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Questions I need answered by Abstract_Corduroy74  •  last post Nov 15th

•As actors, how can/do we measure truthfulness in what we do onstage and on camera? •How often does real, truthful, spontaneous, and unplanned acting occur? Those little tiny moments where you feel magical, invested, and truthful that appear out of nowhere and are gone within seconds, unable to be consciously replicated. Those little instances that actors pursue all the time and hope will come every time they act because those are the moments where acting is really acting. And what do actors do the rest of the time? When those rare moments don't happen? Do they just fake it and it comes off truthful? How can I get to that point? •How can you really, truly be in the moment and believe what is happening onstage/on camera in front of you without losing control and forgetting you're just acting? •As actors, is there a measure to how connected and empathetic we are to our roles on an emotional level? Like, if you can't feel this or know this, you're not connected enough?

If you don’t land any agent representation, high profile theater roles, or any kind of proper film and tv actor status (series regular, or booking guest stars or working on the Indie film level) by the time you graduate drama school, are you f***ked? by Powerful_Network14  •  last post Nov 15th

As someone who just started drama school, this has me very curious. I know some people have been acting their whole lives or other come to drama school in the middle of their college careers or just pursue acting right after they studied something else, but I read a post here about Paul Mescal, and recently other rising actors in the states that ended up succeeding in acting by their late 20s or gave themselves a great launchpad to more prominent roles and making a living off of acting by their 30s and eventually 40s, but is this a common trope outside of drama schools? All the actors I admired just ended up getting these astronomical starts outside of drama schools / extremely large BFA programs. With so many damn students, MainStage opportunities, short films, and smaller stage productions, how the hell do you even stand out ? I know these actors - like Mescal, or Taron Egerton, or Victoria Pedrertti from YOU, all went to elite drama schools, but they were getting work from major networks or production houses (and that too leading roles by 25). They obviously worked hard, but is this all right place right time? Acting isn’t a linear ladder, so how would one scale it if they’re just getting started with the whole headshots, short films, Student play grind and only have 2 years? I’ve completed half of one and I’m still a complete nube at acting. I haven’t even been able to touch a professional set, let alone be an extra on it. And I’ve never been taught acting technique so I haven’t been confident enough to go for larger stage shows. This

Actors Access Audition Request Question by Dapper-Mango  •  last post Nov 15th

Hi all - last Thursday I received an audition request for a a very specific guest star role for a prime time tv show (I speak a specific language fluently and can do an American accent of it). I remember seeing the breakdown for it but I do not remember if I applied for it or not, and when I went to my submissions tab I did not see it on my submissions at all, in fact the entire breakdown doesn't exist on the posted breakdowns at all now and when I received the request. So, how did this happen? I've never had dealt with this. It is a legit office and I've known of this CD for many years. Did I never submit and they just found me on AA and asked me to audition? Did they delete the breakdown and therefore that's why I don't see it in my submissions? I'm truly curious. I did submit the audition this weekend, though. Also, the deadline for the audition was this afternoon, how fast does someone hear back regarding a Guest Star role for a major tv show? Thank you!

Can I go from YouTube to Hollywood ? by fartLessSmell  •  last post Nov 15th

I had a rough childhood. I was bullied and abused, but I still internalized these feelings. never reacted to any of it. But part of my coping mechanism was to talk with girls. I have always been a performative guy who would remember to say funny things in front of girls and make them laugh. I also seek attention from others. might be because of my own insecurities. But I am also an introvert, so it's not like I make friends and am friendly with everybody. So, I thought this would be the best way to level up from my shabby childhood. Part of my childhood was rough because I had a big mouth. I always had a passion for movies. When I saw Space Odyssey, I knew I wanted to be a filmmaker.However, I later realized that I mistakenly believed I wanted to be an actor or that I lacked the ability to make films. In my own country, films and art in general are not yet established businesses, so I don't have support from my family. I want to do this in Hollywood. So now I am planning to be a YouTube artist at first. no matter how. Maybe I will start to upload videos of monologues. This might be helpful for my own improvement as well. I also want to take a class, but with a lack of money and no support from family, I might just do free courses online. What is the best course to do? I am also planning to read books and plays. I know that is not enough. But I am planning to do this without talking with my family. I am planning to do this only with free online classes, books, and plays. Do you think this is possible? Is this the right path to go to Hollywood? Is there another best way to become an artist? ​ Edit: I also have tendency to day dream a lot. Is this advantage or disadvantage? What about meditation? Is it good to focus on nothing or let whatever thoughts come in mind flow?

