I am really interested in film-making industry and being an actor, but I have no idea how or where to start. Please, all suggestion are accepted.
I’m taking about the ones with actors such as Samuel L Jackson, Natalie Portman, Helen Mirren, etc. on masterclass.com. Has anyone done them? Are they work the 15/month (which is pretty cheap compared to some others? What was your experience?
Hi guys, so I just joined a film acting group to gain some experience and there’s a ton of amazing resources and networking and I’m very excited. However one problem I have is feeling like the other actors are not my friends but more like competition. Even the guys and girls that don’t even look like me?? But at the same time I’m so excited to work with them because I’ve never had an opportunity to work with other actors and I have the freedom to be creative and it’s a comfortable space to grow and learn. I guess it’s a little bit of jealousy too from actors with more experience? But like that doesn’t help me at all. I don’t even know if I’m going to dive into the acting industry…I want to but it’s scary. but in the meantime, how can I change my mindset around this?? It’s toxic and I feel like an asshole thinking like this. I’m really excited to produce films and stuff and actually work with other people interested in the same things.
So I had a situation the other night where I was at work waiting tables at my restaurant and i waited on a woman who basically told me she was a producer and asked for my info, she seemed normal and nice so i gave it to her, long story short she emailed me and told me she had a friend who "used to work at X agency and now has their own". (one of the big 3) so in the email after saying it was great to meet me etc., "I made a call to X. I think it's better this way". the name of the person was not searchable. A person with the same last name, and a very similar first name, IS the person she was most likely describing from what i researched. (used to be a big deal at one of the big 3, now has their own agency). but then in the follow up email she used the wrong first name again! (maybe she was drinking? she made a joke about being tipsy when i waited on her at the restaurant in the first email) ..... but they rep below the line people..... mostly DPs and editors that have worked on major blockbuster films by A list directors.... but still it's not actors.... I'm thinking this lady is just super nice and was just feeling good and wanting to help me, but not really knowing how things work? or, this below the line agent that used to be a big deal at one of hte big 3 could potentially pass along my info to his agent buddies that do rep talent? now i already have rep and tape on a regular basis so i don't really care / am not putting stock into this just as i never did the 15 million other times people have said and promised random shit like this in the past.... but what do you think?
i.e. Jonathan Bailey, Luke Evans, etc. Who are some LGBT actors who aren't put in a box/cast as the "Gay bff?"
I have been cast in a student short film and was wondering about creating my own contract for it that states things like (I will get the footage, will be invited to any screenings, etc.) I have heard of bad experiences with student projects and also heard of actors creating their own contracts as an insurance policy I guess. I was wondering if this would be a good idea ? The students seem genuine enough and are with one of the best film schools in the UK but I just don’t want to risk it I suppose ?
After doing some background work and fruitlessly applying for student films and commercials on Backstage and Casting Networks, I think I'm going to focus my efforts on Actors Access. I know it's the most reliable and highest quality out of the bunch. However, the interface is super weird and I hate how they charge you out the nose for everything. Can you recommend how I can get the most out of Actors Access? \- For example, where should I be spending the money, and where should I be saving it? E.g. should I stick to just the free amount of pictures and spend money putting up different reels? Or do I need to accept that I'm going to shell out a bunch of money for both? \- Also, should I just be searching in my specific market for work, or should I expand that search to the whole country? \- Are there any other tips or tricks for how I can maximize usage? Thanks so much.
I am looking at apartments and I honestly can't find anything safe/decent for less (around $2,500+ w/utilities). I know people live with roommates but honestly I'm at the age where I really don't want to live with so many people. If you are living alone, please share how you can afford to live in LA as an actor?
Hey yall. If you have time please answer the form to the best of your ability. All feedback is greatly appreciated. Thank you[https://forms.gle/MWLckeSVD7pWz8Sv6](https://forms.gle/MWLckeSVD7pWz8Sv6)
Hey everybody! I’ve talked to all of my actor friends, and I’ve even reached out to my old agent back home. I don’t know what to do. Here’s the situation. I submitted for a supporting role in a SAG low budget feature on Actors Access. I’ve never had any luck doing this but the character description sounded like it fit perfectly into my wheel house. To help bolster my chances I included a minute video talking about my favorite personal subjects… I had a recent audition and the CD for that project asked for a minute of talking about something you’re passionate about in addition to the sides. I had the video on hand so I included it. And it worked! A week later I got a message from the CD inviting me to audition. They asked for one scene to be put on tape and retuned with a week via EcoCast. I got it in and another ten days go by. I’ve put it out of my mind because for some reason I thought the response would be quick. By now I’ve googled the project and have read what very little is available. Then… I get a call back! Two more scenes and another week goes by. Another call back! This time with notes from the director and they need it by the next afternoon! I get it in. A day goes by and the CD gets back to me again. This time the director wants to meet over Zoom for a call back. They ask for availability. I send it. They specifically ask, “how’s Tuesday?” I reply and have not received a single word back. That was almost a month ago. Do I still have a chance? Should I message the CD tomorrow? I’m feeling frustrated and kinda defeated.
