Hi everyone I'm Jake and I've recently become a moderator on Stage 32! I'm an Actor based in London and would love to connect with you all. It's been a long summer and like the recent weather in the uk, auditions may have dried up. How have you all kept your motivation up in previous dry spells?
hey yall, i’m in a bit of a debacle right now on what I should do. I’m graduating from a prestigious film school very soon and i’m trying to figure out what I want to do post grad. I’m interested in both filmmaking and acting. Hopefully one day do both professionally. I want to throw things at the wall and see what sticks. So it’s either.. A. Apply to a bunch of industry jobs (mailroom, writers assistant, etc) and hope I can work my way up there. Also apply to writing accelerator programs,etc. B. Audition for prestigious acting schools hoping to get in. I really do want the training that comes with the degree, and I think it’s a puzzle piece missing in my professional career. Downside is, I’d be essentially losing 4 years because I will NOT be able to write on that schedule (6x a week, 16 hour days for 4 years) and will essentially lose all of my west coast connections for that time. However, I’d probably come out a stronger actor. So it’s basically— A) get a job that gives you time to write but you won’t get deep acting training or B) go to the school and put a pause on the writing career entirely (what i’m literally getting a degree in). Again, this is even if I get anything at all. All hypothetical. What do you guys think I should do?
I hope this is the right subreddit for it! I love going to see a certain show and I love two of the actors/singers there. I want to gift them a bouquet with something attached to it to show my appreciation for their hard work and art, but I'm unsure what they'd enjoy. Is there anything anyone could recommend?
There’s been a lot of posts lately about the lack of auditions, issues with self-taping, and the overall unfairness of the industry. I think it’s important to remind actors that the industry doesn’t owe you anything. YOU want to be an actor so here is the reality: \~98% out the union is unemployed at any given time which means there are FAR more actors than acting jobs. This was true before self-tapes became the norm. So, in one of the most, if not THE MOST COMPETITIVE INDUSTRY IN THE WORLD, you have to BE COMPETITIVE!!! You aren’t solely judged by your self-tape alone - all of your materials are considered during the casting process as well as your online presence including social media. If you haven’t seen the video by casting director Seth Caskey he takes us through his process which starts with 1721\* submissions!!! 1721! For one role! And what does he start with: HEADSHOTS! \*he initially states 1706 but later in the video he receives 15 late submissions which equals 1721. “Headshots still do remain your first opportunity to connect with casting. It is still that first point of entry.” - Seth Caskey So, are your headshots “good enough” or are they competitive? Saving money on headshots and getting an inferior product just isn’t going to cut it these days. Getting proper professional shots that accurately portray you, your type/hit, and the roles you’re after (and appropriate for) are essential. From 1721 submissions, Seth got down to 147 actors (which is 8.5% for those keeping track) of which he now reviews their materials - demo reels and resumes - to get it down to 25-30 actors that will get self-tape requests. Your materials have to be competitive for you to even get the audition! So make sure they are! No one’s accidentally booking gigs or falling into series regular roles - you have to move with intention in this industry. So are you not getting auditions because of the industry contraction or are your materials subpar? If you want to get that self-tape request to prove that you’re a candidate for that role then your materials had better support that idea and not be a self-made roadblock. It’s like fitness, 30% input towards your goals doesn’t net you 30% of those goals; anything less than 100% gets you 0%. You have to FULLY COMMIT to the PROCESS but divorce yourself from the OUTCOME. The same is true with acting. “Success requires both urgency and patience. Be urgent about making the effort and patient about seeing the results.” - Ralph Marston Seth ends up with 37 of the 147 (which is 25% of that round but only 2% of the initial 1721) for a “nice co-star part”. Only 2% of the actors that submitted will get to submit a self-tape. Don’t get upset by those numbers; make sure you are controlling what you can control in this situation (namely the quality of your materials) so you have a better chance of being in that 2%. There is, of course, no accounting for luck (or lack thereof) but there never is. Now, regarding self-tapes: actors still complaining about self-tapes being the norm have two choices: “get bitter or get better,” as Josh Shipp has said. It doesn’t matter if you preferred being the room or connecting in person with casting, the majority of auditions have been by self-tape for going on 6 years now (and there’s no indication that will change in the near future). If you’re still complaining about a situation that’s been happening for the better part of a decade then the problem is you. And trust me, if you are an actor that despises self-tapes, it shows up in your work. Having a chip on your shoulder won’t make you a better artist or allow you to create great work. Find a way to love the new normal or quit. And for those complaining that CD’s “aren’t watching their whole tape” (or at all) and that “auditions are unpaid labour” - grow up. The industry doesn’t owe you anything and that INCLUDES casting directors. Ask yourself: is the CD not watching my whole tape because they’re mean OR could it be that your work simply isn’t competitive? Are they skipping after the first 10-seconds because they have 500 tapes to go through OR is it because you aren’t right for the role? I love how actors always assume ill intent from casting directors but never consider that they are submitting subpar work. If you aren’t competitive why should they waste time watching your work? Get back in class if it’s been awhile and hire a new coach for a few tapes to get fresh eyes and a fresh perspective on your work. Yes this will cost you more money and yes, it’s worth it if you want to be competitive. As for the “unpaid labour” angle - auditions aren’t work; they’re a job application. Your work isn’t being used to generate revenue so why should you be paid? Also, with self-tapes, you don’t even have to take time off work or drive halfway across town and spend money on gas or parking (which would have been write-offs anyway). If it’s taking you six hours to hammer out a 2 page co-star audition, that’s a you problem and you probably aren’t ready for the speed that a network show moves at. I believe the only way to navigate the industry is to absolutely strangle the limited things you CAN control and not worry about the things you CAN’T control. We must “…take the world as it is; not as we wish it to be.” - Prime Minister Mark Carney. You must learn to love the competition, work hard and be competitive, and EARN the work because the industry doesn’t owe you anything.
