We have found 19,242 posts across 4 actor forums:
NYC vs LA, but for real this time. by astronaut3648 • last post Feb 13th
I feel like LA has 100x as many audition opportunities for screen work than NYC. Obviously it is gate kept by reputable agencies but still. Right now I'm trapped in co-star hell in NYC. I hate my reps, they don't give me personal attention and their reach only goes so far. I've auditioned for about 75% of the major CD offices in NYC. Most of them at least 2-3+ times, a couple at like 6/7/8/10/14 times. But its still sporadic, and I know that if I was at this level in LA, based on the sheer number of tv/film projects shooting out there, I would be auditioning MUCH more frequently. But I've also seen first hand a talented actor with credits in NYC that was repped by Buchwald at the time, read for major major things on a regular basis, that was physically based in NYC. So, it seems like if you have a GOOD agent in NYC, it doesn't matter that you live here, and you can still have access to all the auditions in LA because you're at the guest star & above level. The problem is, it seems utterly impossible to get enough credits IN NYC to be eligible for a reputable agent at the Buchwald level. So, once again, another catch-22 trying to advance as an actor. I've lived in both cities. I have more of a life in NYC, and I do slightly prefer living here because of mobility, it is so much easier to take the subway everywhere instead of dealing with LA traffic, parking, and $7 a gallon gas. But for being an actor... there are just, hands down, no doubt about it, WAY more opportunities for jobs in LA, even student films, there are just way more, and way more reputable on-camera classes as well. The best one I could find in NYC is Ted Slubersky, who I'm just starting with, and I'm excited about it, but that is over zoom. I'm just tired of feeling like my time is being wasted with shitty reps and lack of opportunities. I could keep my reps in NYC and still be submitted to the bullshit co-stars Im being submitted to out here, and physically be in LA building connections and trying to get a BETTER rep out there. OR somehow, i could win the lottery and find a better rep in NYC that has the clout as the guy that was repped at Buchwald, and be able to get tapes for major things in LA and basically anywhere because they are at that level, and stay in NYC, which honestly, WOULD be preferable for me. I just don't know how to advance anymore. I feel like all I do is hit brick walls with everything, like every decision I make is the wrong decision. I'm tired of being frustrated with this, i just want to be in a flow state and have things make sense and work out and know that I'm on the right track. But when you don't have anybody to ask for advice and you don't feel like your reps are personally invested in your success or have the ability to get you where you need to be.. its like.. what the fuck do you do?!
What is the youngest age you have been asked to audition for and how wide was the gap from your actual age? by Blueeyesindisguise • last post Feb 13th
Many of my peers are stuck auditioning for teen roles despite being in their mid to late 20s, some in their 30s. I know that looking young really helps you in this career, but many of these roles have them acting alongside actual teen actors sometimes they have to play a couple and it is uncomfortable. If you relate, how did you get more age-appropriate auditions?
How effective can SAG and ACTRA crack down on non union actors trying for union roles? by joesatmoes • last post Feb 12th
There's many union productions I go for, but I'm always wondering if I can choose not to be in the union and still get those roles. I'd like to remain non union, or eligible, for as long as I can. I know some SAG-eligible members who still have done union stuff, but wonder how easy it is. And especially for Canada's ACTRA, i have no clue (but I'd love to get work in Canada)
Ridiculous NYU Student Film Casting Director Demands by TheManwithaBlackHat • last post Feb 12th
I'm curious what people here think about the recent NYU thesis castings taking place. I saw a breakdown on AA for a role. I submitted and then received an offer to submit a self-tape audition. However, there was one problem; the sides were at least four pages long with more than ten very lengthy mini-monologues. That's a bit much for a short turnaround and a rate of $125. As a working actor, I thought I'd submit just to do some work and keep my skills sharp. But I think this is a bit much. Would you submit a self-tape for this or would you decline?
Hello. Can anyone share some tips about what I can practice to produce multiple distinct voices when doing character work like for anime? by zaru-don • last post Feb 12th
Hi everyone. I'm an aspiring voice actor but a complete amateur. To practice, I have been narrating over manga panels and I have uploaded them on profile. The most common feedback I get is that I need to work on making my voice sound more distinctive because sometimes I'll read lines for more than one character and it just sounds the same across the board which I do agree with. Do I need to focus on just voicing one character at a time when I do these practices so I can force myself to focus on one thing which might help with making it sound more distinctive? Any tips are greatly appreciated.
