concise, clear, and gentle.** * if you have notes, and we are about to go through a script and focus on certain spots *one-at-a-time*, then please only explain *one note at a time.* if you're going to A B C (do three takes) of certain sentences or sections, tackle those one-at-a-time. it's really hard for a voice actor to remember a laundry list. some actors are amazing at taking notes on a full page of copy and implementing that right away, but that is a superhuman power if you ask me. * **do not demand full, perfect, clean takes of paragraphs-long copy.** I recently worked on a 30 second spot and the director insisted on full takes with no mistakes, no extra space for breaths. I thought I was going to faint by the end of the session. This session could have been done in 15 minutes if the director knew how editing works and pieced together the take with selects. the end result would have sounded perfect. instead, they got a full take but it was tired-sounding and less conversational, because the actor (me) was more worried about messing up than delivering a genuine performance. again, don't get in the actor's head! don't tired out the actor! * if your voice actor is ALSO engineering the session, you need to be compensating that person more. You've cut out a professional engineer, which is a huge cost savings for production and also a huge weight on the actor, who not only has to perform but slate/label takes. do not make the voice actor take notes. and please PLEASE spend the money to hire an engineer. You will get a better performance in the end. * if you have clients that want to be in the session, please have ONE person (the director) gathering all the feedback, and please please **please have one person (the director) interfacing with the voice actor.** it gets so stressful and confusing when I'm hearing different comments from different people and people are going to say shit that hurts ("it's not sounding like the audition...I liked the audition better" "this is sounding too mature, we need a younger sound" "it sounds like the script is being read, it's sounding fake"............ ugh. please spare the voice actor. our hearts and brains can't handle hearing all these errant comments. I have also heard directors arguing with clients during a session, which put stress levels for everyone on HIGH. * don't make the actor come into the studio if they have a professional home setup. totally unnecessary and waste of everyone's time. don't have your actor sit 3 hrs in LA traffic so that you (as the director) can be in YOUR comfort zone. Let the actor perform where THEY are comfrotable. * do not say at the end of a session: "can I come back to you if there are any small pickups and you can hop on the line with me again?" WITHOUT compensating them with a new session fee. No!!! Everything is supposed to be taken care of in THAT session. That's why it's supervised and that's why there's a session fee. If you (the director) find out later that you didn't get everything you needed, **you pay the actor a pickup session fee if you need another session.** Don't punish the actor because the end client revised a sentence and now you need a new read. You compensate that actor for their time and professionalism. Directors, I leave you with this: take a gaddamn directing class. We VAs are CONSTANTLY taking acting classes. The least you could do is take one freeking directors workshop and learn how to properly work with voice actors. fin.
So I've done both screen and stage acting (stage at my high school and locally, screen in a short film I made with my friends) and honestly I love both for different reasons. I've also been an extra on indie film and it was fun, but I did wish I wasn't just an extra. I was so excited at the prospect of acting with the main cast which is not surprising. In screen I love how I can focus more on individual scenes and moments, and I can act naturally with my scene partners, and everything just kinda seems more real since the sets are either real locations or like four walls in a studio. Plus you get a "safety net" of more takes. It's not something to rely on, but at least it's there. What I like about stage is the connection with the audience and the possible improv opportunities. But at the same time, I feel like even though I want to do all mediums throughout my career, I am hoping most of my gigs can be for TV, mainly because I also want to do some screenwriting and I like how TV is kind of like a partnership between the actors and the writers, especially if you have a big role in the TV series, because the writers did pick you because they trust you to make choices that will bring their vision of the character to life (I know this because I've written a few pilots currently and I feel the same way when trying think about putting a cast together) Also, TV is cool how there are so many more diverse stories and genres. Also, the characters are more diverse, age-wise, ethnic-wise, etc and I think it's because there are so many opportunities for roles in TV because it's the only medium where the story is indefinitely growing. Also, I think the best part about TV is the pacing; film is kind of too slow, theatre is kind of too fast, but TV gets to do several pages/scenes per day (anywhere between 5-8 per day, of course depending on the show and the day) so we get to do a good amount of acting in a day but we also can take our times with the material and not have to get everything in one shot.
