I'm curious to hear about experiences from actors who are/have been in a relationship with other actors, whether you ever had to act together or not. Do you feel like it made your relationship better or more complicated? What were the biggest upsides or downsides? And if you ever had to act as a couple with your partner, how was that experience?
So for context, I attend Identity School of Acting in London. I have been enjoying my time there and it was the reason why I moved to London before I even auditioned for it. It was actually because of Damson Idris’ performance in Snowfall that I decided to attend the school after I found out he attended as well. Ironically enough, two months into moving to London and still postponing auditioning for IDSA, I bumped into Idris at a restaurant and he gave me advice on the school. Anyways, I went home that night and paid for my audition. When they gave us the script, I did a deep character analysis and text analysis and lo and behold, I got in AND I was placed in the higher level. I’ve been attending the school for a good few months now and as I said, I’ve been enjoying my time and really developing as an actor. Our last module was In House Presentation (IHP), and at the end of this module we had to perform for a panel and this would be graded and we would be placed in different groups for the next term: 1. Tier 1 (the highest group) 2. Advanced 3. Intermediate/Advanced 4. Intermediate 5. Foundation The grades are based on: Ownership of Space Presence Connection Vocal Clarity Embodiment of Character. To get into Tier 1, you’d have to have mostly all 9s. I got my results today and I was placed in Intermediate/Advanced and this broke my heart. I got 7-9 points for everything else but ownership of space. I was 1 point off to being in Advanced. I wrote an email to the school because we’re allowed to voice if our performance should be reassessed, and I explained to them that I did own the space I was in. I took advantage of everything and followed my scene partner around the given space, however, because it’s not my character’s bedroom, I only dominated the space by interrupting it (for example; throwing a book on the floor with the intentions of annoying my scene partner because she’s a very clean and organised person). This is their definition of Ownership of Space: Are you alive in the space, grounded and moving freely with your impulses? The ability to be physically present on stage, screen and in the studio; to maintain a sense of entitlement , the right to be there. To be clear in thinking and grounded energetically when performing. To stand and grow in silliness to propel the character to the next moment. The ability to change the colours, tension and drive a scene on entrance, events and exit. I began the scene very jittery, lively and excited because my character had some gossip to share, meanwhile my scene partner began the opposite way because of her negative feelings towards my character. I left the scene with a whole different energy—I was furious, defensive and prideful. I was physical in the space by moving from one place to another and even following my scene partner around (also for context, my scene partner for Advanced). I was sitting and I was standing, basically doing everything possible in the space. I maintained stillness as much as possible and in the given circumstances when we both reached our breaking point before I sat back down. I think I did everything right, so I emailed them to explain that I did in fact own a space that wasn’t even mine to begin with. I just feel very low and upset about it. I know I sound like such a loser complaining about it but I really gave it my all. My tutor was extremely impressed and so were my classmates, so seeing and hearing my grade was kind of disappointing to all of us, including me. But yeah, just wanted to rant about that.
Hey! I'm a 20 year old aspiring actor and filmmaker based in Denmark. I’m in a bit of a tough spot, and to be honest, I’m really unsure about what to do. I’ve been offered a place in a physiotherapy education (last 3,5 years), starting this summer. There’s no doubt that my greatest passion in life is film and acting, in fact, I’m even starting a part-time acting course in September. Unfortunately, the film industry is incredibly unstable as you all know, and it’s rare to make a living from it; that’s why I applied to the education, to get qualified for a more secure career that I also find really interesting. I’ve previously worked 30 hours a week while managing to stay somewhat active in film and TV, but it was tough. What I fear is if I take a gap year more before applying the education again, is that I will suddenly gain some momentum and then it will be even harder to actually go on the education, since I'm afraid that'll hurt my acting career then. Any advice?
I've been an actor in the DMV now for a few years and regularly check their postings. For the past few months whenever I try to go to their website on Firefox and Chrome, I get a message that the site is undergoing extended maintenance. Is this something on my end or is everyone getting this message? I'd reach out direct to them but since I don't have an updated account I don't expect anyone would respond.
First, I got to set at 9 AM and was not needed for a scene until 6 PM. We got told we wouldn't be needed until 2 PM after our arrival on set which is already super unprofessional. **I submitted for a supporting role and was not informed I was an extra until like 3 PM when they were calling for all the "extras." If I had known, I would have declined the role beforehand because this local TV show was for an unpaid project.** **I had asked about the script and they told me it would mostly be improv. When we shot the scene, I was just BG with no speaking scenes at all.** I wish I had left once they were calling for “extras” because ultimately, it was a waste of time. I also experienced a **racial micro-aggressive comment** from one the actors on set. I was recently on an SFSU student film set that was 100 times more professional than this **unpaid local TV SF Bay Area film set.** I would definitely not recommend working with this director unless you are okay with volunteering your time on one of the most disorganized sets ever. I do not recommend working on an unpaid project for this person. It's really not worth your time. The director/production had **no budget** for their TV show yet had enough money to cover the transportation/lodging for **multiple actors** coming in from out-of-town which I found super weird. Wouldn't they be saving money by working with local talent instead? Their series has/is streaming on **Amazon Prime** as well. I really wonder where their money is going. I wish I could say the name/director, but I’m worried about any potential legal consequences. If you DM me, I can tell you. Please let me know if this post goes against guidelines so I can revise it to meet the standards.
Hello, I know I’ve asked this question a few times before in this sub but I like to get as many perspectives and opinions as possible to better guide my decision with all the facts and information. But I was wondering what advice anyone would have for me a 20 year old who wants to become a film/voice actor ever since my youth I’ve had big aspirations for the craft with intentions to make a career out of it and was wondering if I should A. Go to my community college for acting and get a degree, this decision is pushed by the goal of getting a degree in case I don’t make it (I fully intend to make it and make a career in acting) but nobody can predict the future, so that away I have something to fall back on, or should I B. Keep working Jobs on the side and put everything I have into signing up for an acting class or trying to get into an acting school. These 2 decisions are just things I’ve thought of and could be completey wrong, I’m just very torn with direction and as a 20 year old I feel like I’m running out of time, if anyone has any advice I’d appreciate anything. Thank you very much
I’m looking for a voice that has a younger feel, closer to a young adult male voice, while still being able to deliver serious and suspenseful documentary-style narration. The style is similar to Dr. Insanity — using real police incidents, bodycam footage, 911 calls, interrogations, court records, and case files. Here’s the channel style I’m aiming for: [https://www.youtube.com/@DrInsanityCrime/videos](https://www.youtube.com/@DrInsanityCrime/videos) Scripts are usually around 3,500–6,000 words, and I’m looking for someone I can work with long-term if it’s a good fit. Please send quick sample like 10-15 second sample then i can see how it would sound? For example: This group of teenagers are in the middle of exploring an abandoned building in Michigan. Just a few feet away from them is something they were never meant to see. And as detectives begin closing in on its members and turning them on each other, they discover that this may not have been the cult's first victim. 0.10-0.30 per word depends.