Hi. I am an actor just starting out, and my name is Connie Panamitotopoulos. Looking for a second opinion on whether to shorten my last name or not. I know there are other actors out there with long names, like Arnold, or Zach Galifinakis, but those names are actually shorter, especially Zach's name is significantly shorter. I do not think that I want to just cut the name in half to something like "Panamito", because that ends up being a different name entirely. So was thinking of using my mothers maiden name as my last name, which is "Karras" or my middle name "Mary" Do people think that I am chickening out my not using my full last name, and it actually ends up being a more powerful choice because it is a long and heavy last name to carry, which becomes a story in and of itself, that I stuck to my guns, and kept my long and obscure name ... ORRRR is it just simply too difficult to read at first glance, and will be impossible for people to ever spell. I recently read that Mahershala Ali shortened his original name which was Mahershalalhashbaz Ali because it did not fit on the movie poster, and his name is about the same amount of total characters as mine. On the flip side, a young actress around my age, Maitreyi Ramakrishnan, kept her name and it is about the same amount of letters and vowels as my name.
I figure there is sort of a survivorship bias at play where most actors & actresses who don’t reach the level of stardom or stability they desire by a certain age decide to drop out of acting professionally and go into other careers. The ones who did make it to stardom will continue to play the lead roles, and entry into those roles by newer actors largely closed off by that point, but it seems like there is a lot less competition for smaller/bit roles requiring older actors once you hit a certain age. Since not a lot of people stick around if they haven’t made it big by that point. Is this accurate?
Hello! I’m a professional actor in the UK and I got offered an audition whilst on holiday & it was due the night I came back. I couldn’t get my friend to read in for me as he’s blind. It’s for a big television show and my best take. I was looking in camera at some points in the second scene as I was tired from travelling all day & it was due the next day. I’m annoyed at myself as this is the biggest audition I’ve had from my agent My agent said it was really good but I’m annoyed at myself as usually I’m fine with my viewpoints whilst taping. My reader didn’t want to retape as she became busy
So I’ve SEARCHED to the ends of the earth for a Meisner class to elevate my acting but learnt that my country really doesn’t teach that and if they do it’s probably not that well advertised. So I recently decided to take matters into my own hands after finishing Uta Hagen’s Respect For Acting —and feeling like an actual actor with a process— to read Meisner and after every chapter I practice with one of my classmates in theater school. I’ve made to past the first 3 exercises and I’m doing them every rehearsal with my realism partner. So I wanted to ask if this is an optimal way of doing Meisner or maybe you guys can give me tips from your experience with it in those 2 year conservatories that you think are a foundation in classes ? Also how has Meisner affected you as an actor ? I would love to know xx
I’m trying to decide whether I should stick with an 8-week acting class I signed up for or drop it and do a local fighting/jujutsu class instead. I genuinely cannot decide, so I’d really appreciate some outside perspectives. For some background, I **do love acting**. I love watching performances, getting emotionally invested in characters, and the idea of being able to make an audience feel something. I’ve taken an acting class before and learned a lot. Meisner Repetition, Stanislavski’s Active Analysis, script analysis, character development, improvisation, etc. I also made some good friends through the class, and there were definitely moments where I felt like I could actually perform well. But here’s where I’m conflicted: **I absolutely hated going to that class.** Not because I hated acting. I hated how anxious and stressed I was **every single week**. Everyone else in the class would talk about how much they loved the classes, how sad they were that it was ending, and how excited they were to take the next one. Meanwhile, I was basically counting down the weeks until it was over. ? When the class finally ended, I was honestly **so reliev**ed. A huge part of it was the performance anxiety. I would spend a lot of the class sitting there anxiously waiting for it to be my turn. Instead of enjoying the class, I was thinking about when I would have to get up and perform and trying to mentally prepare myself. I actually started drinking before class because I was so nervous about performing. There were times when I would take 4–5 shots in the parking lot immediately before class because I was so anxious about having to get up in front of everyone. My goal was basically to get my turn over with as quickly as possible. I didn’t drink during class or afterward when driving home. The class was so long that by the time we left I was sober. I know that is **not a healthy way to deal with performance anxiety**, and I’m not trying to justify it. I’m mentioning it because it shows just how much anxiety I was experiencing. I don’t want to have to rely on alcohol to make myself comfortable enough to perform. And despite all of that, I signed up for another class . mostly because everyone else from the previous class signed up and convinced me to do the same. Acting is something I **may want to pursue**. I want to figure out whether I actually have potential and whether this is something I want to take seriously. But another part of me keeps wondering: **If I love acting so much, why was I so incredibly happy when the class ended?** The new class is also an 8-week course with a showcase at the end. I already know everyone in this class from my previous one, which makes me feel better about going back. And this may be one of my last realistic opportunities to take an acting class for a while because I’m in nursing school and will be starting clinicals next year. So there’s a part of me screaming: **“You’re going to regret quitting. This might be your last chance for a long time.”** But another part of me is saying: **“You were miserable just thinking about going to class.”