I’m a college student in the USA and only got into acting/theater last semester when I signed up for my very first acting class. This semester, I have been fortunate enough to land two roles in two separate student-run theater productions. One of them only has a couple lines and the other is a supporting role in a major production. Since my college has a very good acting program and I’m still very new, I’m very grateful and lucky to have gotten these two roles. However, I was recently told the film production organization at my school was also looking for actors for their semester-long film productions. I went to the table reads and absolutely loved the scripts and the enthusiasm. Plus, since I’m more interested in on-camera acting, I really want to participate in the film productions. But I’m not sure what role to shoot for. One of the films’ has two leads, one is a detective and the other is a gangster. These are similar to both of my roles in the theater productions so it should be easier for me to pickup, especially since I’d be balancing all three productions at once. But I’m worried about playing too many of sinilar roles and being type-casted in the future. The other film resonated a lot with me and is personally something I want to work on more. The lead is an addict and the supporting role is his brother. I don’t think I’ll be able to juggle the lead role with the other two theater productions as this one is very different and will be a lot to manage. But the supporting role is very manageable and is still different to the other two roles I have. Plus, I think I can bring something unique to the table with this character. And perhaps, since my other two roles aren’t leads, maybe I should shoot for it anyway. I’m not sure which of the two I should audition for. Despite being lead roles, the first one might be easier to manage but might have me be type-casted into criminal/cop roles going forward. The other will allow me to explore a different side of myself and might be doable because its only a supporting role. Any thoughts on this? P.s. The first theater production is in early March, the second is in late march, and the film production spans the entire semester.
Hey! I'm a Canadian actor in Ontario and I've got a callback for a French show. While my French is alright, about intermediate level (B1/B2), it's been a couple years and I'm a bit nervous about the callback. It'll be in-person (while the original audition was a self-tape), and I'm afraid that my nerves will impede my comprehension abilities. Is it worth asking them what language the auditions will be conducted in? I can totally still do it in French, but I think removing the unknown might help me calm down a bit.
Super strange situation. Was wondering if there’s anyone out there that have worked with Element Talent Agency. They completely ghosted me. Gone without a trace and I’m so confused. I was browsing through Backstage about a month ago when I saw a post for actors looking for a commercial agent. I’ve been on the market for representation since my agent closed her agency last year so I reached out. I had a zoom interview with someone name Noel Palm. I hate to put his name it there but you can google the agency and see that he’s the owner. He said he’d be interested in working with me and sent over a welcome letter and contract to sign. I was a bit skeptical because they ask for 20% commission of any work that I self submit for. In the past, the majority of the work I got was from self submission. I wanted to be sure that the agency could actually get me work before committing to giving them any percentage of my earnings. At the same time, work has been really slow and the agency has good reviews so I took a leap of faith and signed the contract. I sent the contract back with an email thanking him for the opportunity and saying how I was looking forward to working with him. He also went in and added himself as my agent on my acting profiles. Well…I never actually received a response to my email. Fast forward to a few weeks later and a casting director reaches out to me for a filming opportunity. The email looked sketchy so I forward it to my “agent”. No response. I sent several follow up messages over the span of a few days. I also called the office several times and left messages. Nothing. It’s been one month since signing the contract and the agency has been radio silent. Last week I sent an email explaining my disappointment in the lack of communication and asked if I could get a confirmation that my emails were being received. No response lol Obvs this is a lost cause atp. Was wondering if anyone else has heard or worked with them?
I'm a British actor, working in Beijing and the wider Chinese mainland acting industry. I've never worked as a professional actor in the UK, so sometimes I encounter situations here and I wonder to myself "Would this happen back home?" One such situation is a very familiar one to many actors here on the mainland, the idea of a 'blind audition'. It means an agent (or more appropriately, a booker) will contact an actor and say: "We have a casting opportunity for you. We can't tell you the production name, what the project is about, what the roles are, who the director is, where or when filming will be, but it's a great opportunity for you, so be here at 4pm to audition!" Now to me, this just doesn't seem to be a very professional way to audition. If I don't know the genre, I don't know if I'll be interested or not. If I don't know the filming dates, I don't know if I'll be available. If I don't know the director, I can't look at previous work they have done and get an idea about their style and preferences. All together, it just makes me feel very unprepared, and that makes me feel unprofessional. So my question is, do auditions like this happen in the UK or US? I can understand productions not wanting to publicly share all information, but expecting actors to turn up to auditions with zero prep seems.... difficult? What's everyone else's opinions on this? Is it something completely normal that I should prepare for before returning to the UK, or is it something that only happens in China? Really interested to hear other people's insights!