# We’re looking for voice actors to record a short story to help us market our app Alias on TikTok. ✅ Note: this post has been cleared by the mods. **The gig:** * Length: 1–10 min voice recording * Pay: $30 USD per recording (you can submit multiple) * Turnaround: apply now, and once you get full details back from us we ask for delivery within 48 hours * Open now through end of August * Payment will made upon delivery (given the recording follows the instructions) using your method of choice. **Delivery Details:** * In the recording you’ll tell a story in English in first person (as if it’s your own experience). * The story should be something captivating, controversial, embarrassing, or confession-style. Think the stories you'd find on [r/confession](r/confession) or [r/tifu](r/tifu). It can be sourced online (credits required), made up, or based on your real experience. We are also more than happy to provide you with a story. **About Alias:** [Alias](https://www.alias.inc/) is a mobile app for creators to make anonymous storytime videos for socials. Think Reddit stories but in video format! In the app, users can upload a video of themselves telling a story and swap their face with one of our **fictional** aliases (these are AI-generated faces and mainly unrealistic characters like animals etc.). Note that Alias can’t be used for impersonation or deepfakes. **How your recording will be used:** A storytime video will be generated to match your voice recording. Note that this is not how the app works but it’s a way for us to produce some initial marketing content. # An important note on AI use **Your voice will not be altered, cloned, distorted or edited by AI in any way. Our AI processing only affects video visuals and never the voice/audio.** Alias is not intended for scams, catfishing, harm, NSFW or other unethical content. It’s purely a fun way for people to share experiences and open up online without having to reveal their identity. All our videos posted on TikTok will disclose the use of AI and credit any relevant sources (e.g. origin of story). **To apply:** Email [elise@getonit.ai](mailto:elise@getonit.ai) with: 1. A short voice sample or link to any previous work/demos. 2. A summary or link to the story you want to tell (or "open to any story" if you don't have one yet) We need a lot of recordings so the more the merrier! Questions? Drop them in the comments :)
The 1 Question I Always Ask During An Agent Meetinghttps://youtu.be/lFNOpfWjaQMThe one question I ask during every agent meeting took me years to figure out.The answer to this question gives me great insight to who I am asan actor.Have you ever asked a question during an introductory meeting, or were asked a helpful question?If so, share it here so we can learn from you.
Check out how Ben Affleck defied Hollywood's expectation of him to show the world what he could do as both an actor and a filmmaker: https://www.stage32.com/blog/coffee-content-the-power-of-reinvention-and-the-right-opportunity-4541
Hey everyone, I’ll be moving to Los Angeles in the next couple of weeks (or sometime this summer), and I’d love to hear from people who have already made the move while pursuing acting. I’m curious—what jobs helped you stay afloat while still giving you the flexibility to audition and work on projects? It doesn’t have to be acting-related. I’d love to hear what worked for you. Also, if you have any recommendations for reputable agencies, managers, casting resources, networking groups, or any connections that helped your career, I’d really appreciate it. Even if it’s just general advice or something you wish you knew before moving to LA, I’m all ears. Thanks in advance! Looking forward to hearing your experiences.
I always felt like chemistry was more of a natural connection actors feel that comes through on camera, so I'm aware that's not always going to be the case even if the actors themselves are talented. But there have been times where I think actors have good chemistry, only to see other people saying the opposite, and vice versa. Does that mean it's more of a subjective thing?
I could really use some advice. I'm a local indie filmmaker who's completed several independent short films, some of which have screened at film festivals, and I'm currently developing my first feature. I graduated with a bachelor's degree in Film and Television Production in December 2019. After graduation, COVID-19 disrupted my plans, lost my part time museum job and I ended up moving back in with my parents. Since August 2021, I've been working full-time as a Production Resource Technician at a college while continuing to write, direct, and produce my own independent film projects. The part I'm struggling with is that I still earn $15 per hour, which feels low given my experience and education. I've been actively applying for better-paying jobs in production, post-production, and media, but I haven't had much luck so far. I've also been considering moving to New York City or Los Angeles in the near future, possibly by the end of the year. For those who have been in a similar position, what would you recommend my next steps be? What should I do about this? Am I on the right path, or should I be approaching my passion or career differently? Would you recommend moving to LA or NYC, or staying local while continuing to build my career? And regardless of where I live, should I continue focusing on making my own films? I'd really appreciate any advice or experiences you can share.
Yesterday I got a call from my manager that a casting director wanted to meet me! After further research (IMDBpro) I learned she has won an Emmy for casting and has had other Artios award nominations for casting. I’m wondering how rare this is for a Non-Union actor who has just begun his professional acting career?
Hey everyone, I’m an actor based in NYC and moved here about two years ago. Lately I’ve been getting completely overwhelmed by one thing: creating a reel. My goal is TV and film, but I don’t really have any scene footage yet. I have several monologues I’ve recorded from my training, but I know that’s not really what casting directors want to see for a reel. The more I research it, the more confused I get. I keep seeing services and programs that promise to help actors create reels (like Jen Rudolph’s program and others), but I don’t know if that’s the right route or if I should focus on filming my own scenes, student films, self-produced work, or something else. For those of you who started with absolutely no footage, how did you build your first reel? If you were starting over today, what would you do? I’m finding myself overthinking the whole process, and instead of making progress, I feel stuck. Any advice or personal experiences would really be appreciated.
Actors, what’s your take? “Taylor-Joy has a theory about it now. “New York is a great first date,” she says. “New York takes you out, shows you everything it has on offer. L.A. makes you wait for it. L.A. is like, ‘You will take me to dinner many more times before I even show you I have a sense of humor.’ ”” Excerpt From “Inventing Anya” BY SETH ABRAMOVITCH The Hollywood Reporter (June 16, 2026) https://apple.news/Anut2XThcTZqHxpg8xQokGA This material may be protected by copyright.