** And then there are the logistics, which honestly make the decision even harder. The class is about a **2-hour drive from me each way**, so I’m looking at roughly 4 hours of driving for one class. I work before class, usually around 9–4, then have to rush home, eat/change, drive two hours to class, stay until around 9:30–10, and then drive two hours home. I have nursing class again the next day. My car also isn’t doing great right now, and I’ve had trouble seeing well while driving at night, so the idea of making that drive late at night every week makes me really uncomfortable. Then there’s the money. The class was **$325**, plus gas for that commute every week. There’s also a **fighting/jujutsu/self-defense class near me** that I’ve been wanting to try. It’s much closer, seems like something I’d genuinely have fun doing, and they offer a trial class, so it’s a much easier commitment. I can’t realistically do both. So I’m stuck between two very different choices: **Acting:** I genuinely love acting and want to know if I could be good at it I already know everyone in the class There’s a showcase at the end, which would be interesting to experience This may be my last realistic opportunity before nursing clinicals I might regret missing it BUT the actual class experience made me extremely anxious and stressed I spent most of the class waiting nervously for my turn I was incredibly relieved when the last class ended I was drinking before class to get through the anxiety It’s a 2-hour drive each way My car is having issues and night driving is difficult It costs $325 + gas I have school the next day **Fighting/jujutsu:** Local and much easier logistically I think I’d genuinely have fun doing it I’m excited to try something new There’s a trial class, so there’s very little commitment BUT choosing it means giving up this particular acting opportunity, and I’m afraid I’ll regret that I think that’s what makes this so hard: **I don’t hate acting. I actually really love it. I just hated the experience of being in that class.** And to be clear, **the professor and other students were not the problem at all.** It was actually a great class. I just stressed myself out so badly that I couldn’t enjoy it. Maybe I need to push through the anxiety because that’s part of learning to act. Maybe performance anxiety is something I need to work on if I actually want to pursue acting. Or maybe the fact that I was miserable every week, counted down until the class ended, and felt an enormous sense of relief when it was finally over is telling me something important. So what would you do in my situation? Would you push through the 8 weeks because the opportunity is rare and I might regret giving it up? Or would you recognize that the circumstances especially the commute, car problems, nursing school, anxiety, and the fact that I was relying on alcohol to perform are making this particular class unsustainable? I’d especially love to hear from actors who have experienced severe performance anxiety or people who have taken acting classes they didn’t enjoy despite loving acting itself. But honestly any feedback will help. Also sorry this is so long. Thanks a lot for taking the time to read it.
I've been wanting to be an actor for so long because I have such an interest in movies and I'm thinking of going into acting classes but I'm not sure if it's even worth it with the amount of popular actors or nepo babies just being in every film. I think me also living in a small town in Ireland doesn't really help. And I'm not sure if there's any chance of me being cast in anything, I don't care about money or fame i just would love being in movies.
Hey everyone!I know a lot of people here are chasing their dreams—some of you want to become actors, while others are filmmakers, writers, producers, and creatives in different areas. I’m just like you. I’m also working toward becoming an actor.But honestly, I don’t want success to be something I achieve alone. I’d love to meet other passionate creatives, work together, grow together, and hopefully help each other succeed along the way. For me, making genuine friendships and finding people I can create with is just as valuable as getting recognition.Now, coming to why I’m posting this.I’ve been working on my acting and I recently made a demo reel. The thing is, I’m still a complete beginner, so I honestly don’t know how good or bad my acting is yet.If anyone here has some time and doesn’t mind watching it, I’d genuinely appreciate some honest feedback. You can tell me what you think I’m doing well, what I need to improve, or anything else you notice.I’m completely open to constructive criticism because I really want to learn and improve.Thank you to anyone who takes the time to watch it and share their thoughts!
I recently watched American Hustle and forgot how incredible the performances were in that film. I mean some movies are like, "ok that was alright." But some leave you thinking about it for days. What are some of your favorite performances that inspire you?
After Interning at a casting office for the summer & organizing tracking spreadsheets in union forums and casting communities consistently show numbers like 200 to 250 self tapes just to land 1 or 2 low-tier bookings. I’ve also been doing some studying & In the 1990s and 2000s, an actor called into a physical room had roughly a 1 in-10 to 1 in 20 chance of booking the part. Today, submitting a digital tape is closer to a 1 in 500 to 1 in 2,000 lottery ticket. People living in Atlanta & New York have some sort of convince themselves that just because they don’t have to pay for parking or take a train they somehow won when it’s the opposite. You’re submitting your self tape into an algorithmic void that the human eye can’t even see most of the time. I wish people in this industry woke up to that fact.
Became interested in acting, looked on Facebook, and reached out to every student film producer I saw and sent in a head shot. Now I’m potentially going to be a background actor, was offered an audition for one film, and was asked for a self tape reel for another film, and waiting to hear more details about another film. This was all very exciting except I have ZERO acting experience, I have never filmed a self tape or even seen myself act besides talking to myself in the mirror, and I don’t even know where to start or how to tell if I’m any good at all. Is it still worth submitting?