Hi! I just got an agent recently and I’m new to the game of it all- I think they are only submitting me through what I already can see with ActorsAccess. Do agents get the breakdown on BreakdownExpress first and then submit their talent there and then the actor receives the cmail through ActorsAccess? Or if my agent is only submitting me on ActorsAccess for breakdowns I am seeing as well, they are not on BreakdownExpress? How do I know if my agent is on BreakdownExpress? I’ve looked online for help but I haven’t seen much for what I’m looking for + I’d like to ask my agent about it but I thought I could seek insight here first before opening that can of worms! Thanks!
So I have a hard time memorizing lines. Too much in my head going on. Couldn't show emotion. Also, I'm kinda exploring movie making...not sure if I'd make a better writer/director/producer... Why is M Shamalayan considered not a great actor? Better writer not a good director...at least thats what Quora said
**Friday, February 03 - Thursday, February 09** ###News | score | comments | title & link | |--|--|--| | 61 | [1 comments](/r/VoiceActing/comments/10ur6e9/youtube_posts_with_no_context_or_asks/) | `[Mod News]` YOUTUBE POSTS WITH NO CONTEXT OR ASKS...| ###Top 10 Posts | score | comments | title & link | |--|--|--| | 118 | [53 comments](/r/VoiceActing/comments/10v59dg/ai_doesnt_breathe/) | `[Discussion]` AI doesn't breathe| | 77 | [16 comments](/r/VoiceActing/comments/10toor1/practice_practice_practice/) | `[Discussion]` [Practice practice practice.](https://v.redd.it/psrzckejj9ga1)| | 66 | [37 comments](/r/VoiceActing/comments/10w82c5/does_doing_a_30_second_radio_commercial_count_as/) | `[Advice]` Does doing a 30 second radio commercial count as professional work?| | 61 | [36 comments](/r/VoiceActing/comments/10y2kvl/why_are_genshin_impact_voice_acting_roles/) | `[Discussion]` Why are Genshin Impact voice acting roles non-union? They make so much money!| | 41 | [21 comments](/r/VoiceActing/comments/10srhbu/im_looking_to_get_rid_of_a_great_sound_booth_that/) | `[Booth Related]` I'm looking to get rid of a great sound booth that was gifted to me. How can I sell this?| | 40 | [111 comments](/r/VoiceActing/comments/10xcvov/voice_acting_advice/) | `[Advice]` Voice Acting Advice| | 21 | [3 comments](/r/VoiceActing/comments/10tt418/findaway_voices_distributing_for_ai_training/) | `[News]` [Findaway Voices Distributing For AI Training Without Consent](https://twitter.com/KitWatson/status/1621855852150800387?t=Nsd5FqpIfMPE1r3G4qXi6Q&s=19)| | 19 | [5 comments](/r/VoiceActing/comments/10ttftp/voice_acting_officially_for_the_first_time/) | `[Getting Started]` voice acting officially for the first time!| | 18 | [28 comments](/r/VoiceActing/comments/10tnh85/how_would_you_pronounce_incomparable/) | `[Advice]` How would you pronounce incomparable?| | 14 | [4 comments](/r/VoiceActing/comments/10ufjvp/tiger_mesahas_anyone_worked_with_this_talent/) | `[Advice]` Tiger Mesa...has anyone worked with this talent agency?| ###Top 5 Most Commented | score | comments | title & link | |--|--|--| | 1 | [34 comments](/r/VoiceActing/comments/10vyzol/buzzing_from_mic_help/) | `[Microphones]` Buzzing from mic. Help?| | 1 | [26 comments](/r/VoiceActing/comments/10tm4cm/1000_page_audiobook_how_long_would_it_take_you/) | `[Discussion]` 1000 page audiobook, how long would it take you?| | 3 | [21 comments](/r/VoiceActing/comments/10xmyzn/beginner_level_va_facing_a_ton_of_anxiety_when/) | `[Advice]` Beginner level VA. Facing a ton of anxiety when trying to get behind the mic. Advice?| | 6 | [21 comments](/r/VoiceActing/comments/10x4a83/advice_for_beginner/) | `[Getting Started]` advice for beginner?| | 1 | [20 comments](/r/VoiceActing/comments/10uv4m6/how_long_do_voice_actors_have_left/) | `[Discussion]` [How long do Voice Actors have left?](https://twitter.com/elevenlabsio/status/1619698578339004416)|
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.