HI!!! Looking to try a different studio in NYC for classes. Have gone to all the ones we all know of, but have yet to try Stella Adler. Can anyone suggest good classes/teachers at the school? Interested in the 8 week courses, not conservatory training! Thank you :)
Please feel free to ask any question at all related to acting, no matter how simple. There will be no judgements on questions posted here. Everyone starts somewhere. We have a FAQ which attempts to answer basic questions about acting. \[Have a look\]( https://www.reddit.com/r/acting/wiki/index), but don't worry if you ask something here that we've covered. Also, 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. 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, but 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.
Hey guys so I need help, I am wanting to move on from my agent and look for a new agent after being with my agent for only 1 year and I want to know how should I word my email to them?? for context they won’t put me in the actors program in the agency cause I don’t have a professional showreel and they have kept me in the development actor program. Which is frustrating considering I have spoken to multiple cd’s and other people in our industry and they have said it’s a waste of money and honestly can be seen as desperate. And another thing that my agent has started doing is using ai on their instagram and that has really grossed me out. Like come one are we serious???
First time director here. I have been in multiple productions but only two have had any kind of “table work” and both were very different. For my first directing venture I’d like to facilitate table work but am not really sure how to approach it. I have a list of some very basic discussion questions for each actor (what is your objective/why/what is your relationship to the other characters) but not much else. What do you usually expect in table work exercises? What activities do you get the most out of, and what do you not like?
Hello, I am not a voice actor but I will be acting for an event and I will need to hold a monotone, raspy, kind of hoarse voice, non stop, repeating the same thing over and over for a good 3-4 minutes straight (with 15-25 minutes of pause inbetween each set) for 3 hours a night for a couple of months. Obviously voice fatigue over such a long period and with such intensity will be a great challenge, and it's made harder by the fact that I have to speak loudly and that I have to hide my real voice until the end for an effect of surprise once my character is revealed. So I am writing this to get as much advice as I can to sustain the voice over this period If you need an idea of what I will sound like, it's pretty much Rorschach from Watchmen but more exagerated TL;DR how to sustain a loud monotone raspy voice for a long period of time with intensity
[https://www.reddit.com/r/VoiceActing/comments/1pm6lml/is\_my\_voice\_acting\_director\_sabotaging\_me/](https://www.reddit.com/r/VoiceActing/comments/1pm6lml/is_my_voice_acting_director_sabotaging_me/) (Check this post out if you require context.) Alright, so It's been quite a long time since my last post, and I (M, 18, turning 19 this year) experienced some new things in this situation. The guy I mentioned, the fandubbing one (figured his age out, M, 36), as it turns out, is now going full-on professional, completely thrashing on fandubs and such, saying it will NOT make me a better voice actor, but I told him that I got this advice from a professional voice actor, like full on professional, I chatted with the pro and He was absolutely amazing, very great guy! And thanks to him, I am now doing tongue-twisters every day for 20 minutes to help my self articulate better, I'm training my acting with fandubs, but I remove the english original and translate it in my native tongue (German.) without copying the official german dub, either I write a script for my self if I have projects where people can participate, or I straight up do my own thing as long as it fits and sounds good, and I have been doing this for about one week now, continuiously everyday. Because I want to like improve and grow as a voice actor, and one day become professional, voice acting is my dream job. Then I told the man, who is 36 and completely reorganized the server from a fandubbing server into a voice-acting archive for professionals, that I got these new acting practices from him, but He was like, "I am telling you, kid. Fandubbing won't improve you." But like the professional I got the advice from, who is a male and I'd say He is mid-to-late twenties, gave me this advice and told me this was his ticket into the professional game because He constantly asked for feedback on his dubs and He has been doing this for 2-3 YEARS before applying. But then, the 36-year-old man told me, "Yeah, but you are not him, and He had it much easier than you. And you need more help than him." And constantly, for no reason, every move I do is not good, this is bad, and this is bad, etc., etc. And I told him about my mental disability (Asperger's autism) that it sometimes hinders me in certain aspects to grasp or understand a concept, and He said, "Nah, that has nothing to do with that; you just do not have the acting classes. I know people with Down syndrome who can act." and He told me to get a speech-and language educator because that would fix my speech and such, I should go to my doctor and ask for a permit to send me there, so I won't have to pay it myself. (Problem is, the current government of Germany restricted funding for stuff like this, so politics kinda play here too.) HOWEVER, I made good progress; I even found my diaphragm voice! And the doctor declined my request because apparently my pronunciation is top-notch at the moment and seems incredibly fitting for this business. But I honestly think it is not enough and such, I told the 36-year-old about this, and he called my doc an asshole who doesn't know anything about voice acting, but to be honest, I do not blame the doctor because normally people go to speech coaches like this because either they cannot speak the language, or struggle to swallow and such, so in terms of medical stuff of course my pronounciation is good. And he told me to pay money for one; the problem is my salary is horrendous (277 bucks a month is HORRID), and He was like, "Yeah, but you gotta invest; the biz isn't gifting you anything. Sacrifice something from your raise, fuck the PlayStation, you wanna become a voice actor!" But like, what am I supposed to do? I am 18-years old, soon starting an apprenticeship this year, getting more money, 500-800 bucks a month, and THEN I have the possibility to maybe invest (And I WILL, going to acting classes, language coach etcetera) , but not now, especially with my age, and constantly nagging my parents for money at some point will completely get annoying for them, it is something I want to avoid. And apparently, the 36-year-old has been in quite a few arguments with a few voice actors, and he called one of my fandub colleagues a girl, a trickster, and a snake because they had a fight. So he is kinda notorious, I'd say. I am just... confused. What am I doing wrong? Am I doing it right, or am I just walking around like a headless chicken? I talked with the pro about him, and He was like, "wtf man, keep practicing like that!" Like, I genuinely want to become a professional; I really do. But... is my current way right? Is the 36-year-old right? I don't know anymore. If it is wrong, then I would like to know what needs to be done so it is right.