I started this as a comment on another post, but once it got past a few paragraphs I realized it just needed to be its own thing. Please understand that I am looking through the lens of someone who is relatively new to professional acting (I started auditioning in 2024, after the lockdowns and the strikes), I no longer audition for unpaid or very low-paying jobs, I don't audition for theater, I am non-union/SAG-AFTRA eligible, I am in the NYC market, and I am an older white lady, a demographic that seems to have less competition than some other demos. If you're in a different place/position/demo than I am, YMMV, but I've tried to keep this to more universal observations learned from interviews and workshops, not my own limited experiences. Still, if I'm doing a workshop with a CD or listening to an interview they've done, they've reached a certain level, so this post definitely skews towards CDs who work on professional productions, in the US. When I say "CDs" in this post, I'm referring to those CDs, the ones I'm more likely to have come across, not ALL CDs. A theme I see running through a lot of posts and comments in this sub is that CDs are doing bad things to us on purpose. And yes, there are outliers who admit to not watching tapes, or watching four seconds of each, etc. But I have met dozens of CDs in my short time as an actor and listened to/read/watched interviews with hundreds more. And if you ignore the obvious exceptions (so don't come at me with the same old stories), here's what I've learned: 1) CDs are actors' biggest fans. About half of them started as actors, and most absolutely adore actors. They are not gatekeepers, they are our champions. We tend to look at them as people who can give us something, but we are also trying to solve their problem. 2) Most CDs want to be back in the room as much as we do, but it's not usually their decision. Once producers discovered during the COVID lockdowns that everything could be done on tape or over Zoom, they refused to put the line item for the actual room back into their budgets. Renting space would have to be paid for by the CDs, and most don't make enough to shoulder that burden. Some have enough pull to require it, but most don't. 3) CDs only ask for as many tapes as they can reasonably watch. For a commercial CD, that's probably a higher volume of tapes. For a small co-star role, that's probably a higher volume of tapes. Most know their limits, and they have a good idea of what they're looking for. Some ask for more tapes because they love discovering new talent, and will keep people in mind for future roles. Others ask for fewer because they're looking for something very specific or are on an extremely tight deadline. 4) They have no interest in wasting your time (or their own). If they are asking for a tape, it's because they are considering you. They also don't ask for an eight-page initial audition if they're asking for 200 tapes, they save those for the bigger roles and the more experienced actors. 5) If a CD only watches a very small amount of a tape, it's because they are looking for something so specific that they know instantly that you're not it, and they need to move on. If they have time, they will watch more just to keep you in mind for other roles in the future, but they don't always have time. A few have said that they scrub through to find a particular moment, and if you deliver on that moment, they will go back and watch the rest of your tape. If you don't deliver on that moment, then they don't really need to see any more. One thing that I've heard over and over in interviews: Get your tapes in early!! Unless you know that a CD never looks at tapes until after the deadline (and yes, many have said this in interviews), try to send the tape in either the first 48 hours, or in the first half of the submission timeline (so if you've been given eight days to get the tape in, submit it by the end of the 4th day). For long-running shows, especially procedural-type shows that are casting two or three dozen roles each episode, those CDs tend to get into a routine and are more likely to wait until after the deadline to look at tapes, because they are busy up until that point looking at the tapes from the last deadline. But again, don't assume this, unless they've actually said it publicly. In many cases, the CDs have little control over the timeline, and often have people breathing down their necks for choices long before the tapes are due. So they have to look at them as they come in, just to be ready. That doesn't necessarily mean they won't look at the rest of the tapes, even after someone has been cast, because they might need backups or they might just want to see what you can do and file it away for later. One CD said recently that he's had several productions where someone dropped out or had to be replaced, and instead of sending out a new casting call, he was told to just go look at all of the tapes from the original call. So even if you suspect that a role has already been cast, send in your tape. Always. Even if it's at the last minute. Another explained it like this: If he's going to send five people to the producers, it's easier to fill one of those five spots in his mind than it is to kick somebody out of a spot and replace them. Yet another said it this way: We're human, so if you're one of the first ones in, we're looking at you with fresh eyes. Sometimes 80% of the actors will submit in the last hour before the deadline, and we can't possibly look at those tapes the same exact way we looked at the ones that trickled in first. Good is better than early, early is better than late. Never sacrifice quality in order to get a tape in early, but try to get it done as soon as possible.
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This isn't a venting post as much as it is confusion and wanting some answers if possible. Even two years ago (summer '24) when I first moved to NY and set up an AA account for casting calls in the city, I would get selected to audition for parts in short films and the like for about every 10 times I submitted to something. Now, absolutely nothing. I've lost track of how many submissions I've done in the past two weeks and not one audition. I'm familiar with what it takes to get seen first in the submissions; I've got headshots, acting clips, resume, and a slateshot that I submit everytime. I even put something in the "Additional Info" box every time to boost my odds (Usually something like local hire, available all dates, etc) Is anyone else going through this as well or does my profile just suck? I hope it's not the latter but I could DM it for people to review. IDK why this is happening considering like I said, I used to get auditions pretty frequently two years ago with materials that were honestly worse than what I have now.
Am I the only one who notices when actors hold cigarettes in their teeth when they light them? I know it’s the smallest critique ever, but I’m not a smoker and even I know most people hold it with your lips. Light, rolled in paper? Unless prop cigs are heavier and plastic?