Please don't sue me for $2.3T. Hiram Abiff loves u by PalatableMahogany • last post Feb 12th
we audition still recommended? by zendi_lyon • last post Feb 12th
I've heard hit and miss stories with weaudition with a lot of people saying they struggled with too many technical glitches on the platform. is it still the go to site for actors in need of a reader?
How many people on average apply for a role? by alluvicqueen • last post Feb 12th
By role i mean specifically for a big budget show or movie, that agents submit actors to. what do you think?
What has your career and story in acting looked like so far? by Abstract_Corduroy74 • last post Feb 12th
I’m interested in the hearing about the paths you all took and what your journeys have been like since you decided to become actors or work in the industry. •Where did you get your start? •Where and what did you train in? Why did you choose that? •How did you live/are living while auditioning? •How did/have you managed to get by in life while pursuing your career and working on your craft? •How often did you book or get cast in something? What was it? •What are some of your greatest triumphs in your career? What about difficulties? •What medium do you work the most in? Theatre or film/tv? •Anything else you feel the desire to share. I’m asking because I’m genuinely interested in your stories, but also because I’m young and am uncertain of what to do or where to go as a beginning actor. I’m graduating soon, and I don’t know what to do. I don’t know whether I should work or train first, or where to go or what to do. I am also kind of looking for some pointers and things to maybe follow so I can navigate my start a little better and less anxiously without the fear of uncertainty. Thanks everyone!
Blizzard's Casting Director Andrea Toyias has a zoom workshop coming up in March for VAs by queen_of_kong • last post Feb 12th
I took this workshop last year and I have been recommending this to every voice actor I know. It's game-changing. She's cast/voice directed Overwatch, Diablo, World of Warcraft. If you're free on March 18, definitely consider taking this workshop! I'm such a fan of her style of teaching and methods. She provides such great tools to rock auditions and book more work: [https://www.halpacademy.com/event-details-registration/voice-acting-battle-chest-with-andrea-toyias-2](https://www.halpacademy.com/event-details-registration/voice-acting-battle-chest-with-andrea-toyias-2)
Happy Birthday to the best voice actress you’ll ever meet, Tara Strong! by desorcyjackson447 • last post Feb 12th
Volunteer Voice Actors wanted; Adventure Time Reanimated Project by ATReanimatedProject • last post Feb 12th
How do you keep hope ? by Glass-Rub-9627 • last post Feb 11th
After few years of theater classes, after covid ended, and after few months of not getting any auditions then getting auditions but no callbacks, I started to work as an actress last year. Got some TV spots (with known directors), did a few shorts, and got a part in a movie! I was really happy and thought "oh now things are going to start moving a little more", like getting an agent, or more parts/auditions cause my resume was more substantial. This year I had more auditions, for bigger parts, and callbacks but I'm not getting the parts.... This month, 4 big projects I had auditioned for that called me to tell me they didn't select me for the role. I know 3 of them I did a good audition ( I had callbacks, the casting directors where laughing and even called me to say that they really liked my audition etc). **How do you not loose hope ? How do you keep going ?** ​ I'm applying to filmmaking schools rn to diverse my skills in other areas of the film industry, in hope it will get me more "independent", but I know I really want to be an actress.
Anyone in the EU? by Majestic_Freedom_508 • last post Feb 11th
I am an ex actress, currently based in EU. I want to act again but I am having big trouble understanding how the industry works in here and in need of any advice. I have my own equipment but don't how to go on.
research on hiring actors by ninja_aim6 • last post Feb 11th
hello, I work in VFX industry and I am doing some research for the short movie I am planning. UK, London based. I would like to POTENTIALLY find/hire some actors for mocap shoots. Most likely a day of work or 2. It would be a NO budget production. so any kind of costs would be most likely on me. unless maybe I would get some financing but didnt get to do that research yet. its still early stage and I looking at what is more plausible to do. This would be acting, Dialog, monologue. NOT stunts or wire work. Think Andy Serkis's Facial capture work for LOTR etc. Project genre: think Tarantino+Stahelski. **so my question would be how would I find someone? how much would it cost?** **Most likely I would be looking for someone older, no teenagers. Someone with a good deep voice. Someone who could act the style. Someone who could tell a story and you would listen to it. how hard would it be to find someone like this and how much would I have to pay?** just a reminder, this a research. If this is unrealistic I could just hire a voice actor and the rest would be animation.