I’ve even doing theatre for about 2 years now and it’s inspired me to start getting into acting . I would like to someday be in a movie or a sitcom . so my main questions are what are agents and what exactly will they do . Also specifically if I need one . || is there a specific thing I need to look for when signing up for classes ? || will I get less acting gigs because of my sexuality or race ? || will I have to worry about my personal looks, I’m definitely not the greatest looking lol || thanks !!
what are your thoughts?
Can you help me change my mind please ? I’m driving my actor friend who tried to explain it to me crazy
I have taken some acting classes (including advanced) and have two lead scenes from my work, plus a bunch of acting credits (mostly background so nothing to show for those) . Both scenes are about two minutes but one is pretty well produced. Would this be enough to show an agency, or should I wait to have more (or even purchase) scenes? How many scenes or clips should demo reels have? Do any agencies take on actors without a demo reel?
I've been doing voice acting for just over four years now and wanted to share a perspective that I've developed recently that I would have found immensely helpful to have back when I started. Obviously, this is based entirely on my own worldview and personal experience (and will probably be controversial to some), so take it or leave it as you wish. This is just where I'm at currently and I'm sure my views will develop further as time goes on. ​ The mentality that I had when I started voice acting was that I needed to book the job. That's the whole point. You get the coaching so you can get the demo, so you can get the audition, and then book the job. Everything I did was in service of getting the job. All the courses, demos, and recordings I made were to get the job. Several months ago I had an epiphany (in no small part due to the out-of-this-world perspectives of Elley Ray Hennessy). I now feel that I've been going about things completely wrong this entire time, and it had driven me into the ground. Let me elaborate. ​ If you've been in this industry for any length of time, you know that one of the things that is taught regularly is that you have to get coaching before doing anything else. How people go about getting the coaching is up to them, but it has to happen. Some people go through CCC, others use Gravy For The Brain, and plenty of others get one on one training, but the majority aren't going to get it all from one source. However, there is one thing that almost all of these coaching methods have in common: they teach that there is a "right" and a "wrong" way to go about doing things. Some examples may be that it's wrong to brush over the brand name, it's wrong to inflect down at the start of a list, or it's wrong to skip over periods, or repeat sentences for emphasis if it isn't written that way, or add humanisms if they aren't included in the script. The issue here is that, as I've come to see things, "wrong" is a matter of perspective in this work. Yes, there are certain things that are wrong without question (ignoring file labeling instructions comes to mind) but when it comes to the artistic side of this work, wrong is a matter of perspective. ​ I have a couple of agents I'm working with right now. Shortly after getting the first one, I had a call with them just to introduce myself and to learn more about their work process. One of the things they commented on was my slates. For every one of the sample scripts they sent my way, I had done some variation on slating my name. On one I'd chosen a very melodramatic tone and said "(off mic) ugh this is so lame! (on mic) It's \*name\*. (off mic again) that's it? I can go now? Great." Each slate had a different characteristic and showed my ability to do something that wasn't in the script. The agent said that they thought my slates were clever, showed my range, and they made them pay more attention to my reads. "They woke me up". For my third agent, I got a call from them, and immediately after saying hi and confirming that I was the voice talent that they wanted to speak to, they said "So, your slates are really weird. Don't to them like that." They then proceeded to explain why my slates were jarring and would cost me work, and even went so far as to say that unless the script said to slate, I should never slate. This really threw me off because I thought I had something good going on with my slates. They were unique to me, with my own stupid sense of humor. My calling card, if you will. The agent, however, said in no uncertain terms that they were bad and that I should can them. This was especially discombobulating for me because my other agent liked them! It's also not like the first agent was smaller than the second agent or something; both are quite well known. What gives? This experience percolated for a while until I did some coaching with Elley Ray, which shone some light on it and gave me a new way of looking at things. ​ You've probably heard of "tips and tricks" that will give you a higher chance of booking a job. Things like improvising a bit, doing multiple takes, humanisms, leaving your mistakes in, etc. I've gotten plenty of them from a whole bunch of different sources and I've tried them all. What I didn't clue into is that they are almost entirely redundant for one simple reason: *you don't know what the person listening to your audition is thinking.