Names that I already have in mind are below but looking for more please: Gary Oldman in True Romance Joaquin Phoenix in Joker Meryl Streep in Sophie's Choice Phillip Seymour Hoffman in Flawless Charlize Theron in Monster Cameron Diaz in Being John Malkovich Robin Williams in One Hour Photo Jim Carrey in Eternal Sunshine of the Spotless Mind These are some films to start with. My overall goal is study everything that makes it work and not. Especially looking for actors of color.
I’m curious because I heard it was random but I do not think it’s realistic for someone to get script a NIGHT before and memorize it at all sorry unless you’re special Update *I can do 2-5 scenes in a night. That made me feel better. What I can’t do is a whole episode memorized lol but a few scenes last minute seems do-able . Although I do not agree with extreme sudden changes, it’s just not professional. They are professional writers that are experts right?* **I do think if you give someone an inch, they will walk all over you.\*** That is what the unions are for. I just don’t agree with extreme last minute dialogue change no no no. Unprofessional. They should really have it down to a science and not do that their actors. I love improv but I think scenes should be studied sorry.
I’m an adult at a community college and was interested in auditioning for the fall play next week, but I’m also getting a palate expander installed in nine days. Most adults seem to sound fine with one, just a little tiny lisp (and surely actors can have lisps), but I’m wondering if it’s like physically/mentally exhausting/difficult to speak for long periods with a piece of metal screwed to the top of your mouth. This is, of course, assuming I would be even be cast, but wanted to ask around anyway to see if anyone has experience with this. thanks!
Hey there. Did a supporting character on a theatrical movie back in early may. I had a great time shooting with the number 1 for 3 days. A scene a day, so a total of 3 scenes and around 15-20 lines. I got credited on IMDB along with other cast members (I.E union contracted roles). Recently, they made all of the roles uncredited except the roles that are credited with "Actor". So now the page only has around 8 total credited cast and around 40 uncredited. I know sag has a rule that the production needs to list around 50 Sag members per theatrical release. So my question is, is this normal? are they just editing the film and then they will re-add once they cut out some weight? Do i need to readd myself with actor? I'm usually a guest star on tv shows and this is my first time on a theatrical movie so I'm new to how this works. I'm very interested to hear your thoughts!
Hello everyone. I am the creator behind the webcomic [Back to Life](https://www.webtoons.com/en/canvas/back-to-life/list?title_no=546249&page=1). Right now I am currently looking for someone who could voice one of my characters, Dimitri Volkov, for a comic strip that will be posted on my social media accounts. The voice actor will be paid for this position and tagged once the video is edited. This particular comic strip features Dimitri and Tae Woo on a stroll on Nyhavn Canal (Copenhagen, Denmark) during the Christmas market in 1982. They have a short conversation regarding ockun-dang and its history. Dimitri is quite surprised about it, since he doesn't know much about Korean culture. I can provide the comic panels as inspiration for anyone interested. Feel free to reach out if you have any questions regarding the comic or Dimitri's lines. **Word count: 19** Payment: 5$ via PayPal or Ko-fi More details can be found on the page: [https://www.castingcall.club/projects/back-to-life-dubbing-a-comic-strip-okchun-dang-and-the-christmas-market](https://www.castingcall.club/projects/back-to-life-dubbing-a-comic-strip-okchun-dang-and-the-christmas-market) If you would like to give it a try, please apply on the Casting Call Club page. Aaand to avoid any bots or spammers, please include the word **Denmark** to know that you've read the text. Thank you.
I'm currently working on a short film and I'm looking for a male voice actor who speaks mandarin/Chinese. Because it needs to be a paid ad I can offer 5 Euros for 2 voice lines. It's nothing big u can just send the voice memo via whatsapp cause that's what the others of the cast have done too. Of course ur name will be displayed in the intro and credits
Hello! Using this account as a bit of a throwaway to focus on performance ventures. I'm an actor (29M) who's been in SAG since the pandemic due to background work. I have acting fundamentals from going to acting school, but I've struggled to really figure out how to break into things. A major part of this anxiety in my mind is the fact that I have the combination of union status without any reels or body of work to actually showcase to people. I have some monologue and singing material recorded, but not much from actual productions. In all honesty, how screwed am I? Where should I start to begin rectifying this? Do I just keep trying to grind things out on Playbill, Casting Networks and AA?
Hello! Using this account as a bit of a throwaway to focus on performance ventures. I'm an actor (29M) who's been in SAG since the pandemic mainly due to background work. I've long admired VO work and have been told I have a very resonant voice. I have acting fundamentals from going to acting school, but I've struggled to really figure out how to break into things. A major part of this anxiety in my mind is the fact that I have the combination of Union status without any reels or body of work to actually showcase to people.' In all honesty, how screwed am I? Where should I start to begin rectifying this?
Hi friends! I wanted to share a small victory I had recently. I’m a non-union, unrepresented theatre actor/singer in my 20s based in NJ/NYC. Last weekend I received a callback for a professional production I auditioned for over Actor’s Access! This is my first callback in 2026, and I’m very excited! At the same time, I am also very nervous. At the callback, they will have a dance call, make a cut, and then have us sing. I’m not a dancer, so I’m afraid of not making it through to the next round. Thankfully, the part I auditioned for isn’t a dancing role, it’s listed as “Strong Mover.” Either way, I’ve been drilling basic dance steps and the song whenever I can, and I’m going to do my best! I wish all of you well, thank you for reading!