How do I create a voice demo reel if I have no experience? by Responsible_Outcome1 • last post Feb 11th
For context, there's this game I really enjoy. However, it still needs voice actors for certain characters and they are currently accepting volunteers and/or applications. I wish to voice act one of the characters of the game, but they require a voice demo reel. From what I understand, a voice demo reel is like an auditory resume showing what previous projects you have worked on. As someone who has recently turned into a legal adult, I do not have ANY past experience voice acting other projects (except for fandubs that I did during my free time but I'm pretty sure those don't qualify). So how exactly do I create a demo reel for voice acting if I have no previous experience? I know the obvious would be, "Well, get some experience!" But most other projects also require voice demo reels, something I do not have. Am I overthinking this? Is there something I'm not understanding? I'd really appreciate any advice or help being commented below this post, as I am an absolute novice in this type of thing. Thank you for your time.
An open letter to VO directors: Most annoying things directors do in VO sessions by queen_of_kong • last post Feb 11th
please pass this along to the voice acting directors in your life. i WISH every person running a voiceover session would read this. i have done hundreds of VO sessions at this point, and I've compiled a list of the most annoying traits of these sessions (DIRECTORS TAKE HEED! And VAs: if you encounter a director that does any of these things, THEY SUCK. Not you. You are amazing) VO DIRECTORS "DO NOT DO" LIST: * do not have TYPOS in your script. **please proofread the script.** don't waste everyone's time with a script that wasn't proofread. also do not ever leave shorthand in a script. you need to spell it out how you want it read (example: recently I received a script that had "FY23" written throughout, with the instructions to read that as "Fiscal Year 2023" - WTF? Just write out Fiscal Year 2023! Do not make me memorize acronyms during a session! Do not make a voice actors' job harder. * this is directing 101, but **do not give the actor line reads** unless for some reason, you absolutely have to. if you have to, *acknowledge that you know it's a shitty thing to do,* but the client needs their tagline said in a specific way, etc. *Bad directors/inexperienced directors give line reads because they do not know how to direct* (pleeeeease take a directing class if your job involves directing talent!). I once had a very inexperienced director think that the best thing to do in a session was have me PARROT THEM, line for line, through a 60 second spot. They read the line how they wanted it read, and I copied them. It was humiliating and totally unnecessary. Also, the director's reads were terrible, so my job was not perform like the audition they hired me from, my job became placating this director and making them think they are a genius. * similarly, **make sure you, the director, know how to pronounce every single word on that script.** I can't tell you how many times the director couldn't decide which way "data" should be pronounced, or there's an obscure Danish word that no one looked up before the session. Then we're doing 10 different takes to "cover all the options" or waiting 30 minutes for a coworker to slack them back with an answer. Figure it out BEFORE the session. * **do not pressure the voice actor to have their camera on during a Zoom session.** \#1. Video lowers the bandwidth and you'll be more likely to hear digital glitches (not on the recording, but on the Zoom call). #2. Video might make the voice actor more self-conscious, which is exactly what you want to avoid with actors!! Honestly, visuals are more distracting than helpful when it comes to voiceover. Let the actor perform in the way that makes them most comfortable * it bears repeating: **MAKE SURE THE VOICE ACTOR IS COMFORTABLE. do not add to their insecurity in any way. constantly build up their confidence.** constantly tell them they are doing a good job. NEVER let the thought creep in that they might have been hired by mistake. if you get in the actor's head, the performance will SUFFER. A director once started a session with me by telling me everything they DIDN'T like about my audition. I honestly felt at that point they had hired me by mistake and said "was there anything you liked about my audition?" I was so insecure throughout the session that I made mistakes on every other line. When I'm confident, I never slip up. When I'm insecure and nervous, I cant speak for shit. Actors are being incredibly vulnerable by performing for you. That deserves immense respect and praise. Constantly. ***(side note: director, please consider taking a directing workshop or class. seriously. put it on the company card).*** * do NOT surprise the voiceover artist with extra scripts in the session! **always always always make all the terms/scripts/pay rate clear before the session starts.** do not surprise the actor with additional scripts without proper compensation. * **please say SOMETHING positive after each and every take. ANYTHING.** Good thing to say: "I'm really liking where this is going" (actor confidence meter BOOST!). Do NOT come in after the actor finishes the take with simply "Ok... let's just try that again" or "That take was way too fast, you're probably nervous, adrenaline going. Let's slow it down." (actor confidence meter DROP). A bad director only points out mistakes or things they didn't like about the take. This will demolish an actors confidence. And guess what? A confident actor is a great actor. *praise the great things about the take and gently lead them in a new direction to get what you need.