* The listener could be hungry, or biased against your accent, or stressed out about their home life, or have had a high school bully that your voice reminds them of. My regionalisms could be jarring, or I could be reading too quickly, or pause in the wrong spot, or inflect in a way that they didn't like. Bottom line; there are a million factors going on that I have zero control over that play into whether or not I'm going to get the job, and there is *nothing* I can do about it. It doesn't matter how many takes I do if the listener is in a rush. It doesn't matter how funny my improv is if they just want to hear the lines of the script. It doesn't matter how convincing my humanisms are if they don't want them. It doesn't matter if I get my audition in early if they listen to auditions a week after submitting the request. It doesn't matter if I slate creatively if they don't want creative slates. It doesn't matter if I don't slate at all because they may have wanted a slate. It doesn't matter if I do the perfect read, because they may want someone who sounds more like Aaron Paul than I do. We all know how ruthless the auditioning process is. My read MIGHT get listened to for five seconds. If I haven't captured them in that time, I'm out, and there's nothing I can do about it. The thing is, all I can do is GUESS what is going to hook them, and considering how many possibilities there are, the chances of me doing the "right" thing are inconceivably low. *I doesn't matter how well I audition if, for whatever reason, they don't think I have the right read.* ​ To delve deeper into this, I present to you two links to two different ads. Both are from the same series of ads for google chrome. One is for the American market, and one is for the Australian market. American: [https://www.youtube.com/watch?v=nd7zxDThkvk](https://www.youtube.com/watch?v=nd7zxDThkvk) Australian: [https://www.youtube.com/watch?v=qdH\_KocQbpA](https://www.youtube.com/watch?v=qdH_KocQbpA) Same product, same type of script, VASTLY different reads. Question is, why doesn't the American spot sound more like the Australian spot or vice versa? There are a couple of reasons that come to me off the top of my head. 1: There are different styles of voice-over depending on where you are in the world. You learn things from British coaches that are discouraged by American coaches, for example. 2: Different casting directors could also play a role. Each one will have an ear for their respective market and what is going to do well. 3: Talent worldview. Everyone grew up differently, and it influences how we see the world, communicate, and most importantly, take direction. The thing is, the talent doing these reads have no control over any of those things. How many amazing reads do you think were sorted through before they settled on these two? ​ Another example: The guy who's currently the official voice of Mickey Mouse, Bret Iwan? Micky Mouse is legitimately his first gig. He just had a good sense of who Micky was and had a friend at Pixar that sent him the audition. No training, no microphones, no booth, nothing. Just talent and good fortune. Keep in mind, he booked the gig AFTER Disney had already gone through who knows how many other professional voice actors. If you want to hear more of his INSANE story, you can check it out here: [https://www.youtube.com/watch?v=9NSCT\_ukW-8](https://www.youtube.com/watch?v=9NSCT_ukW-8) ​ All of these examples point to there being almost nothing we can do as talent to increase our chances of getting booked. This is a frightening prospect! Any sense of control that I thought I had over my booking rates? Out the window. It also means that basing my success on the amount I book is redundant because there are people out there with far less experience who book more/better jobs (I mean, Mickey Mouse? Seriously?) The question then is where does that leave me? If it's just LUCK as to whether or not I make a good enough impression to get the job, then what am I supposed to do? Was I wasting my time when I was learning to interpret direction? To be a better voice actor? ​ Well, here's the logical conclusion: Q. If there isn't anything I can do to make myself stand out and have a better chance of booking the job, what CAN I do? A. There is something you can do to stand out. **Be yourself.** After all, why not? Because of all the factors that we know go into deciding if someone is going to get booked or not, why bother trying to read the tea leaves and predict what they're going to want? The funny thing is that I actually have a *better* chance of booking the audition by choosing to be myself because at least if I'm being myself, I'm guaranteed to be unique in some way, which is the whole point, right? At the very least, I've got a better chance of being unique than the other 50 talent auditioning who are all focusing on the same "secret tips and tricks" and reading the script "correctly" to the point where they all sound the same. In addition, being authentically me naturally lends itself to coming off as more natural, real, and genuine: all things that are highly sought after nowadays on virtually every project. Now, this isn't to detract from storytelling ability. That's just as important, and that's where your training comes in. You still have to be able to forget the microphone is there and deliver a captivating performance. You still have to have good diction. However, those things aren't what adds the "special sauce". Anyone with a bit of training can read a script well, or "properly". It's learning how to bring your authentic self to the script that makes the magic happen. ​ Question is, what does it mean to find your authentic self? How does one do it? I think the process is different for everyone and is ongoing. In my case, I had to realize that my life is based on perspective and that I can choose to look at things however I want and have them be true enough for me that I'm able to stay happy. Nowadays, I "get" every single script I audition for. That doesn't mean that I book the job, but it does mean that I make sure that I'm never doing a canned performance. It means that I'm taking the time required to understand the script and the direction and turn it into something that feels real to me. If I feel like I'm faking it, I haven't gotten it yet. I can't say how you can find your authentic self. That's something you have to figure out. What I can say is that part of the process is learning that you have to let go of other people's expectations of you if you want to have a chance at seeing it. ​ Going back to the "wrong" vs "right" way to read a script; hopefully, I've demonstrated by now that wrong and right in acting are completely down to perception and personal preference. What this means is that on every single script, you have to choose to do what feels right *for you.