Hi everyone!! Please take a look at my recent blog post about Actor Headshots. I am giving some tips and discussing industry standards to help you improve your portfolio and get those jobs rolling!!https://www.framedduckstudio.com/blog/how-to-headshot
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 June 2024 - 3 September 2024 How to apply: https://www.nipai.org/the-director-and-ensemble-building Fee: €1950 / 3-month The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of working with unfamiliar performers and aims to develop a welcoming and creative atmosphere. Key aspects of the course include: - Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion. - Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration. - Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers. - Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes. - Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills. - Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach. - Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing. Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 July 2024 - 3 September 2024 How to apply: https://www.nipai.org/the-director-and-play-course Fee: €1950 / 3-month The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers. Key elements of the course include: - Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts. - Active Analysis: The course emphasizes practical, hands-on approaches to play analysis. Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production. - Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum. - Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line. The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text. The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments. Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning. Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 June 2024 - 3 September 2024 How to apply: https://www.nipai.org/choreography-and-blocking-course Fee: €1950 / 3-month The "Choreography and Blocking in Performance" course offered by the New International Performing Arts Institute (NIPAI) is a specialized program designed to equip directors and choreographers with essential skills and tools for creating compelling mise-en-scene, blocking, composition, and movement direction in their productions. This 3-month, fully online course is targeted towards professional growth in the field of performance-making, focusing on choreography, composition, and blocking as key components. Key aspects of the course include: - Core Topics: The curriculum covers a range of topics essential for performance creation, such as Blocking and Mise-en-Scene, Tempo and Rhythm, Montage, Movement for Actors, Acting for Dancers, Improvisation and Spontaneity, and Composition. - Professional Approach: The course emphasizes a professional approach to performance-making, providing directors and performers with up-to-date knowledge and first-hand experience. It's designed to facilitate learning through practice, ensuring an individual approach and focusing on practical learning. Who Can Benefit: This course is ideal for directors, dancers, choreographers, physical theatre actors, contemporary circus and musical theatre performers, and performance artists. It's also suitable for practitioners from related fields seeking a deeper understanding of movement in contemporary performance. Certification: Upon successful completion, students are awarded a certificate of completion, which can be a valuable addition to their professional portfolio or resume. Application and Study: The program offers flexible timing and is conducted in English. It employs a mix of self-study, virtual classroom, and text-based learning methods. Students receive weekly assignments and tasks for self-study to gradually develop their understanding of the topics and the ability to apply knowledge to their projects. Eligibility: The course is open to international students and professionals with varying levels of experience. The main requirement is a commitment to developing skills in theatre directing and choreography. In summary, the "Choreography and Blocking in Performance" course by NIPAI is a comprehensive program aimed at enhancing the skills of professionals in the performing arts, particularly those involved in directing and choreography. It combines theoretical knowledge with practical assignments, making it a hands-on learning experience for participants from diverse backgrounds in the performing arts. More: https://www.nipai.org/choreography-and-blocking-course Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where? Offered online or blended with options for in-person sessions in Germany or Austria, enabling global access. When? The next intakes are in April 2024 and September 2024. For Whom? Ideal for individuals aiming to become professional directors, the program is open to students worldwide. The New International Performing Arts Institute (NIPAI) is an educational institution focused on providing practical and hands-on training in various disciplines of the performing arts since 2000. It offers a diverse range of programs, including theatre directing, movement directing, and arts management. These programs are designed to be accessible in multiple formats, catering to a wide array of learning preferences through both online and blended (a combination of online and in-person) educational modalities. NIPAI is notable for its international scope, drawing a varied and multicultural student body from across the globe. This diversity enriches the learning environment and reflects the Institute's commitment to fostering global perspectives in the arts. The emphasis at NIPAI is heavily placed on practical, experiential learning and preparing students for real-world application in their artistic pursuits. The program aims to foster artistic impact, community engagement, commercial success, and personal growth, offering pathways to careers in theatre production, puppetry, classical and contemporary theatre, opera, etc. What Sets Our Programme Apart? - Upon completion, receive a diploma that acknowledges your qualifications as a theatre director, paving the way to professional endeavors. - Benefit from a blend of distance learning with in-class sessions in Germany or Austria, depending