I really want to become an actor but im scared that i am too shy of a person to become one. I want to know if shyness is a thing that i have to overcome and stop before trying to become an actor or if it is possible to act and also be a shy person because idk if i could easily stop being shy as i have always wanted to but have never been able to become a more outgoing person.
For every audition I’ve gotten from them, they send six pages of self tape instructions and then ask you to submit ASAP. One time I sent them a wetransfer link and I noticed they never even downloaded the file. They don’t seem to respect actors at all and come off as pretty unprofessional. Anyone else also have a bad experience with this casting agency?
Basically I’m doing a background job on a sag film as a non union actor. This is my first time working background in a sag project so I’m a little confused on how it works with vouchers. I had to fill out a voucher on everyset to get paid for my fitting and it asked for my sag number, but it said to say the voucher was incorrect and have production review if you were non union, which I did. I then received an updated voucher with a note from production that I need to call everyset and tell them I’m being upgraded to sag. Does this mean I’m just getting paid the sag rate? Or getting a sag voucher?
Hello people! I'm not entirely sure if this question belongs to here, but I'm just a curious person. I'm an artist myself but not a single acting cell in my body, so I'd just like to ask you as actors one thing: When you perform your given character, and you have the script and everything, do you ever feel like... Judgemental or awkward about the character's behavior itself? Like.. "If I could, I wouldn't want to act this, but I have to."? Or it's not really that personal? (Having watched few romance movies led me to this question ?)
I’ll preface by saying this’ll be a long post, so thank you for reading it if you take the time. I’ve avoided doing this for so long because I felt embarrassed asking a bunch of strangers on Reddit for genuine life advice (Squidward asking for spare change had more dignity), but decided it was finally time. I turned 25 this year, which is a hell of a number. I know it’s still considered “young” but the realization hit me that I don’t have forever. Call it a quarter life crisis I guess, but it’s time to get down to business and nip it in the bud. So I guess I’ll rip off the band aid right away and say that I have a speech impediment, a pretty severe one at that. Unfortunately it was something I was born with, and can’t do anything realistic about it. Before you ask, yes I’ve tried therapy, in my youth and in my adult years, but it didn’t lead to anywhere productive. I have the type of impediment where instead of repeating a word or syllable, words will actually get blocked and I can’t get them out (usually at the worst moments). Unfortunately for me, I like acting, which is irony you cannot make up. It’s a stereotype that “with enough practice you can be completely fluent” there’s no such thing, but there’s a kernel of truth in that theory. If I have enough preparation time, and enough rehearsal, I can be mostly fluent. There will be bumps and slips, but I can be at least competent…. somewhat… Here’s my situation, I graduated from Columbia College Chicago, with a degree in Cinema and Television Production, and a minor in Acting. That might sound impressive, but it was a school with 98% acceptance rate, you’d have to be a convicted felon to not get in. For the longest time I wanted to be a “director” or involved in film production, but hated the reality of P.A work once I got on a few sets. I fell in love with performance, but it was too late to do anything about it other than muster up a minor. I graduated two years ago, and have since moved back home, working a minimum wage job and living at home. I’ve done everything in my power here. I’ve been involved with three different local theatres in town (even getting paid a few times), took a couple classes, and got reviews in the paper. These are baby steps, but I want more…. And at the same time… I sort of know I can’t do it…. My speech impediment is something I’m extremely self conscious about, 90% of the time my acting will be focused on trying to sound fluent rather than genuine performance work. I’ve been called “awkward” “sluggish” even the “weakest link” in one show I was in. My own family says I’m pretty shitty at it, saying I should be backstage moving props instead of on it. I’m not trying to make this into a “oh woe is me” post, just providing some context. I have pretty much no real experience, no headshots, no legit training, and I can’t do a monologue worth a damn. I recognize I’m the shittest actor this side of the Mississippi, but at the same time, I can’t spend the rest of my life being miserable. I’d like to delve into this more professionally. I’m under no illusions that this is a “little engine that could” story, but I’d like to give this an actual shot. I don’t know what that would entail, so that’s why I’m asking advice. I have a lot of negatives attached to my name, but I do have SOME advantages in my arena. For one, I have no college debt. I am living at home with my parents, and have saved up quite a bit of dough. I’m located in Central Illinois, so I could realistically move to Chicago if I needed to. Im not sure what direction to head in, but thought I’d ask for advice (or get downvoted into oblivion who knows) anyway, thanks for reading if you took the time.
Hello! I'm a disabled actor and have recently been offered representation by both ZBD and VisABLE People. I was wondering what your experiences are with them and your thoughts on their comparison; their reputation, their treatment of talent, their casting success etc. I am musical theatre trained and hope to work in both theatre and screen. Lmk your thoughts!