* Not what you *think* is right for the director, or the writer, or the engineer, or anyone else. *For you*. After all, you are the only person you know well enough to know if you're getting it or not. By being true to yourself, you'll start shaking off the shackles of conformity and will start doing things that surprise your listener. Heck, you might even surprise yourself! Whether it books you the job or not is another matter, but at least you'll be getting their attention more. You'll also be having more fun. I'm pretty sure that nobody enjoys the "ah, I messed up that take" process where you do the read fifty times because you think you're inflecting in the wrong way. Nowadays, I almost never record more than three takes. Forget about the technical side of things. If you've been doing this long enough, that stuff should be second nature. Give into your creative side. "Use the force, Luke". ​ "But I still want to book work!" I hear you say. Understandable, which is why I have one last thing I'd like to touch on. There is nothing you can do, outside of being yourself and being an excellent storyteller that is going to get you the winning audition. However, you can still tip the odds in your favor another way. Strong relationships that are built on trust. If you demonstrate your integrity, reliability, and trustworthiness on every single job you do, you're going to book work more consistently. The funny thing is that it has nothing to do with ability and everything to who you are as a person. Oh, and good fortune. You have to be given the opportunity to demonstrate those things in the first place, and that just comes down to the all-powerful casting director saying "let's try the new guy", and as I've hopefully shown, that has almost nothing to do with you. ​ I know I'm not the only one who's posted on here, discouraged about how things are going. "Why aren't I booking? Am I any good? Am I wasting my time?" All of these thoughts are based on the worldview that I'M the reason that I'm not booking as much as I want, that there's something wrong with ME, and that I should keep trying to fix ME in order to make people like MY reads more. Had I had the perspective that I have now back when I started, I would have been a more relaxed, creative talent from the get-go, and probably would be farther along than I am now. I wouldn't have wasted time trying to please people. I would have taken more risks, perked up more ears, and probably booked more work. I also would have avoided a LOT of pain and mental strain. After all, I don't know how well I'm doing. Not really. If someone isn't booking, that doesn't mean they aren't making it to the top five shortlists on every third audition they do. That doesn't mean that they haven't been getting unlucky with who's listening to their reads. If you've been told by multiple people who know what they're talking about that you're good, then you probably are, particularly if you've been taken on by a reputable agency. You not booking doesn't mean you aren't skilled, or talented. It just means that the stars haven't aligned for you yet, or that you aren't marketing/auditioning enough. ​ To summarize, be yourself because it's the only unique thing you can actually do that will make you stand out in some way, and don't base your success on your booking rates because there are people who are less skilled talent than you who are booking more than you. Find your authentic self and define success in the way that is most beneficial for you so that you *don't give up* and *ARE* *AROUND* when you do get your big break. Network, build strong relationships, and always be ready to lend a hand. Booking consistently is just as much about connections and making a good impression in the industry as auditioning. You'll do auditions that you think are pure gold, and get booked for the job where you half-assed your audition because you were tired. It's completely down to the listener, and you can't know what they're thinking, so why bother trying to figure it out? Be friendly, talk to people, be authentic, and be consistent. I don't think there's an audition technique out there that can beat those things. AGAIN, THESE ARE MY THOUGHTS AND OPINIONS SO PLEASE DON'T VIVISECT ME. Merci Beaucoup.
There has to be more right? Like no way he was booked just off of him walking down a hallway, also how do you feel about submitting an audition that way, you think the way the industry is changing should our self tapes now include more creativity and not just us behind a plain backdrop? Or because he is an established actor he can do self tapes like this and casting is cool about it.
Hey r/acting! I'm a 31 year old software engineer living in San Francisco. I've always dreamt of becoming an actor, but haven't pursued it besides doing an acting class. One reason is that I've been morbidly shy, but have since grown out of it. It's now or never and I'm ready to take the first steps. I have a few options on the table: * Stay in San Francisco, take classes, get headshots, participate in student films, build a demo reel and package. If I see that I enjoy it and want to pursue it further, I can move to a major acting hub like L.A. Seems like opportunity is limited here and I've been itching to move given the high COL, and that I have a remote job where I no longer need to be located here. * Move to Atlanta and try to build my credentials for a year there, and see how it goes before deciding it's not for me, or moving to a bigger hub like L.A. Upside is way lower COL, downside if being far from family/friends and having to ship my car. I think could be a hassle to move 2X, I don't see myself settling down in ATL. * Move to L.A, and start from scratch here. I know this sounds crazy, but my expenses will be lower in L.A. compared to San Francisco. I can work remotely as well. I'll still be close to family in the Bay Area. **The only downside seems to be that it's very competitive, and seems impossible as a newbie to break in.** Maybe I can build my resume with Bay Area opportunities while living in L.A, as I do have family there that I will come up to visit time to time. What do you all think? Thanks in advance!