on your preference. A fully online learning option is also available, providing flexibility to accommodate your lifestyle and commitments. - During in-class sessions, immerse yourself in a multicultural and international setting, collaborating with artists from across the globe. This exposure enriches your creative process and broadens your professional network. - Our curriculum is built on practical learning. You'll engage in assignments that directly contribute to your growth, ensuring you acquire the skills necessary to succeed. - The program concludes with you directing your own performance, showcasing your skills and vision in a real-world scenario. This final project is not only a test but a significant milestone in your career as a director. Cody Ganger, a graduate of the distance learning course in theatre directing, shared her experience: https://youtu.be/9vIPjFbMnnQ?si=UswRMhECEmPDIe9t For more detailed information about the program, please visit the NIPAI website at: https://www.nipai.org/theatre-directing-diploma For more detailed information about the eligibility criteria, and admission process please visit the NIPAI website at: https://www.nipai.org/admission-process
▪️ How to develop character & work in an ensemble. ▪️ How to use your body as an expressive tool and develop your stage presence. Dates: Monday, 5.08.2024 -Thursday, 8.08.2024 10:30 am - 6:00 pm Friday, 9.08.2024 10:30 am - 3:00 pm* Venue: Breite Str. 43, 13187 Berlin Who is this program for? The program is tailored for performance makers, directors, choreographers, and professionals working with stage performers. It's ideal for both seasoned professionals and newcomers to the field. Performers who are eager to create and direct are also encouraged to join. This in-class session demands dedication and discipline, and welcomes strong, committed professionals and pre-professionals who are ready to engage fully from start to finish. What will you be able to learn? How to develop awareness of your body and its connection to your voice, emotions, and character. How to use your body as an expressive tool and develop your stage presence. How to develop a character and work in an ensemble. In the workshop program: Five days of classes from 10:30 AM to 6:00 PM. The opportunity to receive an international certificate upon completion of the program at NIPAI with Sergei Ostrenko. Support, feedback, and advice from the mentor during the workshop. The program will also introduce the Ostrenko Brothers' Method, a widely recognized approach to performance that generates innovative productions by utilizing concepts, ideas, and existing playtexts. This method offers the tools and support necessary for performers to reach their full potential. The program's working language is English. It is a multidisciplinary, intensive lab that encourages collaboration among performers from various techniques and countries. By emphasizing multidisciplinarity and multiculturalism, it fosters a diverse learning environment. This is a great opportunity for you to expand your knowledge, improve your skills, and connect with other like-minded individuals in the industry. Tuition fee for the 5-day / 35-hour workshop and registration details can be found at https://www.physicalityinacting.com/berlin-august-2024 . Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Dates: July 13, 2024 - July 22, 2024 Location: Laubegg Castle, AUSTRIA Who Should Attend: Dancers, Choreographers, Dance Teachers, Actors, Directors of Physical, Drama, and Musical Theatre, Circus Directors, Acting Coaches, Circus Performers, Physical Theatre Artists and Drama Teachers. This program features intensive physical theatre workshops, lectures, and forums with the renowned Ostrenko Brothers, alongside the IUGTE annual International Conference. It brings together performing arts academics and practitioners from around the world. To explore physical acting as your primary creative tool, fill out the application form. OSTRENKO LAB PROGRAM The Ostrenko brothers' approach integrates theory and practice to create innovative performances. It provides performers and directors with a comprehensive understanding of how to develop novel productions or adapt classical material. The method emphasizes hands-on guidance, blending traditional and modern techniques in the study of physical actions. CONFERENCE PROGRAM The conference includes practical workshops, presentations, lectures, and discussions led by performing arts professionals. It offers a full-day program with breaks for meals and between sessions. Registered participants will receive a detailed schedule. The conference's language is English. For more information, visit: https://www.iugte.org/ SCHEDULE - Arrival: July 13 from 13:00. First group meeting at 17:00. - Departure: July 22 at 9:00. - July 13: Group arrival and check-in from 13:00, followed by a short tour and an introductory meeting. - July 14-17: Morning warm-up, practical training with the Ostrenko brothers, and evening activities including lectures and discussions. - July 18: Morning to afternoon practical training, followed by the IUGTE Conference opening in the evening. - July 19-21: Full-day conference program with practical workshops, presentations, and discussions. - July 22: Breakfast followed by check-out and departure. Learn more about the tuition fee for the 10-day program and early bird fees at https://www.physicalityinacting.com/austria-2024-july-conference Contact Details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