BL project! Guys tysm! The BL animation series has finally boomed in auditions, and now we only have 3, spots left. Lester Crestlock Singer, Jae Joon and Daisuke Sato Please send me your auditions via email: newreef27@gmail.com (I dont have drawings of the twins yet so I'll just use tomodachi life for now.) HIRING FOR A BL SERIES I WILL BE MAKING (Alienstage animation style. It will be posted on youtube, tiktok, and a webtoon.) UPDATEE: PLEASE do not be intimidated by the amount of submissions. Trust me, I need MORE, I am looking for MORE actors to try because the voices have to be specific so PLEASE HELP ME AND SEND YOUR VOICE TO ME. It will never be enough and I will immediately reply to you as soon as I can. I dont usually take a day to reply as I am that serious about this project. Mostly MALE voice actors. Will be paying 50-150 USD per project. Per project words would probably just be 6-12 lines. Per BIG animation projects should take 30+ more lines. WARNING, THIS IS GONNA BE A VERY LONG TERM PROJECT. (Might take years,. But what I mean is, the project will take years like the lines will continue to come in as the series continues and so will the payment.) Also this is called WHEN SECONDS MATTER (different planet) so it might function different from earth. ( I might change the name soon) Deadline is as soon as someone who fits the role fits a role, if one character has no voice actor that fits him that i dont like, he will be free and open till I find one. So if someone for example, gets the main main lead first and I like the voice actor, then it wont be available anymore. But if the submissions are not up to my standards. the character will stay open till then. I will be adding the old characters that I still dont have voice actors on in hopes for more reach. Please consider auditioning and don't be intimidated! STOP SENDING ME DEMO REELS, JUST SEND ME IMMEDIATE AUDITIONS, NOT DEMO REELS. HERE ARE REFERENCES OF HOW EACH CHARACTER SHOULD SOUND LIKE https://drive.google.com/drive/folders/1mck4lxVpC8XqTsNmLPhfAzBjvEtca6jP Lester Crestlock (singer) We are looking for a singer similar to the reference provided from the gdrive. It would be so much better if they had a british accent. Give us your rates and sample and we'll see what we can do. The song samples should be any romantic song aslong as it's romantic, soft, yearning or something about love. Then we will decide if you're perfect for the role. DAISUKE SATO Main character for first part, kind of like a tsudere despite his soft voice. Book worm vibes, Curly hair, very nerdy, loves science, and Young and adorable sounding. (Best example should be mafuyu from given) Straight at first, Gay at the end. human immortal, age 16 - 50s, never grows old. His laughs sounds like aike hirose. Vocal mannerisms are slightly serious but very cute sounding regardless, he is also be very very soft spoken even with emotions, but is mostlly confident. Basically mafuyu vibes with attitude. Accent is generic american accent. Ethnicity is Japanese but his first language is english so thta wont matter. UNLESS the voice actor wants to voice act some japanese lines\~ then more money\~ but its not that needed. Design: Darkblue hair, Dark cyan eyes, pale skin, big eyes, slightly short but also tall Lines: 1. (upset and crying, setting is him hiding in his bedroom and curling up as he covers his ears, refusing to hear Lester from outside his balcony. You may be as slow as u want to be since Lester is serenading him in the backround and he uses to listen to Lester from upstairs.) "Lester..please...hic.... don't do this to me...stop..stop that...shut up..shut up..." 2. (Serious,flat and strict, almost bored like he just wants to get this over with.) "Hello, My name is Daisuke Sato. Uhh.. I'm the student council president. I came here to check on your club. And also- please sign this. Here. Just.. *points at the paper* just here." 3. (Happy and very soft spoken and blushing) "Hahaha! You're such an idiot.... Okay..okay.. Fine.. I... I'll do it... J-just... Give me a second..." 4. (Emberassed) "Wh-what the... Sh-shut up! That's not how it supposed to work! *Pause and snatches the item from you *GIVE me that. There. It should be like this." Bae Jae-Joon (side character, gay) Kind, sweet, charming, handsome, very friendly in public, is a saint. Specializes on botany and medecine due to his unending empathy towards people who need it. He likes children, but not in that way. He gets motivated from helping people and research allthewhile being under the control of his manipulative brother. Can be easily pressured into doing things he doesnt want. Is very very soft spoken, Referencing "Hirose" from (Go for it Nakamura.). Tends to smile alot, And is truly passionate about his work. Seldomly gets fraustrated but is constantly tested by his brother. Assumingly due to the trauma of bejng constantly threatened by by hyeon throughout their entire upbringing, he is easily swayed and manipulated to do things he doesn't want to please him. Human, age 27-28. Vocal mannerisms should be like a soft nerd (but not the stereotype nerdy men). Stutters during an arguement. Just a literal normal guy. Accent is generic american accent. Ethnicity is Korean so a korean accent should be okay. Twin brother of Hyeon(Villain) Design: Extremely handsome but hides from the public and his hair is quite unkept. 6'3/6'5, magenta hair, magenta eyes, fair skin, always in lab uniform but wears any casual clothes. (I haven't drawn him yet.) Lines: 1.(fascinated and freaking out but also soft) "I have discovered a new drug that could help people who struggle to get in on, especially ones with depression! This should make them feel normal, and this can change everything!" 2. (Rejecting and suspicious) "No- that....that... Sounds a bit wrong, doesn't it? No, Brother, that's not how I intended to use my research. It goes against everything I stand for! I'm not listening to you." 3. (Regretful, crying, shame, guilt) "Shit...shit... I'm sorry..I shouldn't have done that... I shouldn't have given him too much freedom on this.. this is my fault...fuck... I only wanted to help... I only wanted to help..."
Anyone who has regularly read any of my posts, from posts in the Acting Lounge to my shenanigans in my Introduce Yourself Weekend posts, would no doubt have learned that I am an improv guy. I've been doing improv as a part of a group in one iteration or another since 1994, and I have no intention of ceasing any time soon. I love it!When I teach improv (as I have to teenagers, young adults, working stunt performers, etc.), I always have to instill my ground rules (which is just good improv). These include:1. Yes, and you...2. No denial, no conflict3. Don't try to be funnyThis last one is a difficult one to wrap your head around at times. And I learned it the hard way: by doing. When I first started doing improv, I could do no right. I KNEW I was funny -- clearly the audience had NO idea what they were doing. What I later learned was that I was pushing the joke, instead of playing the scene. This was my first "breakthrough moment" in improv -- I had a show where I could do no wrong. Everything landed the way it was supposed to. I was on fire. It was pointed out to me that it was because I wasn't TRYING to be funny. Instead, I was playing the scene, and the funny naturally happened. Because if you TRY to be funny, then you won't be funny.I've gone on and on before about the benefits of improv when it comes to acting, technique, etc. And, as many of you have probably figured out, when you're performing in a TV show, movie, play, whatever...the basic improv notion of "don't try to be..." is extremely relevant.Now, there are some acting techniques whereby they say something like, "Don't ACT angry, BE angry." Sure, that might be a part of the implication here. And, if that technique works for you, then that's great! I'm going to go a bit more broad, though.If you make an acting choice, go all in. Don't dip your toe in the water; dive right in. Go all in! You'll give a much more interesting performance than if you tentatively approach the role. Don't TRY to play the part. DO it.And take an improv course. Seriously.