Hello! I am looking to find actors (voice or live) who have performed in Geico, allstate, and statefarm commercials. Does anyone know how I can do that? Thanks!
Hey all, I’ve been in touch with a team who creates/produces scenes so you have some on-screen footage to submit to agents. An actor friend advised against it, saying agents can tell these are “fake” and may do more harm than good. I’ve seen footage from these guys and it looks really good, and I really need footage. Do agents care that it’s not a “real” project?
So somebody I know recently found out about my interest in acting and that I was taking classes. He told me he was surprised because apparently I'm "so quiet". This person is a regular at my workplace so I suppose I can be "quiet" but that's only if I'm focusing on my work I need to get done. Who DOESN'T get "quiet" when their attention is focused on getting work done? It rubbed me the wrong way because I've chatted and laughed a lot with this person many MANY times over the year, so hearing him say that sort of hurt me a bit (I know that sounds lame but it did and maybe it relates back to my childhood, IDK) and it also rubbed me the wrong way because it came across as if he was (albeit unintentionally) saying that if I'm quiet then how can I be a good actress, if that makes sense? I personally don't see the incompatibility between "quiet people" and acting, ANYWAY. I mean, that is what acting is all about - NOT being yourself but being ANOTHER PERSON! I actually consider myself pretty extroverted (according to my MBTI I am an ENFP lol) and while I can be cautious when meeting new people, I get VERY loud once I know someone quite well haha! I thought this person knew me well but I guess not \*shrug\* Now all this person does when he sees me is ask when my next class is, did I enjoy last class, and do I plan on doing more etc and now this person irritates the sh\*t out of me when he didn't before. Perhaps if he hadn't made that odd judgment about me, I wouldn't feel so irritated when he asks me these questions. I guess what I'm trying to ask here is, does anybody else get the same judgment from other people? It's almost like they expect actors when they're not acting to be this stereotypical flamboyant clown or something.
Hey all — I’m a working on a project in the middle of casting. We have a tape from an actress that has an incredible on-screen look. Would command scenes very well. Our only challenge is that she’s originally from Argentina and has an accent that’s pretty noticeable. Has anyone dealt with passing on an actor because of their accent (like Ana de Armas) where it’s impossible to be hidden in their performance?
I am a male aspiring actor. Will being in great shape increase my marketability and chances of getting a role? I go to the gym 6x/week and have a decent build. It takes a lot of time and energy (gym, diet, etc) to maintain my physique. Is it worth maintaining, or even trying to get bigger? Thanks
This is the third post in the series, you can find the other two here (https://www.reddit.com/r/VoiceActing/comments/xjjgiw/black_friday_shopping_list_part_1/?utm_medium=android_app&utm_source=share and here https://www.reddit.com/r/VoiceActing/comments/xn4ewi/black_friday_shopping_list_part_2/?utm_medium=android_app&utm_source=share Anyway, this weeks question is What is the most important food or medicine to have on standby as a voice actor? [View Poll](https://www.reddit.com/poll/xu13in)
Major CD reached out to me via my personal contact/social to audition as the lead for a major network pilot they’re making. I have no idea how they even knew I was an actor based on my personal social and the only time I auditioned for their office was through an open call in the past which I’m pretty sure they didn’t even watch my tape. Has this ever happened to anyone else? Since then I’ve significantly working more on my craft and have gotten more callbacks, but they wouldn’t know that so it’s just really interesting!
Hello, everyone! I was wondering if there have been any actors from American(personal experience or hearing) who have been able to do be part of any theaters in the UK, whether it’s RSC, the Globe, NT? A dream of mine has always been to be part of the NT cast!
On Actor’s Access, my original Audition deadline just passed, but the casting director extended it via another message 2 hours after the initial invitation, but did not update the original eco cast invitation/breakdown, so even though I’m early, i can’t even submit my audition.
Hello fellow actors! I am in the process of getting new representation( agent and manger) however, I am expecting. I was advised to wait until after I secure representation and until I am showing to announce to new rep. I am in the process of taking meetings with new rep. Should I tell them in the meeting I’m pregnant or should I wait to announce when I am showing( which would be about two after signing with them ? Thank you so much for all your input !!
We’re tired of working on projects that aren’t fulfilling and aren’t furthering our careers so… We’re making one ourselves! Short film with NAME ACTOR, about IMPORTANT TOPIC and SAG production (but willing to Taft-Hartley for the right non-union talent) - looking to cast a few key roles. GREAT professional team. The catch: we’re funding this ourselves - so everyone has to be super talented/dedicated and contribute to our fundraising campaign/produce. The goal is to hit the festival circuit HARD next year to spread the word about this important topic and to boost everyone’s career. Message for more information. Thanks! FYI The film is Pro-women’s rights and critical of the Catholic Church.