I have 3 spots open all female roles atm. I do have some minor male roles that I could use assistance with message me for details on that. As for these roles I’m paying 10 to 20 dollars these are supporting roles but if you return (series will planned to be on going.) the pay will likely go up of course we can negotiate that in the future. Thanks for reading. As for the female roles I have Ravelle: Supporting character. Characteristics: Protective, caring, frightened, emotionally resilient, cautious, and mature for her age. Ravelle is a young survivor of the destruction of Ironvale and the older sister of Rale. After witnessing the death of their mother, Ravelle is terrified and grieving, but her first instinct is still to protect her younger sister. She isn't fearless or unnaturally tough. She's a scared child doing her best to remain composed because Rale needs her. Her performance should balance vulnerability with the beginnings of the strength and determination she will develop later in life. Voice: Young female voice. Emotional and expressive, with the ability to portray fear, grief, desperation, and protective determination. Rain: Supporting character Characteristics: Fierce, disciplined, courageous, protective, battle-hardened, commanding, and self-sacrificing. Rain is the mother of Ravelle and Rale and one of Ironvale's powerful Black Knights. An experienced warrior, she refuses to back down even when faced with the overwhelming strength of a mysterious demon. Despite her status as an elite knight, Rain's greatest priority is her children. When Ironvale falls, she fights desperately to keep the demon away from her daughters, willing to put herself directly between them and almost certain death. Rain should feel like someone accustomed to battle. She is confident and commanding rather than reckless, but that composure can break when her children are threatened. Voice: Adult female voice with a strong, mature presence. Should be capable of authoritative battle commands, aggression, physical exertion, and desperate fear when protecting her children. Cosima: Characteristics: Feral, intimidating, aggressive, emotionally conflicted, unpredictable, powerful, and quietly compassionate beneath the surface. Cosima is a powerful demon serving under the Demon King, Sommi. To the people of Ironvale, she appears to be little more than a terrifying monster—overwhelming knights with tremendous physical strength and fighting with an almost animalistic brutality. However, Cosima is far more complicated than she initially appears. She rarely speaks and expresses herself primarily through growls, snarls, screams, breathing, and physical reactions. Despite the violence surrounding her, Cosima shows hesitation when confronted with innocent children. When ordered to kill Ravelle and Rale, she ultimately chooses to spare them. This moment of compassion is extremely important. Cosima should sound frightening enough that the audience initially believes she is a monster, while subtle moments of hesitation suggest there is still humanity beneath her violent exterior. Voice: Adult female voice. Deep or naturally intimidating voices are welcome, but not required. The most important aspect is being able to convincingly perform feral vocalizations while still communicating emotion without relying heavily on dialogue. Performance Note: This role involves a significant amount of nonverbal acting, including growling, snarling, roaring, heavy breathing, pain reactions, and battle exertion. Please be comfortable performing these sounds.
And filmmakers/producers! I saw someone on Instagram mention the idea of several actors getting together to film scenes for demo reels that each person could use and would love to do that here in Chicago! I don’t have equipment besides a backdrop, but I do edit and can do other things on the technical side. It would be great to meet other people in the business and create a decent demo reel!
I’m an actor in the Boston area and have been on the hunt for a good agent and or manager. I’m also trying to break into the NY market because it seems there’s much more work there and it’s an easy ish commute. Looking to see if there’s anyone you guys would recommend reaching out to and/or avoiding. I’ve been in the game for a few years now and am trying to take the next step in my career but it’s impossible to do without a good team.
I recently signed with a manager a few months ago who I really like! Him and I hit it off right away, we have the same outlook on my career and the industry in general, and we have a very open line of communication. I’m a SAG 20s LA based actress, and this is my first real genuine rep. I have some decent credits under my belt (for never having rep) have some great headshots, and a meaty reel. I was sent my submissions report a few days ago (from the last three months) and I’m being submitted for tons of great stuff. So much network tv, big movies, etc. but I’m not being called in for a single thing. He advised me that the industry is just in a weird place right now and to not get discouraged. He also suggested I get new headshots to switch things up and fill in some types I’m missing. I just got new headshots 7 months ago, but I’m willing to try anything at this point to get the ball rolling, so I agreed. Obviously three months with not a single audition isn’t crazy, but would you say it’s normal? I’m not sure if it really is my headshots or just that my manager doesn’t have any pull. His clients are working, but I noticed that they are also repped by some big agencies, and the only rep I have is him. I’m hoping these new headshots will turn things around for me, and maybe it is just a waiting game... But I was curious to hear people’s thoughts!
I’ve gotten a LOT of stage/VO work and have had awards, great reviews and long running gigs but just can’t seem to cut it on camera? Do I just have shit confidence when a camera is in my face? I can’t bear to watch it back which doesn’t help - do I just have to suck it up?
Our channel is [https://www.youtube.com/@unRAPPING](https://www.youtube.com/@unRAPPING) and we are looking for a narrator that can bring life to our videos with an unique tone, aiming to always deliver the best recordings possible. As a reference, im a huge fan of [https://www.youtube.com/@fern-tv](https://www.youtube.com/@fern-tv) narrators style (kinda mysterious but with personality, sounding from early 20s to mid 30s), although i really want to find someone that can create our own style. Budget: $40 / 1000 words (negotiable) per script (8-11min) \[we also offer the possibility of rev share + fixed payment\] Fill this forms so we can contact you: [https://forms.gle/afTvAztLRZEiqZzQ9](https://forms.gle/afTvAztLRZEiqZzQ9)
We're doing an ad for a lego store launch and we're making an animated ad for it. Direly in need for a good voice actor with a deep narrative voice to pose as the narrator of the ad. If you're interested let me know and send me some samples so we can do a test and go ahead if you fit for the voice we're looking for. HMU! Our budget is 20-30$ but we can negotiate depending how good the VO come out. Ps: we're looking for someone within the day so hmu fast Edit: We're looking for Male VAs
Hey everyone! We’re looking for male English-speaking voice actors for a new animated YouTube channel focused on current events, politics, tech, and internet culture, with a weird, dark, and satirical twist. We’re looking for actors who enjoy character work, comedic timing, and switching between different voices and personalities. There’s potential to develop 5–10+ recurring characters over time. ? Fee: $50 USD/minute of finished audio ?️ Language: English ? Content: Animated YouTube content ? Output: 1–2 videos/month initially, with plans to scale toward weekly videos in Q2 2027 ? Casting instructions: [https://docs.google.com/document/d/1pQzTJ2V6JbVGzrXqn2spwUdT1C4zMXP1u7VxW15lq-4/edit?tab=t.0](https://docs.google.com/document/d/1pQzTJ2V6JbVGzrXqn2spwUdT1C4zMXP1u7VxW15lq-4/edit?tab=t.0) ? Deadline: Sunday, September 6 After recording, please submit your audition here: [https://docs.google.com/forms/d/e/1FAIpQLScXNCCXFGgesCc3L935ieZFHpLd1GjDZdrBXAYjQrFzR3j\_4w/viewform](https://docs.google.com/forms/d/e/1FAIpQLScXNCCXFGgesCc3L935ieZFHpLd1GjDZdrBXAYjQrFzR3j_4w/viewform) If character acting and dark comedy are your thing, we’d love to hear you!