New International Performing Arts Institute Dates: 17.05.2024: 10:00 AM - 1:00 PM 18.05-19.05.2024: 10:00 AM - 6:00 PM The international program is designed for performers, directors, choreographers, and performing arts practitioners who are interested in the practical investigation of theatre biomechanics and physical theatre. Focus of the training: What makes performance interesting? How we can be more engaging on stage. Venue: DOCK 11: Kastanienallee 79, Berlin - Germany Who is this program for? This workshop is for all theatre makers and story tellers to come together from different backgrounds (dance, acting, directing, choreographing, circus, clown, mime etc), in order to learn new tools for their professional performance toolkit. You will be able to find answers to these questions: What to do when you have zero inspiration? How to tell a story in a more interesting way? How does a performer enter a stage? How does a performer grab/take focus? How does a performer warm up their body from head to toe? Key Points Performers Will Learn During The Workshop: Stillness, specificity, and awareness of the audience. What is boring/interesting on stage. How to take/give focus to fellow performers. Teacher: Jeremy Vik is a multi-disciplinary performer with 20 years of professional performing experience in acting, circus, and physical theatre. Jeremy believes in blending skill, character, and story-telling together in order to engage, provoke, and entertain audiences all around the world. Participant Requirements: A healthy physique, a creative mind, and a playful spirit :) The working language is English. Costs for participants: Tuition Fee for 3 Days / 15 hours workshop see here: https://www.physicalityinacting.com/3-day-2024-berlin-may To register, visit: https://www.physicalityinacting.com/regist-2-berlin-3-day-may Contact details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Join us in Berlin this April 2024 for a dynamic international workshop focused on Physical Action in Performance Making by New International Performing Arts Institute Dates: Monday 1.04.2024 - Thursday 4.04.2024 19:00-21:00 Venue: DOCK 11 EDEN, Breite Str 43, 13187 Berlin (Pankow) Who is this program for? This workshop is ideal for directors in Physical, Drama, Musical Theatre, Choreography, and Circus, as well as actors and dancers seeking to enhance their directorial skills for contemporary professional productions. Designed for dedicated and disciplined professionals and pre-professionals, this program demands full participation. Performers will explore: Building images and characters through physical movement and interaction with space and partners. Integrating isolated elements into cohesive performance fragments. Developing actors’ creativity, improvisation, and spontaneity in rehearsal and training. This intensive training, based on the Ostrenko Brothers Method, includes techniques from Meyerhold's "Biomechanics," M. Chekhov's "Psychological Gesture," and Stanislavsky's "Physical Action". The working language is English. For the tuition fee for this 4-day, 8-hour workshop, visit: https://www.physicalityinacting.com/3-day-germany-2024 Sign up at https://www.physicalityinacting.com/registration-3day-workshop-berlin Contact Details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Have you ever watched a movie and felt something was slightly off, but you couldn't quite put your finger on it? Could the day come when the line between human and digital actors blurs so much that we start questioning the authenticity of every performance?In the rapidly evolving landscape of filmmaking, AI's integration has been nothing short of revolutionary. But as we march towards a future where artificial intelligence plays a central role in the creative process, a dystopian shadow looms large over the industry. The concept of AI actors is no longer confined to the realms of science fiction; it's a burgeoning reality that's both fascinating and, frankly, a little unsettling.Imagine settling into your seat at a premiere, the lights dim, and the movie begins. On the surface, the performance is flawless, but there's an underlying coldness to it. The actor on screen, created entirely by sophisticated algorithms, delivers lines with precision but lacks the subtle imperfections that make human performances so relatable. This is the uncanny valley – a realm where the almost-human becomes eerily alien.The rise of digital performers presents a paradox. On one hand, it's a testament to human ingenuity, a breakthrough that could revolutionize storytelling by transcending the limitations of physical existence. Characters can now be ageless, boundless, and capable of performing feats far beyond human capacity. But on the other hand, it raises profound ethical questions. What happens to the art of acting when the actor becomes an algorithm? Does the essence of performance – the raw, unfiltered expression of human emotion – get lost in translation?As AI continues to infiltrate the director's toolkit, the implications extend beyond the screen. The technology that enables a director to manipulate a digital actor's performance with a few clicks could also lead to a homogenization of storytelling. When machines start dictating the nuances of a performance, do we risk creating a monotonous cinematic world devoid of the idiosyncrasies that make each actor unique?The prospect of AI actors is a double-edged sword. It offers a glimpse into a future where storytelling is unbound by the physical, yet it also poses a stark reminder of what might be lost in pursuit of technological advancement. As we stand on the brink of this new era, one question remains: Will we embrace the allure of digital perfection, or will we cling to the flawed, unpredictable beauty of human performance?What do you think? Are AI actors an exciting innovation, or do they herald a dystopian future for cinema where the soul of the performance is sacrificed at the altar of technological progress?
How come I can't share my script listing to FB? Says App not working. HOW long will this be?
Stage 32’s founder and CEO, Richard “RB” Botto, shares two videos in today’s blog.In the first video, some of today’s most well-known and critically-acclaimed stars answer viewers’ burning questions. In the second video, you’ll get an in-depth look into what it takes to be a showrunner through the eyes of John Hoffman, the man behind the hit Mystery series, “Only Murders in the Building” on Hulu. He also gives a great look at being a showrunner and guidance on being a Comedy writer. Grab your coffee/tea/hot chocolate/etc. and jump in! www.stage32.com/blog/coffee-content-do-these-stars-remember-their-first-audition-3652
https://youtu.be/gWnMgMEVABM