https://www.castingnetworks.com/news/how-to-prepare-audition-sides-tips-breaking-down-scripts/
Am I overthinking this? I’ve been signed with my agent for 3 years, and they always post when one of their clients books or releases a project. Ever since I signed, I couldn’t wait for the day my headshot would be in one of those posts. It was just a little milestone I’d always hoped to reach. Well…it finally happened. They posted me for a movie I was in, but I somehow didn’t see it until now—almost 3 weeks later. Now I’m debating whether to repost it to my story. The problem is: It’s 20 days old. They used an old headshot that I honestly hate. I’ve already shared a lot about this movie, so I don’t want to seem full of myself. Would it be weird to repost it this late? Do actors normally reshare their agency’s shout-outs, or does it come across as bragging? I’m probably overthinking this, but I’m curious what you all would do.
I’m a teenage actress and I need some advice about my agent because I’m probably overthinking this. I emailed my agents letting them know I’d be sending updated materials (new headshots, monologues, etc.). There ended up being a 2-3 week delay because I received another important item I wanted to include, so I waited and sent everything together. Fast forward: they sent me an audition. I replied to confirm I received the audition, and in that same email I attached all my updated materials. The only issue is everything is now spread across a couple different email chains, so it’s a little messy. Especially because I confirmed the audition privately with one agent, and one other agent kept asking if I confirmed it. Idk why only one of my agents was emailing me when normally they respond all together. It’s been about three-four days since I sent the updated materials, and they haven’t acknowledged them at all. They did send the audition, so I know they’re active, but I haven’t gotten a “got it” or any confirmation that they received the new headshots and everything else. Is this normal? Should I follow up to make sure they got the attachments, or just leave it alone? I don’t want to be annoying if they’re just busy, but I also don’t want my updated materials to get buried because of the different email threads. Would appreciate any advice from actors or anyone who’s worked with agents!
After two years of being with my agency from Texas , I decided to end things with them due that it didn't feel like good fit. When I signed with them and did the new talent meeting, they promised and said that that they would pitch me to any sag projects like popular shows and even get me many auditions. During those 2 years I was with them, I only received a total of 6 auditions , one which was only sag and the rest which where only non union. They constantly send me auditions of being background actors on movies, commercials, and tv shows despite being aware that I didnt want that. The communication was not the best yet i still made sure to update everything on my end. I feel regret that I left this agency without booking anything. I feel regret over this despite doing everything right.
I start my senior year of high school soon and I need to really think about post high school. I also work at my local Cedar Fair/Six Flags park as a ride op and I quite like it. I've just auditioned to be a scare actor in our halloween event and as someone who has really enjoyed theatre through out high school, if I wanted to pursue an acting role in a theme park, large scale like Disney or Universal, or stick with the smaller Six Flags style should I plan on going to college? Or is this something I could go straight into? My original plan was to go to college for film and video production but the performance world always creeps back into my mind. I also don't really want to go to college just for a degree in theatre it just doesn't really feel like something I would do, I've always been more musical. So that also leaves something like Hollywood Studios Toy Soldiers in the running (I've played percussion all through high school) I understand this is mentined in the FAQ but this feels a little different and wanted some specific advice on if I should start looking at college for this, and if so what kind of degree, or if I can try to jump straight into it.
My son is an actor with representation in Vancouver, he’s been doing very well lately with bookings and call backs ect, I have heard some people have representation in LA also? For those that don’t is it worth it? We love his agent in Vancouver!
A lot of my crew friends are moving to NYC because LA has just become not worth it anymore to them. I’m from NYC but started acting in LA at 25. Now at 34 I make my full-time income with VO work (can work anywhere) and 20% is usually supported by on screen commercial work. Theatrical at this point supports only my soul ? Just wondering from any NYC actors, how’s the climate out there. Good commercial auditions? Guest stars on NYC shows? I’m not interested in Broadway but I do love performing plays when I can.
———————————————————————————— I recently had an in-person meeting with a manager I’d been speaking with for a few months. We had already emailed back and forth and done a Zoom, so I thought this lunch was supposed to solidify things and see whether we were officially moving forward. He picked a casual order at the counter place, asked what I wanted while I was sitting at the table, and then told me to walk with him to the counter to order. My meal was $19. When the cashier asked, he said, “Separate checks.” I’m sorry, but that already felt insane to me considering he had just asked me my order while I was sitting at the table. It wasn’t about the $19. It was the awkwardness of inviting someone to lunch, taking their order, and then announcing separate checks at the register after months of conversations about potentially working together. Then he asked if we could switch tables and sit outside so he could face the television because a game was on. In the middle of me speaking, and sometimes while he was speaking, he would randomly shout at the screen. His very sweet assistant was also sitting there with us. He told me I was a great writer, but that my work was “too dark” and he wanted me to write some bubblegum rom-com type of project instead. Then he pointed to his assistant and said she had written a fantastic feel good feature. Before I knew it, I was sitting there emailing my former boss from when I worked in development, trying to create an opportunity for his assistant’s project. At this point I’m thinking, I’m sorry whose meeting is this? For context, I’ve independently produced two short films with my husband (I wrote both and starred in one and supported in the other). We sacrificed a lot to make them and spent years dealing with the financial weight of that choice, but we believed in the work and kept going. We built a theatrical run and sold out every screening for the second one. We were the only short film in the country that operated from a standard distribution deal and visited four major cities. Our first film did the festival circuit. I’ve had to create my own path, and I’m finally at a point where my work is gaining attention and reps are beginning to take interest in me as both a SAG actress and writer. This manager has successful multi-hyphenate clients, but no one so huge that I expected him to act above developing someone. That was part of why I was interested. I’m not looking to disappear on a massive roster. I want someone ambitious, involved, and excited to build. Then he asked why I hadn’t signed with a particular agent a showrunner had tried to connect me with. I explained that I later learned this agent was in the process of clearing out a large portion of their roster. I told him that during the period when agencies were rushing to sign more diverse talent, a lot of people were brought in without being properly developed or mentored. He then dismissed my concerns about the limited opportunities available to people of color in the industry. I told him that, as a Latin woman, that simply has not been my experience. There are very few people who look like me on screen or in writers’ rooms. He said, “Great. More opportunity for you.” Okay. Later, he asked me, “How are we making money?” I explained that my two shorts had already been successful. I have the rights to a book I’m adapting into