If a casting director at a callback says you were fantastic.. called you a great actor and ended the Zoom session with “ See you soon”… does that mean you’re still in the running? Or is it safe to accept another job that starts on the same date? Its been two days (weekend included). Production starts in about a month..
I have multiple accents and I have my favorite accent out of all them which I badly don't want to go away because I worked so hard for it. So these days, I find myself constantly analyzing other people's accents and often comparing myself with them. This is something I do unconsciously. I've heard of an another voice actor who does the same but she goes more depth like analyzing breathing patterns, mouth movements, etc. Now, especially, when I meet people with strong accents, I often hear new words pronounced by them and I find myself in constant fear that I might end up with their style of pronunciation for that words thus fear of losing entire accent. It gets worse when I meet Americans. I feel so intimidated by their accents and I find myself frozen and comparing with them.
Being a professional actor takes talent, determination, and a good amount of luck. Often, the profession requires a full time side job which takes away from one's ability to take more classes, workshops, auditions, etc. If you could go back to when you were starting, with unlimited time, money, and ability to travel what would you have done differently? ​ What classes would you have taken? How often? With whom? What casting sites would you have been using earlier? What additional steps or roles would you have taken? Would you have moved to a different city? Better headshots and haircuts? Professional coaching on auditions? ​ What do you feel would have made you better positioned for success (regular roles, working actor, etc.) either overall, or earlier in your career?
I've been told by film/tv casting directors, directors, and other actors that I'm good at reacting to other people's news (heartbreak, shock, fear, etc) and good when I'm saying a line. However, I apparently need to work on my resting face when I'm neutrally listening to something because I look kinda sad or blank even when I'm perfectly content. It was never a problem when I used to do theatre for obvious reasons. I do plan on taking film/tv acting classes, but in the meantime, any advice?
Hello, my name is Bruce Nachsin, I am an actor and I am also a writer & producer. I’ve had several short films in the past and I would like to start making content again. I am looking to find a few like minded individuals in the Los Angeles area who are not only good actors, but also have production skills, equipment and experience to form a group with a focus on producing short films and short form content with eyes towards being able to eventually build bigger projects once we have found a good working relationship. Now, who exactly am I and why should you want to work with me? As an actor, you can think of me as an intersection between a John Candy and a John Belushi. I’m currently on the heavy side but can move very well and have stunt training. check out my [IMDB](https://imdb.me/brucenachsin) As a producer, I have made several award winning short films, I have a good grasp of story and most importantly, I can see things through from conception to finalization. In post production, I am a decent editor and I can even pull off a few moments of decent After Effects. A few samples of my films: [Dark Specter 2](https://youtu.be/haUP47gv2Es) [Lunchtime is Over](https://youtu.be/DmlFS2lS7ho) [Nothing Personal](https://youtu.be/2xuKK14vthI) [Searching for the Words](https://youtu.be/Ki27PLCO4Fs) [Stuff ‘N’ Stuff](https://youtu.be/TBgnee_7NeE) Resources I bring to the table: Hardware: Blackmagic 6k Pro 2 Manfrotto tripods Several lenses Several LED Panel lights, plus a few other lights Professional Sound equipment including Sennheiser Lavs, and Boom Mics Zoom H6 recorder with all accessories Full Boom pole setup with Rode Blimp and Carbon Fiber pole. Additional sound setup that allows for recording up to 8 sources at once. Software: Full Adobe Suite Full DiVinci Resolve suite Older Pro Tools What I am looking for are actors who will also have a mix of their own production equipment and additional skills like editing, sound design, color grading, vfx and social media marketing. The idea is that between everyone we would have the skill set to produce quality content without having to outsource or spend much money, which has always been the killer in making things for me. As far as what will we make, it will all depends on who the members of the group are and what are their strengths as performers, we should be playing to our strengths to highlight people in their most castable roles. As far as any kind of pay goes, the idea of this project is to form a Los Angeles actors group that can self produce for itself, there is no pay, but if we were to get to the point where our films and content made money, then we would split any profits that would occur. So if this sounds interesting, if you’ve always been the person trying to get people on board with you creatively and find yourself doing all the heavy lifting, if you’ve really wanted to do something and get frustrated by more talk then action then let’s talk. We just might be able to do something.