* If something is mispronunced, of course mention it. but say something nice first. seriously, it goes a long way. * if the actor stumbles during the take and corrects themselves and gets a clean record in the end, for god's sake do not mention it, **do not draw extra attention to mistakes. you're going to get in their head!**!. the actor already knows they fumbled. and worse, don't speak for me and say why you think I stumbled ("Oh you're probably nervous and still getting warmed up with the script and there were some stumbles in there. Let's do a clean take" - WTF?!). Don't play psychologist. Don't even mention the stumble. Do you want the stumble to happen again and again and again? Then get out of the actors head and don't draw attention to it! Again, your role is to up the actors confidence, not make them more insecure. * do not spend more that 10-15 minutes "figuring out the sound." **director, you need to be decisive and know what you want. your ambiguity is going to leech into the actor's brain.** and please god do not make me do multiple takes of the entire script in 3 different styles because you can't decide what you want. I know you have to deal with a demanding client, but seriously you need to LEAD them. be confident in your stylistic choices. be a DIRECTOR. LEAD your clients to victory with your creative vision. * similarly, for god's sake, **do NOT overexplain everything**. Pay attention to how much of the time YOU (the director) are talking. I cannot tell you how many sessions I've had where the director (sorry boys, it's usually a cis white male director) that spends 90% of the session talking, explaining, metaphors, giving background, over-analyzing ever single line of the script. it's condescending, aggravating, and often, I'm more confused and overwhelmed than if they just boiled down their point to a few sentences. **direction should be concise, clear, and gentle.** * if you have notes, and we are about to go through a script and focus on certain spots *one-at-a-time*, then please only explain *one note at a time.* if you're going to A B C (do three takes) of certain sentences or sections, tackle those one-at-a-time. it's really hard for a voice actor to remember a laundry list. some actors are amazing at taking notes on a full page of copy and implementing that right away, but that is a superhuman power if you ask me. * **do not demand full, perfect, clean takes of paragraphs-long copy.** I recently worked on a 30 second spot and the director insisted on full takes with no mistakes, no extra space for breaths. I thought I was going to faint by the end of the session. This session could have been done in 15 minutes if the director knew how editing works and pieced together the take with selects. the end result would have sounded perfect. instead, they got a full take but it was tired-sounding and less conversational, because the actor (me) was more worried about messing up than delivering a genuine performance. again, don't get in the actor's head! don't tired out the actor! * if your voice actor is ALSO engineering the session, you need to be compensating that person more. You've cut out a professional engineer, which is a huge cost savings for production and also a huge weight on the actor, who not only has to perform but slate/label takes. do not make the voice actor take notes. and please PLEASE spend the money to hire an engineer. You will get a better performance in the end. * if you have clients that want to be in the session, please have ONE person (the director) gathering all the feedback, and please please **please have one person (the director) interfacing with the voice actor.** it gets so stressful and confusing when I'm hearing different comments from different people and people are going to say shit that hurts ("it's not sounding like the audition...I liked the audition better" "this is sounding too mature, we need a younger sound" "it sounds like the script is being read, it's sounding fake"............ ugh. please spare the voice actor. our hearts and brains can't handle hearing all these errant comments. I have also heard directors arguing with clients during a session, which put stress levels for everyone on HIGH. * don't make the actor come into the studio if they have a professional home setup. totally unnecessary and waste of everyone's time. don't have your actor sit 3 hrs in LA traffic so that you (as the director) can be in YOUR comfort zone. Let the actor perform where THEY are comfrotable. * do not say at the end of a session: "can I come back to you if there are any small pickups and you can hop on the line with me again?" WITHOUT compensating them with a new session fee. No!!! Everything is supposed to be taken care of in THAT session. That's why it's supervised and that's why there's a session fee. If you (the director) find out later that you didn't get everything you needed, **you pay the actor a pickup session fee if you need another session.** Don't punish the actor because the end client revised a sentence and now you need a new read. You compensate that actor for their time and professionalism. Directors, I leave you with this: take a gaddamn directing class. We VAs are CONSTANTLY taking acting classes. The least you could do is take one freeking directors workshop and learn how to properly work with voice actors. fin.