a limited series, although he had already decided the material was too dark. I told him I would need a manager who could help me get meetings around it. I also have a feature (that I wrote) that raised over a million dollars in four days with distribution backing five years ago. At the time, people wanted the project but didn’t want us to remain involved. I’m reviving it now because I have credits behind me, I’ve proved I can execute, and I’m no longer willing to be pushed out of my own work. I also told him that, since I’m an actress, he could submit me for auditions while we developed the writing side. This man looked at me and said he didn’t want to spend all day on Breakdown Services or watching my tapes. I alluded to him being lazy. He immediately said, “I’m not lazy,” then looked at his assistant and asked, “What would we even submit her for?” I said, “That’s funny, because five minutes ago you told me there were tons of opportunities for someone like me.” Then he told me he wanted 20 percent. I said absolutely not. Ten percent is standard for a manager. He also brought up taking a percentage from the production company I started with my husband, which is the company my films are made under. This is not someone with no experience. He used to run a department at a major management company and now owns his own company. His personality is extremely sarcastic, so for part of the meeting I kept wondering whether I was misunderstanding him or if this was somehow a test. It wasn’t. And if it was, I failed because I will never speak to him again. I am not usually a feisty person, but this meeting brought out the spiciest version of me. As I was leaving, he saw the type of Uber I ordered and began commenting on how I spent my money. He also questioned who managed my finances and brought up the designer bag I was carrying. I immediately started explaining that I’ve had frightening experiences in rideshares, that my husband prefers I take a Black car when I’m alone, and that my bag had been a secondhand gift from a friend. Then I was like why am I explaining myself to him especially when this meeting already lasted two hours. EDIT: yes I was shocked after months of speaking that this occurred and my shock, confusion and overall need for redemption kept me planted there for 2 hours taking this behavior. I left feeling so defeated that, for a moment, I genuinely considered quitting the business altogether. Then I realized I would rather have no team than have someone on my team who makes me feel smaller, dismisses the work I’ve already built, and openly tells me he doesn’t want to do the basic parts of representing me. Representation can be valuable, but reps are not everything. The wrong person can drain your confidence faster than having nobody at all. I will not post his name here because I revealed way too much information regarding our meeting.
I have a freelance casting director friend who has mostly done non union commercials and some independent film but has recently gotten some gigs as a casting associate for some of the more prominent offices. We chatted a bit about her newer experiences and I noted some of her observations as a newer and younger casting professional (started 3-4 yrs ago) 1. Agency/manager name matters more than you think. This is not news but she said now more than ever CDs rely on certain more prominent agencies especially as TV/Film shooting timelines get tighter and tighter. Execs want tighter turnaround times for production and that time crunch is really felt during casting. Good news is that it’s not all top tier agencies that make it on their shortlist. There are some small boutique agencies with robust rosters that make it on the list. That’s why good auditions matter; not just for you but for the reputation of your agency. 2. Boring/unspecific headshots. Most actors don’t get auditions because the quality of their headshots are poor and don’t reflect actual roles they can play. It doesn’t matter if your headshots were over 1k, and the quality of the photograph is good. More actors need to do the exercise of researching and putting together very specific types you can/want to play. Also be very very very intentional with styling. A plain t shirt and flannel doesn’t say much about the type/character. 3. Keep staying in classes. She says that out of maybe 50-100 self tapes, only 10-15% are salvageable. Most actors are so focused on the self tapes set up that they forget about objectives, basic script analysis, and character development. Take it with a grain of salt since all casting directors are different and my friend is younger and not as established. Just some food for thought as a casting professional who started during a very transformative time period in TV/Film!!
One topic that comes up all the time is whether you still need to move to LA to become a voice actor. From my perspective working in video game VO production, the answer is: it depends on what your goals are. There is an incredible amount of work you can do from anywhere. Commercials, industrials, e-learning, audiobooks, and plenty of indie games are regularly recorded remotely. But if your goal is to consistently work on AAA games and animation, Los Angeles is still where a huge amount of that work happens. One reason people don't always talk about is consistency. When you're producing a game with dozens of actors over months—or even years—you want every recording to match as closely as possible. Recording in the same handful of studios with engineers you know gives you consistency in microphones, signal chains, room acoustics, monitoring, engineering quality, and overall workflow. It removes variables. It's also about confidence. If I'm responsible for a major project, I'm much more comfortable booking a studio I've worked in, with an engineer I trust, than relying on a remote setup I've never seen in person. Even if someone tells me they have an amazing home booth, I still don't know how it's actually performing until I've heard it—and that's a risk productions often don't need to take when proven studios are available. That doesn't mean remote actors can't book these projects—they absolutely do. And plenty have fantastic studios. But I think people sometimes underestimate why productions still gravitate toward established recording hubs. It's not because great talent only exists in LA. It's because consistency and reliability become incredibly valuable as productions scale. You also don't necessarily have to live in Los Angeles itself. Being within driving distance is often enough if you're available for in-person sessions. At the end of the day, it comes back to your goals. If you want a career in voice acting broadly, you can absolutely build one from almost anywhere. If your dream is to become a regular on major games and animation projects, being close to where those productions are happening can still be a meaningful advantage. Curious to hear from other actors, directors, and engineers. Has your location changed the kinds of opportunities you've been able to pursue?
Hello! So im a very beginner actress and just starting out. Ive only done a 10 second diolauge for a college commercial, and featured as a model on a student production / photography club at my university. I was wondering- when would it be a good time to submit to an agency if my goal is to be an actress? It doesn't even have to be like a huge production or anything, but just an opportunity to be in a film as more than a background. Should I submit to an agency? Or what is the best pathway in my position? Thank you TONS!!!
I recently was reading an article on Yuri Lowenthal and Tara Platt's recommendations on what voice actors need to learn and they mentioned, "a good performance shines because an actor understands the script, has crafted a character, and made interesting choices about how that character sets about getting what they want." Could someone explain these to me in a bit more detail, especially heavy on that last one. Also, Where and when are these pieces of advice applicable?
This recording is just a "for fun" kinda deal, a friend suggested I gave it a shot. It's a small town radio hosts broadcast as a zombie apocalypse type event begins and the second have is his last broadcast. Brand new to this, just a foamed up extra closet and a USB mic. I'd love to get better so any advice or feedback is beyond welcome.