I'm really glad to see this. Tom Cruise has been playing it too safe for years now, working only in action franchises and only with directors he could exert some measure of control over. Now it looks like he's headed back into working with auteur filmmakers again. Within the first 10 years of his career, he worked with Coppola, Scorcese, Barry Levinson, Ridley Scott, Tony Scott, Curtis Hanson, Oliver Stone and Ron Howard, among others. He needed to challenge himself again and re-elevate his game. There aren't many movie stars left of his caliber.https://screenrant.com/tom-cruise-alejandro-inarritu-movie-oscar-nomination-win/
1. Performance. When you’re self-submitting, casting folks have high expectations. Even though you may have just received the copy, we assume that you’ve had time to work on the material and can bring your A-game. 2. Personality. Since casting is asking for your self-submission in lieu of an in-person audition, we miss out on getting the chance to meet you. If possible, we’d like to get to know you a little through your self-tape. One way to do this is to use your slate as a chance to show some of your personality as well as your professionalism. 3. Technical Quality. Ultimately, we need to see and hear you. If we can’t, this could immediately take you out of the mix. It may sound obvious, but you’d be surprised how many times talent will submit clips that are lacking in one of those departments. And if they are, even if we love their performance, we won’t be able to send them through to the client to consider due to poor recording quality. Your best bet is to solve all of these technical issues ahead of time. Find a space in your home that you can designate as your self-tape spot. Set up a camera, lights, background, etc. and have it ready to go. 4. Following Instructions. Make sure you read and follow the format and size specs for the clip. Also adhere to any slate, wardrobe, and direction that is given in the breakdown. Casting directors share these helpful instructions, which are usually passed along from the client, because they’re expecting to see them in the recordings. 5. Fitting the Role. Make sure you’re appropriate for the role before going through the trouble of self-submitting. If you’ve specifically been asked to self-tape then by all means send something over, but if it’s a general call, save yourself the time and effort if you don’t fit the breakdown. Time is limited and valuable for everyone, so focus your efforts on submitting for roles best suited for you! - Melanie Forchetti, Casting Director for Netflix, Amazon, CNN, Oxygen, among others. #casting #selftape #audition #actor #script #sides #hollywood #slate
BACKLOG sounds like an amazing project on a crucially important subject, the staggering number of completed rape test kits that have gone untested. Time's still NOT up for all these survivors. Well done and all the best with your screenplay, Elyse!(FWIW, as a semi-finalist, I feel honored just being sort of in your company. :)) Congratulations!Elaine
I'd love to connect with actor or anyone who loves to tell stories. I'm older but weird and funny and I'll do anything Plus after four years in a Mythology program at Pacifica Grad Institute (home of Joseph Campbell's library) I have a pretty good understanding of the story. I didn't write screenplays, but I have some crazy stories I wove into papers and poetry. I'm in LA near K--Town.
I spent a lot of time away from social media. I got some headshots done in the meantime and I’m ready to be back. I’ve been getting better with my voice acting and acting chops over the past 10 months since my last post. I’m eager to see what I can engage with on the acting scene. How has everyone else been transitioning into the new year?
Getting new Microphone today, RODE NTI XLR Microphone. Hopefully this will help my Voice Over career better. I already have a Well Treated Environment, I should have gone with a Condenser Microphone from the Start
Do Actors Need Managers https://youtu.be/PIT37vygH_YIf you have a manager let us know how the manager has helped your career. Leave a comment.
Keep submitting yourself. When you have an agent, it’s easy to let this part fall to the wayside. But to keep your audition numbers up, you want to make sure you’re an active participant.Keep searching through Actors Access, Backstage, and other casting platforms.If you do voiceover work or audiobook narration, look for platforms where you can put up your profile and demo tracks. Remember, your agent has many actors on the roster, and no one knows your work better than you. You might find a gig that would otherwise be missed or passed over.Communicate with your talent representatives.Even though you’re submitting for and possibly booking projects on your own, remember that you and your agent are always a team. Be open and communicative about the projects you might be booking. Have your agent look over any contracts before you sign them.For one thing, they may be able to help you negotiate better terms.For another, you don’t want to lock yourself into a project that pays pennies without letting your agent know, only to have them submit you for better-paying work that conflicts. Make sure you’re both on the same page about when and where you’re submitting.Remember to factor in fees.When looking at rates for projects you’re submitting to, remember to mentally factor in rep splits and other expenses when you’re determining whether something is worth it.Sometimes these can be negotiated, but it’s important to keep in mind. If you’re auditioning for an audiobook, unless you have a home studio, remember you’ll have to factor in studio rates, and possibly hire an editor.Don’t say yes to something without considering what it might cost you.#actor #audition #agent #manager #selftape
BioReal Name - Shashi Kumar Nickname - Shashi Kumar Ravan Profession(s) - Actor, Hackers, Interest Celebrity Physical Stats & MoreHeight (Approx) in centimeters- 163cmin meters- 163min Feet Inches- 5’4Weight (Approx.) in kilograms- 50kgEye Colour- Dark BrownHair Colour- BlackPersonal LifeDate of Birth 11 May 2002Age (as of 2024) 21YearsBirthplace Nowhatta, BiharHometown- Nowhatta, School - Pandit Jawahar Lal Nehru Religion BuddhCaste- Chamar, Buddh, JatavAddress Nowhatta Family NameFather Name Vinod RamMother Name Devanti deviBrother Name Ravi Kant Shashi Kumar (born 11 May 2002) is a famous white hacker, hero and internet celebrity. He was born in Nowhatta Rohtas Bihar, India. His father's name was Vinod Ram who was a farmer. His mother's name Devanti Devi is a housewife. Shashi has been interested in technology, mobile and computers since childhood. Apart from this, he is also very interested, he has passed 10th from High School Nowhatta and 12th from Jawahar Lal Nehru and he has taken admission in BA (2019 to 2022)! Who is currently doing ITI from Haryana Delhi