I’m a newer actor - I’ve been training, self-submitting, and auditioning. Recently I went through an audition process and committed to a supporting role for a short film. The role isn’t large but from the sides I read for there was a fleshed out character, a reason for my character to exist in the script and help move the story forward. Soon after committing the director emailed an updated script and I saw that my scenes were cut out. My role had been reduced to two lines and I saw that there didn’t seem to even be a reason for my character to exist - if you cut out my 2 lines, the script would make sense. More so, it felt the director just needed my presence in the scene to fill up space (he could probably just get an extra). Is it fair to bail out? I feel like I was catfished during the audition process based off the sides I read for. Additionally, a number of other films (that happen to shoot the same wknd as this film) I submitted for reached out to me to audition and these roles are far more substantial. I just feel like I’m not getting much out of the film, am definitely not reel material. The shoot is 6 weeks away and I committed to the role a few days ago.
I am looking to hire adult actors for my gay male video shoot is this a place I can ask?
Hello everyone! This question is for the people who’ve gotten to the point of booking guest star / co star roles and above.. I am an actor in LA that’s been doing the student film/ ultra low budget indie short grind for the last couple years and signed with a boutique agency a few months ago. I was wondering what things you felt you were doing to get you to that next level in your career, where you were getting more auditions and eventually bookings for bigger jobs? Whether that was networking techniques, investments in headshots or certain classes, different mindsets, ect. Please let me know, thanks!
If you're a working non-union actor at the beginning of your career, this experience might be worth the read, especially if you do/plan on doing commercial work. They're expectant, deceitful, untimely, and predatory. Their casting calls are vague and omit most of their intended usage, strategically offer less than you're worth for their unfair terms so that they can bribe you with more to make it seem like a deal if you try to negotiate, then get back to you so late that you're pressured into letting them exploit you. To top it off, if they decide to dump you for fighting for what you deserve, don't expect that response until the midnight before the shoot, after you've already packed your bag with the suitcase full of clothes they asked you to bring BEFORE they ever even sent you the contract. More often than not, contracts with unfair terms are either copied and pasted from templates online or just offer as little as they can for as much as they can get away with because it's less of a headache and more money for them; typically, if asked for limits on usage and or better pay, they oblige because they didn't really *need* the original terms to begin with. This producer, however, knew exactly what they were doing from the moment they told me to hold the shoot date, all the way up to the disrespectfully late moment they rejected my negotiated terms. I canceled my attendance to a wedding, took off of work, and spent hours putting together/taking pictures of wardrobe options, only to spend more hours trying to renegotiate this unfair contract that I (should not have) assumed I'd have no problem changing if I needed to. I'm still fairly new, but have enough experience to know that this seemed really fishy. I called my ex (a casting director for many years) and he wasn't surprised, but agreed they were especially predatory. I asked him what I should do and I couldn't believe how much I learned about the business side of things from him. So grateful. If enough actors started rejecting contracts claiming usage rights in perpetuity, negotiating pay, educating other actors, and calling out predators, we'd set a different standard. Maybe Backstage would force usage terms to be listed on calls. I'd love a more effective platform for actors to share information and put unethical industry companies out of business. We shouldn't have to learn through career-risking experiences with manipulative producers what we deserve. I knew enough going into this career to protect myself fairly well, but I still wasted so much time and put life on hold for nothing this week. I hope some influencer-actor starts a series where they turn stories like this into viral videos, or some tech-savy actor makes a website for N/U actors to publicly call out this kind of thing (with names). Until then, I know it was my responsibility to know not to invest so much time into a project before asking for usage details, a contract, etc. and I learned my lesson. P.S. Are we allowed to use company names on here if we wanna publicly drag them?
I submitted for a call back but forgot to save the changed name of "scene1_Name" so now the name of the vids are just random numbers. Is this fine or did i just screw my chances. Should i contact aa??
I am looking for actors that are involved in PC gaming, Have an opportunity to spread skill set and expand awareness. Also looking for someone Bilingual in Spanish/English. This is a start up production, that you can be involved with from your own computer while also gaining experience and knowledge. Just comment below if interested, thank you!
I’m thinking about film in particular. I always figured teen characters were often played by older actors because they’d had more time to develop their skills—but is that actually true or is it for superficial reasons (acne being the first thing that springs to mind)? Young people can be decent actors—some children have been nominated (or won!) major acting awards. It almost seems like young people are banished to acting Siberia during their teen years. There are exceptions of course, but I am not super knowledgeable about casting and curious if anyone has insider knowledge on this phenomenon.
I’ve unfortunately been caught in the mess that has occurred with a formerly reputable talent agency in Toronto (if you know you know…) As a non union actor I have little protection…and little prospects
Hello, I am making a game where I need there to be a middle-aged or old, sounding male voice actor. The problem is, I am a 15-year-old male. My voice is quite deep, but I just don't sound old. Any tips? Is this even possible?