BL project! Guys tysm! The BL animation series has finally boomed in auditions, and now we only have 3, spots left. Lester Crestlock Singer, Jae Joon and Daisuke Sato Please send me your auditions via email: newreef27@gmail.com (I dont have drawings of the twins yet so I'll just use tomodachi life for now.) HIRING FOR A BL SERIES I WILL BE MAKING (Alienstage animation style. It will be posted on youtube, tiktok, and a webtoon.) UPDATEE: PLEASE do not be intimidated by the amount of submissions. Trust me, I need MORE, I am looking for MORE actors to try because the voices have to be specific so PLEASE HELP ME AND SEND YOUR VOICE TO ME. It will never be enough and I will immediately reply to you as soon as I can. I dont usually take a day to reply as I am that serious about this project. Mostly MALE voice actors. Will be paying 50-150 USD per project. Per project words would probably just be 6-12 lines. Per BIG animation projects should take 30+ more lines. WARNING, THIS IS GONNA BE A VERY LONG TERM PROJECT. (Might take years,. But what I mean is, the project will take years like the lines will continue to come in as the series continues and so will the payment.) Also this is called WHEN SECONDS MATTER (different planet) so it might function different from earth. ( I might change the name soon) Deadline is as soon as someone who fits the role fits a role, if one character has no voice actor that fits him that i dont like, he will be free and open till I find one. So if someone for example, gets the main main lead first and I like the voice actor, then it wont be available anymore. But if the submissions are not up to my standards. the character will stay open till then. I will be adding the old characters that I still dont have voice actors on in hopes for more reach. Please consider auditioning and don't be intimidated! STOP SENDING ME DEMO REELS, JUST SEND ME IMMEDIATE AUDITIONS, NOT DEMO REELS. HERE ARE REFERENCES OF HOW EACH CHARACTER SHOULD SOUND LIKE https://drive.google.com/drive/folders/1mck4lxVpC8XqTsNmLPhfAzBjvEtca6jP Lester Crestlock (singer) We are looking for a singer similar to the reference provided from the gdrive. It would be so much better if they had a british accent. Give us your rates and sample and we'll see what we can do. The song samples should be any romantic song aslong as it's romantic, soft, yearning or something about love. Then we will decide if you're perfect for the role. DAISUKE SATO Main character for first part, kind of like a tsudere despite his soft voice. Book worm vibes, Curly hair, very nerdy, loves science, and Young and adorable sounding. (Best example should be mafuyu from given) Straight at first, Gay at the end. human immortal, age 16 - 50s, never grows old. His laughs sounds like aike hirose. Vocal mannerisms are slightly serious but very cute sounding regardless, he is also be very very soft spoken even with emotions, but is mostlly confident. Basically mafuyu vibes with attitude. Accent is generic american accent. Ethnicity is Japanese but his first language is english so thta wont matter. UNLESS the voice actor wants to voice act some japanese lines\~ then more money\~ but its not that needed. Design: Darkblue hair, Dark cyan eyes, pale skin, big eyes, slightly short but also tall Lines: 1. (upset and crying, setting is him hiding in his bedroom and curling up as he covers his ears, refusing to hear Lester from outside his balcony. You may be as slow as u want to be since Lester is serenading him in the backround and he uses to listen to Lester from upstairs.) "Lester..please...hic.... don't do this to me...stop..stop that...shut up..shut up..." 2. (Serious,flat and strict, almost bored like he just wants to get this over with.) "Hello, My name is Daisuke Sato. Uhh.. I'm the student council president. I came here to check on your club. And also- please sign this. Here. Just.. *points at the paper* just here." 3. (Happy and very soft spoken and blushing) "Hahaha! You're such an idiot.... Okay..okay.. Fine.. I... I'll do it... J-just... Give me a second..." 4. (Emberassed) "Wh-what the... Sh-shut up! That's not how it supposed to work! *Pause and snatches the item from you *GIVE me that. There. It should be like this." Bae Jae-Joon (side character, gay) Kind, sweet, charming, handsome, very friendly in public, is a saint. Specializes on botany and medecine due to his unending empathy towards people who need it. He likes children, but not in that way. He gets motivated from helping people and research allthewhile being under the control of his manipulative brother. Can be easily pressured into doing things he doesnt want. Is very very soft spoken, Referencing "Hirose" from (Go for it Nakamura.). Tends to smile alot, And is truly passionate about his work. Seldomly gets fraustrated but is constantly tested by his brother. Assumingly due to the trauma of bejng constantly threatened by by hyeon throughout their entire upbringing, he is easily swayed and manipulated to do things he doesn't want to please him. Human, age 27-28. Vocal mannerisms should be like a soft nerd (but not the stereotype nerdy men). Stutters during an arguement. Just a literal normal guy. Accent is generic american accent. Ethnicity is Korean so a korean accent should be okay. Twin brother of Hyeon(Villain) Design: Extremely handsome but hides from the public and his hair is quite unkept. 6'3/6'5, magenta hair, magenta eyes, fair skin, always in lab uniform but wears any casual clothes. (I haven't drawn him yet.) Lines: 1.(fascinated and freaking out but also soft) "I have discovered a new drug that could help people who struggle to get in on, especially ones with depression! This should make them feel normal, and this can change everything!" 2. (Rejecting and suspicious) "No- that....that... Sounds a bit wrong, doesn't it? No, Brother, that's not how I intended to use my research. It goes against everything I stand for! I'm not listening to you." 3. (Regretful, crying, shame, guilt) "Shit...shit... I'm sorry..I shouldn't have done that... I shouldn't have given him too much freedom on this.. this is my fault...fuck... I only wanted to help... I only wanted to help..."
Newcomer for voice actor. I want to get better practice at acting in general and subsequently more into voice acting. I hear talks from time to time that it is recommended to take acting/improv classes before venturing to voice acting. But maybe also private coaching? I am undecided on whether I should taking acting/improv classes or private coaching. For acting/improv classes it's kind really harder for me to join or travel to. However, there's a private coach who's a theater stage actor as well as a voice coach for various different fields like accents/dialect etc. It actually be more easier for me to go with private coaching because commute is somewhat easier. And private coaching fees isn't really that expensive. So it all comes down to which is the better choice and which method of learning would I get the most out of? Like taking classes with other students. Or private coaching 1-1? Please give me your thoughts.