In the world of auditioning, no news is often the only news:If you don’t hear back, it means they went with someone else. While it would be great to receive closure via direct rejection, casting directors don't have the bandwidth to notify every auditioner or representative who didn’t get a callback or book the part.They are also not in a position to disclose why a role went to one performer over another.“Casting has huge amounts of work and time is tight,” casting director Louise Collins says. “So please don’t be disheartened if you don’t receive feedback.” The best way to cope with rejection is to try to reframe the feeling of rejection and the act of auditioning itself. Rejection is unavoidable, and it will most likely be frequent. With this in mind, consider setting a rejection quota for yourself.Acting coach and Evolving Artist creator Teri Wade’s quota method flips the script, turning rejection from a fear into a goal. “I suggest giving yourself a numerical quota, such as getting rejected 30 times per month, or 10 times per week, and recording your points,” she says. “When the goal becomes meeting your quota, you stay motivated and you keep going.”Also, remember that by getting through the door and in front of the casting directors, you have already been given the chance to perform. Make the most of it. “Treat an audition as a chance to practice and gain a new experience,” actor Joanna Pickering says.Think of Cassie’s iconic “The Music and the Mirror” moment in “A Chorus Line.” She starts off by pleading to director-choreographer Zach for the chance to dance, but soon enough she’s not asking for permission to perform; she’s giving him an unforgettable, powerhouse demonstration of her technique. It’s her audition, but it’s still very much a performance.These steps help actors achieve a state that actor Douglas Taurel refers to as thinking extraordinarily, or “the ability to experience failure and have the discipline to ignore it, move on, and immediately focus on the next audition or performance.” #audition #actor
"Casting director Deb Aquila (CODA, LA LA LAND, SHAWSHANK REDEMPTION) joins us on this episode of the Team Deakins Podcast. Born and raised in Brooklyn, Deb grew up in an arts-loving family, whose encouragement to enter the field led her to attend NYU and study under Stella Adler. Pivoting into casting, Deb found herself working on the hit series MIAMI VICE for two seasons before growing into a veteran independent casting director. Deb breaks down what really goes on in the audition room and how she works with actors to bring out their best performances as she hunts for the right choice for a part. We learn how she works with directors after being brought on to a project, and she shares how a character can evolve over the course of the audition process. Deb later shares what her responsibilities are as a studio executive at Paramount and how she balances those with her responsibilities as a casting director. Towards the end, we discuss “casting” personalities, when hiring both the cast and crew, and the value of creating a safe space for actors to give their best performances during the shoot."https://teamdeakins.libsyn.com/deb-aquila-casting-director
I've been doing pitch sessions on Stage32 for about a year now and I think the most frustrating thing I've encountered is the re-writing process and trying to incorporate the feedback from different execs with different wants/needs. How do you please everyone in just 2 pages while also making your pitch engaging enough to get a "request"? It's hard LOL and I usually get a mixture of 2's & 3's or 3's & 4's. However, I recently pitched my fantasy Christmas rom-com, "Ryder's Christmas Comeback", and even though the exec passed on reading the script because they were looking for more realistic rom-coms, I received all 5's with only one 4 and it makes me optimistic that I'm on the right track. I entered this same movie into the current rom-com contest so we'll see what happens *fingers crossed* but I just wanted to share this to say that as writers we get face a lot of L's so we need to celebrate our W's where we can, no matter how big or small.
Are people excited by the possibilities of these performances?https://www.hollywoodreporter.com/movies/movie-news/joker-2-new-look-joaquin-phoenix-lady-gaga-1235825368/
What's everyone think of this cast?https://variety.com/2024/film/news/fantastic-four-cast-marvel-studios-1235875766/
https://podcasts.apple.com/ee/podcast/how-to-be-a-good-actor/id1559883826?i=1000645205146
Hey, my Stage 32 Screen Talent!Who is looking forward to the Oscars this year? I won't lie, I haven't really been watching for a long, LONG time, but I'm curious to see who is honored and in what way.Have y'all been keeping up with The Hollywood Reporter's Roundtable series? They have an off-shoot called "Off Script" which is so enjoyable! Loved diving into the Actresses Roundtable with so many Oscar contenders:https://www.youtube.com/watch?v=KA-r9NEI_TsWhat were YOUR big takeaways? Who were you looking forward to hearing from? SHARE in the comments below!For me, I really loved hearing that Emma Stone carved out 3 weeks for rehearsals for actors and it wasn't for blocking or anything to do with the logistics of the filming portion but rather to generate energy and chemistry. How profound!
Hey, All!There are 2 Stage 32 in-person networking meetups coming up this Thursday, February 15th! I'm including links to the meetup pages for you all below. If you live in any of these cities or are nearby, be sure to RSVP and seize this opportunity to meet with other creatives in person and help build your local creative community! Austin, TX: https://www.stage32.com/meetups/1955/February-Stage-32-Austin-TX-In-Person-MeetupPhoenix, AZ: https://www.stage32.com/meetups/1953/February-Stage-32-Phoenix-Area-In-Person-MeetupIf you're interested in hosting a monthly in-person Stage 32 meetup in YOUR city, be sure to reach out to me at community@stage32.com!