I started pursuing voice acting and general voiceover in mid-2019, after trying out improv and both enjoying and getting positive feedback on my ability to bring out different voices and personalities on a whim. Due to living in Washington DC, which is not a prominent area for voice work, I gradually set up a home recording booth with an XLR mic and high-quality interface for higher-quality sound, took several coaching sessions from a veteran still active in the industry, crafted a demo reel with professional help, and have worked exclusively remotely both due to the pandemic and my location. I've focused on auditioning for public casting calls through platforms like Twitter, Casting Call Club, Voice Acting Club, and even Reddit on occasion. Doing this, I've landed a few indie YouTube & Newgrounds project roles as both characters and narration, one e-learning instructional gig, and voices in a few Steam games through this time, but I'm feeling a desire to take things more seriously and invest time and money into the next significant step towards making this a true profession and source of income. This is due to a good 70-80% of the indie & amateur projects I read for not coming out, which leaves me with nothing to put on a demo reel or resume, and the lack of financial return - I estimate I've made maybe only $150 total through this three years of work. I know that it would be foolish to assume I should immediately aim to look for an agent or move to a more prominent area of the industry like New York, LA or Texas, especially since I've seen it recommended multiple times to not try either until you already feel that you're getting steady work and making steady income. (I actually am interested in moving to one of these locations in due time, but want to make sure I have a proper foundation first.) I'm just trying to figure out what the best remote platforms and overall workflows are appropriate to do this. I was gearing up to save for a [Voices.com](https://Voices.com) membership, but I've seen all the recent outcry and criticisms about the changed payrates and rules making it less financially sustainable for actors, so I'm likely going to look elsewhere. Right now, I feel most likely that I'll renew my Backstage membership and focus daily on auditioning for remote voice acting and narration gigs on it (I've been on and off it in the past and have had several close calls when it comes to casting, but have yet to get actual work from it - I'm hoping that can change if I commit more), plus start applying to ACX for audiobook narration since my e-learning client was pleased with my work and I've been practicing reading books and text out loud to hone that sound. But I'd like to try and do more beyond that, yet with my remote location and lack of connections I'm unsure what the right processes to start actually are. Has anyone here been in a similar situation and gone through this stage in their career, and what steps would you recommend taking to increase work opportunities, growth, and the start of a more steady flow of work?
Hey, folks. I'm not exactly the most experienced when it comes to in-person acting, primarily doing most of my work in Voice Work. However, I took a gig as a backround actor in an upcoming film. As it happens, I've also been selected to double an actor. Since I'm inexperienced, I'm trying to make sure things are on the up-and-up. Naturally, since I'm just a backround, it's not like I can make arguments one way or another, but I'd like to know one way or another- Is it normal for them to pay me the same backround rate as a double? I assume it won't include stunt work, but I won't know until I'm on set.
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.
I don’t want to pay for Backstage but want to find casting calls/auditions in California. Can anyone help me with this? I’m a new 23 year old actor and have been in one local film and am looking for new opportunities. Here’s a clip of my acting: https://youtube.com/shorts/QW0CkaZkSAg?feature=share . How do I get in contact with casting directors?
Can anyone tell me how EPA auditions are currently being run in New York? I stopped auditioning this way when the pandemic hit, but I assume the EPAs have resumed. No one answers the phone at the union office, so getting info from someone there is difficult.
My manager connected me with and I signed with an agent commercially in early august and I haven't yet received any auditions from them. The agency is in the top 150 on IMDbPro and the agent only Reps about 77 people themself. So I thought I'd ask other actors. How often does your commercial Rep get you commercial auditions? I'm female, black/white/native - ethnically ambiguous, 16-25 age range.
\-------CASTING CALL-------- ​ Project Title: Forgotten Crusaders And The Race Against Time - Episode 8 - Lightseeker Heir; ​ Project Type: Machinima, Animation; ​ Compensation: Non-Paying; ​ Vocals Needed: 5 Male VA. ​ Audition Due Date: 4 October 2022; ​ Warnings: Safe for all ages; ​ Project Summary: This is a story inside of the World of Warcraft project a friend of mine has been writing. The story's about the destiny of a boy that with time will discover dark secrets from his ancestors. I wish to bring all of it to animation and post it on Youtube; ​ Audition Material: Giving material to the ones who show interest; ​ Recording Days: As soon as the actor's able to record; ​ Submission Details: Able to send the files through Wetransfer or Myairbridge. Will give more info over discord - Zephyr#4215; ​ Requirements: ​ \- Must have decent home recording setup with no back ground noise; \- Please record in mono and save in .wav or .mp3 format; \- Must be available during this week of recording; \- Must have my discord so we are able to talk;
What’s good Y’all, I’m a filmmaker/cinematographer leaning into directing. I noticed when I’m on sets, directors don’t not understand how to work with actors or their process. It’s simply, here are the lines…now say it. There’s no letting the actor explore the character with the help/critique from a director. I’m curious, what are qualities/techniques you like to see in a director in rehearsals and on set.
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.