"Success is something you attract by becoming an attractive person it is not something you pursue."What do you think? On your journey have you found this to be true?
What should I do when I have all kinds of scenes, genres, worlds, plots, roles, and I want to film a new world, and I can't find it here on Stage32? Should I change something or add something to myself or to you?Someone explain to me and tell me that when you have all the scenes, genres, series, movies, designs, and styles, you can't find anything.
Hello, I’m a new actor looking to get started with in-person acting classes in the Chicago suburbs. Does anyone have recommendations for great classes or studios for beginners? I’m especially interested in places with supportive instructors and a strong focus on film/TV acting. Thanks in advance!
I moved to a small country in Eastern Europe a few years ago, not by choice. I don’t even speak the local language, and there is literally no film industry here. Because of that, I can’t and don’t want to pursue acting opportunities (that don’t even exist) where i currently live. By a stroke of luck, I had the opportunity to participate in few upcoming UK production movies and one US production movie in credited, non speaking roles. I’m currently taking acting classes, I speak four languages, and I hold an EU passport. I would like to sign with an agency that represents actors internationally, if that’s possible. How can I find agencies that work with international actors, or could you suggest something for someone in my situation? Thanks
This is a little frustrating for me as Im now noticing that in my most recent Eco Cast Auditon, the auditon instructions provided by casting has a different submission time than the submission link (deadline) for the Eco Cast itself. I'm now feeling that Ive missed the window for "actual consideration" aka Casting watching the tape after spending the day preparing. Has anyone else noticed this being a thing or is this a rare happenstance on my end?
Stanislavsky's "Artistic Records" notebook logs all his stage performances from 1877–1892 through his own notes, programs, clippings, and letters. The editors filled in the gaps where he left no commentary, creating a complete reconstruction of his early career from his debut at fourteen to the birth of the Moscow Art Theatre. Stanislavsky's review: "Pankrasa was played poorly. The actor tried to copy Buldin, wore the costume passably, applied makeup like a conservatory student, but nothing came of it; he ended up reminding of Peter the Great. There was too much shouting, and the physical characterization did not work out. Laverge, however, was a complete success. It was played lightly, beautifully, and cheerfully. So far, this is my the best role. I slightly copied Rodon's voice. At one of the rehearsals, Zina suddenly transformed and began to play wonderfully. A laurel wreath with the inscription "From amateur artists to comrade director" was presented to K. S. Alexeyev." The performance took place in the Alekseevsky Circle on July 24, 1882.
Hello! Working actor here wondering if anyone could shed some light on my situation. In the year or so after graduating my undergrad program in acting (and during my training)- Ive found a lot of success and auditions playing a certain type of comedic role in most of my materials (akward, kind of confused schlubby 20 something). A lot of my feedback in classes has said I would remind them of Charlie Day, Jake Johnson, Parks and Rec Chris Pratt, things in that realm. However in the past 8 months or so I’ve lost about 30 pounds (quit drinking and gym every day) and I’ve noted a marked decline in success for auditions around that character type. Has anyone else experienced anything like this? Any advice?
As title I’m taking a class where we have to learn both a short monologue (it takes about 30 seconds) and a short scene (there is four of us and we have about 6 lines each) And as I’m learning them, I’m trying to do it as flatly as possible. For the monologue I’ve been doing the method where I separate the paragraphs and I learn each paragraph at a time, writing out the first letter of each sentence and slowly building and repeating until I don’t need to letter For the scene, I’m doing a mix of flashcards (with the line or action that prompts me to speak ) and a method of writing out all my lines with no punctuation and then reading it out twice flat and repeating I suppose while I’m doing this I fear something’s missing? I’m 100% in the boat of not learning your lines with an inflection or way of doing it. But I also feel like this isn’t helpful. There’s more to my lines than just things to be said I guess I’m asking, I’ve learnt the lines flat, but now what? Surely I need to look at the script and think “he’s saying this because of this” or “if I were to say this line in my own words, what would the line be?” I’m looking for advice for this after, I feel like I’ve heard actors talking about connecting lines to actions or something? Do something more with their lines in prep? Because surely there’s more to this than just learn it flat
One topic that comes up all the time is whether you still need to move to LA to become a voice actor. From my perspective working in video game VO production, the answer is: it depends on what your goals are. There is an incredible amount of work you can do from anywhere. Commercials, industrials, e-learning, audiobooks, and plenty of indie games are regularly recorded remotely. But if your goal is to consistently work on AAA games and animation, Los Angeles is still where a huge amount of that work happens. One reason people don't always talk about is consistency. When you're producing a game with dozens of actors over months—or even years—you want every recording to match as closely as possible. Recording in the same handful of studios with engineers you know gives you consistency in microphones, signal chains, room acoustics, monitoring, engineering quality, and overall workflow. It removes variables. It's also about confidence. If I'm responsible for a major project, I'm much more comfortable booking a studio I've worked in, with an engineer I trust, than relying on a remote setup I've never seen in person. Even if someone tells me they have an amazing home booth, I still don't know how it's actually performing until I've heard it—and that's a risk productions often don't need to take when proven studios are available. That doesn't mean remote actors can't book these projects—they absolutely do. And plenty have fantastic studios. But I think people sometimes underestimate why productions still gravitate toward established recording hubs. It's not because great talent only exists in LA. It's because consistency and reliability become incredibly valuable as productions scale. You also don't necessarily have to live in Los Angeles itself. Being within driving distance is often enough if you're available for in-person sessions. At the end of the day, it comes back to your goals. If you want a career in voice acting broadly, you can absolutely build one from almost anywhere. If your dream is to become a regular on major games and animation projects, being close to where those productions are happening can still be a meaningful advantage. Curious to hear from other actors, directors, and engineers. Has your location changed the kinds of opportunities you've been able to pursue?
Im currently working on a rap battle between Papyrus From Undertale and SKeletor from He-Man. I already have the lyrics created. and the audio. All you would have to do is just cover it in a Papyrus and Skeletor like voice. Professional VA and a decent singing voice is required. as this will be paid. $200 for each. Payment will be distributed by August 21st-the 24th at the latest. for more details please contact me via Discord. username is @ darkmatter96. profile name is Zacks Black. https://preview.redd.it/eizexl78cmfh1.png?width=1672&format=png&auto=webp&s=f25f9f5cde6777f53af43a52b1954614bc788228
It's like all my favorite voice actors I know is looping these days.
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.