Fellow Actors, newest showreel feedback please! by Pretend_Comedian_ • last post Feb 11th
What do y'all think? by love_acting99 • last post Feb 11th
So I've done both screen and stage acting (stage at my high school and locally, screen in a short film I made with my friends) and honestly I love both for different reasons. I've also been an extra on indie film and it was fun, but I did wish I wasn't just an extra. I was so excited at the prospect of acting with the main cast which is not surprising. In screen I love how I can focus more on individual scenes and moments, and I can act naturally with my scene partners, and everything just kinda seems more real since the sets are either real locations or like four walls in a studio. Plus you get a "safety net" of more takes. It's not something to rely on, but at least it's there. What I like about stage is the connection with the audience and the possible improv opportunities. But at the same time, I feel like even though I want to do all mediums throughout my career, I am hoping most of my gigs can be for TV, mainly because I also want to do some screenwriting and I like how TV is kind of like a partnership between the actors and the writers, especially if you have a big role in the TV series, because the writers did pick you because they trust you to make choices that will bring their vision of the character to life (I know this because I've written a few pilots currently and I feel the same way when trying think about putting a cast together) Also, TV is cool how there are so many more diverse stories and genres. Also, the characters are more diverse, age-wise, ethnic-wise, etc and I think it's because there are so many opportunities for roles in TV because it's the only medium where the story is indefinitely growing. Also, I think the best part about TV is the pacing; film is kind of too slow, theatre is kind of too fast, but TV gets to do several pages/scenes per day (anywhere between 5-8 per day, of course depending on the show and the day) so we get to do a good amount of acting in a day but we also can take our times with the material and not have to get everything in one shot.
I need some help picking out what character/role to audition for by Positive_Vibez0 • last post Feb 11th
I’m a college student in the USA and only got into acting/theater last semester when I signed up for my very first acting class. This semester, I have been fortunate enough to land two roles in two separate student-run theater productions. One of them only has a couple lines and the other is a supporting role in a major production. Since my college has a very good acting program and I’m still very new, I’m very grateful and lucky to have gotten these two roles. However, I was recently told the film production organization at my school was also looking for actors for their semester-long film productions. I went to the table reads and absolutely loved the scripts and the enthusiasm. Plus, since I’m more interested in on-camera acting, I really want to participate in the film productions. But I’m not sure what role to shoot for. One of the films’ has two leads, one is a detective and the other is a gangster. These are similar to both of my roles in the theater productions so it should be easier for me to pickup, especially since I’d be balancing all three productions at once. But I’m worried about playing too many of sinilar roles and being type-casted in the future. The other film resonated a lot with me and is personally something I want to work on more. The lead is an addict and the supporting role is his brother. I don’t think I’ll be able to juggle the lead role with the other two theater productions as this one is very different and will be a lot to manage. But the supporting role is very manageable and is still different to the other two roles I have. Plus, I think I can bring something unique to the table with this character. And perhaps, since my other two roles aren’t leads, maybe I should shoot for it anyway. I’m not sure which of the two I should audition for. Despite being lead roles, the first one might be easier to manage but might have me be type-casted into criminal/cop roles going forward. The other will allow me to explore a different side of myself and might be doable because its only a supporting role. Any thoughts on this? P.s. The first theater production is in early March, the second is in late march, and the film production spans the entire semester.