Hey, All!Don't miss out on tomorrow’s fantastic AMA with Philippe Deseck, SAG Nominated Stunt Performer & Coordinator (SHANG-CHI, THE MEG, AQUAMAN) in the Filmmaking Lounge! Philippe is sharing his time with us to answer YOUR questions about "Working with a Stunt Coordinator".The questions won’t be answered until Wednesday, but the post is live for you to comment your questions NOW!https://www.stage32.com/lounge/directing/Ask-Me-Anything-AMA-Wednesday-2-14-to-Thursday-2-15-Working-with-a-Stunt-CoordinatorIt's a great opportunity to learn more about working with a Stunt Coordinator such as: How do you become a stunt performer? What do you look for when hiring a Stunt Coordinator? What relationship does the Stunt Coordinator have with the Director and the Second Unit Director? Can a Stunt Coordinator also work as a Safety Officer on Set? What does a Stunt Coordinator do behind the scenes? How should action scenes be written in a script to help a stunt coordinator prepare? Does Stunt Rigging play an important part in the process of hiring a Stunt Coordinator?
I Never Should've Booked This HBO Show https://youtu.be/xADeytGx10g Amazingly, I worked on the HBO mini-series We Own This City after turning it down. Watch the video to learn how this happened. Have you ever booked a job you never thought you would? If so, leave a comment below so we can learn from you as well.If you haven't done this yet, don't forget to subscribe to my actingand modeling quick tips channel. And, click the notification bellso you always know when a new video has been uploaded.
You know that social media offers excellent tools to market yourself, but are you using each platform properly?As an actor, you want to constantly strive to create an image of yourself as an interesting and relatable person. So often, though, through the misuse of social media, the blending of personal and professional comes through and it becomes difficult to showcase ourself in the appropriate light. This isn't a rebuke on sharing parts of your life that are interesting and unrelated to acting; relating to your followers is an important part of being social. However, being consistent and molding your image is critical to gain a consistent and dedicated following.In the entertainment industry, image and perception are (almost) everything. You should strive to show your professionalism, talent, skill set, and appreciation for working daily to make yourself a better person and talent.Aspects of who you are and how you work to become better at your craft is very important to your social media profiles. Posting that you are at your workshop, getting new headshots, going to an audition, listening to a podcast about how to give an energetic performance every time, working on a new accent, etc., are all fantastic examples of what you could be telling your followers to boost your credibility.This also highlights that you are serious about your work as an actor.Focusing your time and energy is key to your online engagement. Don't spread yourself too thin by using more than three social media accounts. You should be using social media to show followers and fans what you're doing career-wise; it should not be the activity itself.Don't spend more than 15-20 minutes per day on each platform and spend it crafting what you are saying rather than mindlessly roaming around wasting time.Spend time talking to and responding to your friends/fans to show that you hear them. Did you know that Mr. Rogers reportedly responded to every single one of his fan letters? That's the commitment and respect he felt his audience deserved.#actor #socialmedia #lifestyle
Lauren Black | Bull Monologue | Mike Bartlett | Isobel A young, powerful, fraud in the business will stop at nothing to maintain her 'Perfect" image in the workplace. what did you think of my performance? Thank you for your feedback!Laurenblackproductions@gmail.com
Green flags for actor employment agreements indicate favorable terms and conditions that benefit the actor and promote a positive working relationship with the production company. On the other hand, red flags signal potential issues or concerns that actors should be cautious about. Here are some examples of green and red flags for actor employment agreements:Green Flags: Fair Compensation is important! The agreement offers competitive compensation that reflects the actor's experience, role, and the budget of the production. Clear Role Description! The agreement clearly outlines the actor's role, including the character they will portray, their responsibilities, and any specific requirements or expectations. Favorable Working Conditions! The agreement includes provisions for reasonable working hours, breaks, and accommodations, ensuring the actor's health, safety, and well-being on set. Protection of Rights! The agreement includes clauses that protect the actor's rights, such as provisions for proper crediting, use of likeness, and protection against unauthorized exploitation of their image or performance. Flexibility for Auditions and Other Work! The agreement allows the actor to audition for other roles and pursue additional work, provided it does not conflict with their obligations to the production. Red Flags:Unfair Compensation it can be obvious. The agreement offers inadequate or below-market compensation that does not reflect the actor's experience, role, or the budget of the production. Ambiguous Role Description! The agreement lacks clarity or specificity regarding the actor's role, responsibilities, or character, leaving room for misunderstandings or disputes. Unreasonable Working Conditions! The agreement fails to provide adequate protections for the actor's health, safety, or well-being on set, such as long hours, unsafe conditions, or lack of breaks. Exploitative Rights! Watch out! The agreement includes clauses that overly restrict or exploit the actor's rights, such as granting excessive control over their likeness or performance without proper compensation or consent. Exclusivity or Non-Compete Clauses! The agreement includes clauses that restrict the actor's ability to audition for other roles or pursue additional work, limiting their professional opportunities and creative freedom. Lack of Payment or Delayed Payment! The agreement fails to provide clear terms or deadlines for payment, or the production company has a history of late or non-payment to actors. You must carefully review actor employment agreements and identifying potential green and red flags, actors can protect their interests, ensure fair treatment, and make informed decisions about their participation in film and television productions. Now, a good lawyer can do that for you. It also does not hurt do your own education. This information is good to learn.