I'm putting a book trailer together for my friend's indie book. It's a memoir so I've create a documentary-style book trailer. It looks a bit like the intro of a Netflix documentary. I'm looking for a voice actor who can deliver a performance based on this voice: [play clip](https://drive.google.com/file/d/1yNTjYOPrWbuyXJvlslJ-oNk9W8xYzVLc/view?usp=sharing) For context, the clip is of a 50 year old woman (the author of the memoir) from West Virginia who spent her adult life in Texas. As you'll hear, she only has a slight Southern accent, please bare that in mind. The recording shouldn't end up sounding deeply accented, it's just a touch. A touch more emotion than the reference material would be great, too. Not too big, just a touch. The important thing is that it feels real: as though the author is telling us. Here are the audition lines: 1. I felt incredible sadness, shock, and a lasting feeling of why he chose death over me. 2. I blamed him for my brother's death, my mother's death, and I had such an incredible desire to find answers. 3. What made him who he was, and most importantly, why did he want to leave us? Payment: $50 Word count: 52 Usage: All social media platforms Language: English Payment terms: After I cast you, I will send you the money upon delivery of the recordings. Please send your audition to [jonny@d5media.co.uk](mailto:jonny@d5media.co.uk)
What happens right before you feel officially stuck in your head? Are already there before the take, when you're supposed to have a specific moment. Mid-scene, when the other actor throws you something unexpected? Or after, when you know it wasn't real and you can't fix it in the moment? Curious what that moment actually looks like for people.
Looking for advice from actors who don't live in English-speaking countries, specifically. The reason I'm asking is that I want to audition for roles with an "American" accent, but every time I try to do it, I feel like I'm just mocking it and that all my "r" sounds and some vowels are wrong. **What helped you overcome physical and psychological barriers of speaking another accent? What is the best way to stop feeling like you're just mocking or making a caricature of an accent?** **Do you have any creators (YouTube or other) that helped you a lot? Anything else?** **Is that even possible without a professional coach? Be honest.** For example, all the Slavic actors I find who have perfect American/British accents moved to those countries when they were kids, so it's not the same as trying to learn it from scratch. \_\_\_\_\_\_ Some additional info about me, if needed: I'm asking for practical advice because I feel like it's possible for me to sound close to a native speaker if I put a lot of effort into it. I have a good ear for music. I use English every day in both my personal and professional life. 90% of all media I consume is in English.
I studied acting for a while and something I never solved was getting honest feedback on my tapes. Curious what people actually do here: When you finish a self tape or a practice scene, do you show it to anyone before it goes out? Who? A coach, a friend, a group chat, nobody? And the other side of it, have you ever sat down and given another actor real notes on their tape? How often does that actually happen versus everyone just wanting notes on their own stuff? Asking because every time I looked for a place to do this it was either paying a coach or posting into the void.
What is this about? You can tell the actress she's talking about from the comments. But who is the acting coach (that's not in Atl.) that was being wild, trashtalking, and butt hurt about not getting tagged by said actress when she booked something?? Charges thousands and maybe has in writing that actors MUST tag and credit her with bookings they get? WHO is it? (I love Angela Davis, btw. She will tell it like it is.)
Hi! First time poster here, so I'm just curious about those who have used Actors Access and received EcoCast auditions in the past. I'm sure it may be dependent upon the theater, but for those who have received follow-up callbacks after submitting for an EcoCast, what was the time frame for when you were notified about receiving said callback? I recently submitted one I'm feeling pretty strongly about, but haven't received any follow-up news and the virtual callbacks they said they'd be holding are about a week away now. Were you given less time than this to prepare for the callback, or should I be under the impression they may just be moving in a different direction? Thanks for any help!
is it normal to feel overwhelmed as a teenager dreaming of acting by looking at people 10-20yrs older? i always feel behind when i see people way older than me being actors and all like i feel so small compared to them idk if it’s just me.
So, I have observed this about myself. It’s only when I have truly learnt my lines almost to the point when if I was woken up in the middle of the night I could still remember them and say it as it is, that I feel confident enough to act… I envy actors who just know their lines some what and still manage to ace it or wing it at least… any of you here with the same issue as me? I just feel the more prepared I am , the more relaxed I can be, and hence perform better. Thoughts on this ?
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.