A little acting from the stars of the 1950s for your Sunday delectation. The scenes are intense, the drama emotional and the dialogue drips off their tongues. The performances for me, are heightened by the on-screen chemistry of the actors. 1. East of Eden2. A Place in the Sun3. A Street Car Named Desire4. Roman Holiday 5. Cat on a Hot Tin RoofWhat’s your favourite?https://youtu.be/W5lsMJETYbQ?si=zvNBZIPaL_swh0Je
Tickets for ‘You Won’t Help Me’, at London’s stunning The Other Palace, and The Bridewell Theatre, in the heart of the city, are available now!!26-31st MarchAnd29th July - 3rd August 202450% of all profits made from the show will be split, with 25% going to Mankind Initiative and 25% going to Women’s Aid.You won’t help me, is a gripping, compelling, beautifully, and realistically written, fly on the wall drama, based on real life events.Be ready to laugh, cry, get angry, and follow ‘Sarah’ along her journey through the most difficult relationship she has ever been in.How much would you tolerate, from the person you love?Click the link below to support a fantastic cause and secure your tickets now. Selling FAST.https://tattsntalent.com/you-wont-help-me
Here is a cover letter example for actors to send to a prospective agent:Hello, [name of agent],I’m [your name], and I’m writing to seek representation in [TV/film/commercial work/etc.]. I have been working in the business for [X amount of time], and [write something about yourself that’s not obvious from your résumé or reel]. I’m [describe your type], and I was referred by [name of your reference; it’s helpful if you were referred, and for some agencies, it’s required]. I’ve recently been working on [name a recent project or professional experience], and I think your agency would be a good fit for me because [research the agency to find a reason].I am currently appearing in [X show] on [X date]. If you can attend, I would love to get tickets for you. Also, I’m on [X series] currently airing on [X network].If you would like to schedule an interview, I can be reached at [phone number, email, and website (website should include headshots, all links to your social media, news, IMDb, Actors Access, etc)]. I look forward to connecting soon. Below please find a link to my résumé and a link to my acting reel.Sincerely,[Your name]— Links—#actor #agent #coverletter
Looking for a model/actress 'for a day in the life movie within a movie scenes' in the LA area MON 2/14
Stage 32 is excited to welcome back Ryan for his upcoming acting workshop!In this condensed 4-hour virtual workshop by Stage 32, led by the experienced Screen Actors Award winning actor Ryan Cartwright, actors at all levels will refine your audition and performance skills. Ryan, with over 30 years in the industry and roles in TV series like "BONES" and "MAD MEN," will share his expertise in turning basic dialogue into compelling performances. This interactive workshop will cover everything you need to know to deliver your best performance in the audition room AND on set.You will learn crucial acting techniques for auditions and on-set performances, focusing on dialogue interpretation, character depth, and personalizing performances while staying true to the character. You will gain insights into consistently winning audition callbacks and landing roles and learn to deliver stunning performances, even under tight preparation schedules.You will walk away from this class with the tools you need to successfully approach your character, dialogue, and action steps to properly utilize on your self tapes, callbacks and on-set performances for maximum success!PLUS! Ryan will provide you with exclusive handouts to help you hone your acting process. Downloads include:-The Audition Process Beat Sheet-Filming Day Checklisthttps://www.stage32.com/classes/Acting-Workshop-Build-Your-Successful-Preparation-Process
About timehttps://www.thewrap.com/oscars-add-new-category-casting-academy-awards/
Let me introduce you to my friend Dan Logwood. We go way back to 1999 when we crossed paths as extras on the set of Madonna's "The Next Best Thing". It was a thrilling experience, spending the day playing with kids, enjoying amusement park rides, and indulging in a sumptuous catered lunch. Fast forward to two weeks ago, Dan and I embarked on an extraordinary journey by signing up for NASA's Artemis mission. While we're not crew members, NASA is launching our names aboard the Astrobotic Griffin Lander, set to embark on a three-month survey of Mons Mouton in the moon's southern pole. This mission aims to pave the way for the next generation of astronauts. Our names are etched into history, awaiting discovery by extraterrestrial beings in the distant future. While Dan currently resides in Indiana, he's gearing up for an exciting move back to Los Angeles this August. Taking a savvy approach, he's purchased an RV and secured a spot in LA County for just $300 a month, complete with a water hookup, a move that will significantly slash his living expenses. Considering the soaring costs of apartments in LA, ranging from $1,700 to $4,000 per month, this is a smart choice. Moreover, Dan plans to dive into the entertainment industry by joining a background actors' booking service to sustain himself while he pursues representation. With his sights set on obtaining his SAG union eligibility, fueled by his prior experience, including earning a SAG voucher for his role in "What Planet Are You From?" back in 2000, we're optimistic about his prospects. I'm immensely proud to share with you a short film titled "The Devil Strikes Twice", written and directed by Dan two years ago. In it, he takes on the role of the prince of darkness himself. It's inspiring to see Dan finally chase after his dreams, a decision he deliberately delayed until his son graduated high school. Now that Dane is a college graduate, he's encouraging his dad to embrace the West Coast lifestyle wholeheartedly. https://www.youtube.com/watch?v=81fnKd2laek
It can be incredibly handy to have certain clothing items for self-tapes. Keeping a small portion of your closet devoted to clothes for auditioning that are kept clean and pressed can save time and panic later. Here are just a few to consider..Basic Commercial:Before getting into character types, it’s important to have a few basics. For commercial auditions, this will typically be something in a solid color, and on the more cheerful side. Think of the “family friendly” version of you. Basic Theatrical: Same idea as commercial, but a more serious look. This might mean darker or more muted colors, possibly longer sleeves, something that makes you feel grounded. - Mom/Dad: Having a parental look will go a long way for commercial auditions and day players. A solid cardigan or polo shirt you can throw on to look approachable and relatable can easily suggest the role. Maybe have a pair of glasses handy. You want a slightly more conservative look for this one. - Flirty/Seductive: If it’s in your wheelhouse, having a flirty ingenue or vampy look might be something to consider. It’s a fine line to walk, as you still want to look professional. Hair and makeup can also go a long way here. - Dystopian/Gritty: Get yourself that grungy gray tank top or noticeably worn tee. Having an appropriately lived-in looking jacket (army green, brown, or other darker earth tones) might also be a good idea. - Professional White Collar, putting together a look with a blazer or suit with a tie can suggest a lawyer, CEO, detective, accountant or any type of white-collar professional. - Professional Blue Collar, on the other side of the spectrum, a nice denim shirt that you can roll up the sleeves can easily transform you into a farmer, hometown clerk, etc. - Scrubs, bring on the medical dramas! If you don’t have actual scrubs (though they can often be found in uniform stores) a solid color v-neck shirt can suggest a nurse or technician. A lab coat might be good to have on hand if you can find one. #actor #audition #selftape #wardrobe
I am looking for remote voice over gigs that I can do at home. I have an advanced microphone along with software on my laptop. I can only do remote gigs because my car is not in good shape to travel to Chicago areas. It can still run but only in the limited areas. Hopefully, I will make some money to get it fixed. I have a job but the income is a slow burn. If there’s anyone involved in the world of remote voice acting or voice acting in general, please reply back ASAP. Right now I am focused on short ,simple TV or radio voice ads /commercials . You can pay me through direct deposit on PayPal, Venmo , Zelle or etc Since I am focus on only remote gigs. I tried other one voice over websites but they cost too much and the one I am in, I did send auditions but thanks to bad luck I haven’t gotten anything . I’d really appreciate. Thank you! Whoever responds, please help me set up a network for remote or general voice acting.
Beware Should Actors Sign Exclusive Agents Contracts https://youtu.be/f7ZyyAj06J8Signing an agency contract can be an important step in an actor’s career. Make sure you know what you are signing. Watch the video and learn more about contracts.Have you signed a contract? How did things work out? Was it an exclusive contract?Would love to hear your experience with the contract signing.
Stage 32’s founder and CEO, Richard “RB” Botto, shares two videos in today’s blog.In the first video, acclaimed directors Ari Aster (BEAU IS AFRAID) and Yorgos Lanthimos (POOR THINGS) discuss their respective films. They tackle inspiration, originality, adaptation, and more, giving great insight into how these two artists approach storytelling. In the second video, six of the year’s top actors sit down for a roundtable discussion. They discuss their connections to one another, pivotal moments in their career, and more. Grab your coffee/tea/hot chocolate/etc. and jump in! www.stage32.com/blog/coffee-content-directors-on-directors-ari-aster-yorgos-lanthimos-3631
https://www.stage32.com/meetups/1953/February-Stage-32-Phoenix-Area-In-Person-Meetup
Three weeks ago, a major TV network placed me under contract; however, I suspect whoever is in charge of writing the contracts issued me an incorrect pay value on the contract. Moreover, they haven't paid me. I filed a claim with SAG-AFTRA, and the claim bounced around their offices this past week. I'm not sure my union knows how to resolve this unique issue. So, how will this get resolved? Will the network make good on the contract, breach the contract, or offer a compromise? I'm a reasonable person and willing to work with the network in resolving this peculiar issue.
Damn... and to think he was at the top of his game. The Mandalorian? Even directing episodes?But what a legacy! What will you remember Carl Weathers best for?https://deadline.com/gallery/remembering-carl-weathers-a-career-in-photos/
Our tireless Stage32 Education Team has been hard at work to bring in some incredible education opportunities for February! In today's blog, read all about the exclusive webinars, classes, and labs currently available to Stage 32 members!https://www.stage32.com/blog/stage-32s-february-2024-education-schedule-3626
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.