Headshot Disaster no.3 - Are You Face Acting in Your Headshot? by Headshots-in-London  •  last post Nov 15th

I want to talk about the phenomena o*f ‘face acting’*. This is a term I came up with to describe the way some actors present themselves during their headshot session. [Awesome acting headshots](https://preview.redd.it/bhczqu7eu40a1.jpg?width=800&format=pjpg&auto=webp&s=4ba1a52f34b2e5cd5dc7dfc4cc651315ca01d931) It’s incredibly important to have a selection of headshots that suit your castability – whether that is as the cute girl next door or as a tough courtroom battler – it’s better to have a headshot that looks like you ‘in character’. To be ‘in character’ you need to invest emotionally and ‘be the part’ however, there are many times when an actor is in front of the headshot photographer that they won’t or can’t do this. They’ll act with their face to give a facial expression instead of looking inside themselves to engage with the character and express emotional content. The eyes are by far and away the most important part of your headshot, they must connect with the viewer, they must contain personality or emotion and they must be focused in the correct place. Casting directors are used to looking at hundreds of headshots a week and have an expert eye for spotting a good headshot, and an equally good eye for skimming over headshots that don’t do the business – that is to grab their attention and say ’wow look at me', As professional actor's headshot photographers, we must recognise ‘face acting’ and coach our clients into engaging and expressing real emotion and real feelings if we are to help them stand out and catch the casting director's eye. We can do this by engaging with our clients better, by giving them specific directions and by suggesting scenarios and everyday instances where they can draw on the emotions we all experience. The job of a top headshot photographer is not simply to take a technically perfect headshot but it is to coax, cajole, encourage and show the actors how to take their headshot to the next level and stand out from the crowd, to get them NOTICED! If we can’t or aren’t prepared to do this I believe as professional actors headshot photographers we aren’t doing our job correctly. This isn’t always the easiest skill to master as we’re photographers, not acting coaches. But to give our clients the best possible chance of succeeding we should be able to deliver this service as a given.

A few things I learned from : Robert J Sciglimpagila Voice Over Legal by Failed2launch  •  last post Nov 14th

https://www.amazon.com/Voice-Over-LEGAL-Robert-Sciglimpaglia-ebook/dp/B00998J7JO/ref=mp_s_a_1_1?crid=DMD4OHKIDVAQ&keywords=voice+over+legal+by+robert+j+sciglimpaglia+jr&qid=1664232593&qu=eyJxc2MiOiIwLjAwIiwicXNhIjoiMC4wMCIsInFzcCI6IjAuMDAifQ%3D%3D&sprefix=voice+over+legal%2Caps%2C667&sr=8-1 DISCLAIMER: I'm not him, nor do I get any money for linking this ebook. I am just a voice actor. Also, it was made in 2012. Which is important, because this was made during the merger of SAG-AFTRA. So, some information may be irrelevant, BUT some things are the same and it being 2022, it is great to see what has become not just common sense, but wisdom. This will be a long post. I have tried my best to sum up 9 chapters of the book about what are the most important things I have learned. In the book, he always has real life examples of voice actors he had to represent in cases as well as Commonly asked Question and Answer sections per chapter, usually. From Chapter 1 and Chapter 2 VOICE ACTING IS A BUSINESS Make sure you know that. You can get sued. GET an ENTERTAINMENT ATTORNEY. GET A TAX ADVISOR. Have these professional help you decide if you should be an S-corp, LLC or something else. Every situation is different for everyone. From Chapter 3 Celebrity impersonations, YOU CAN BE SUED And many more things you can be sued for if you do a commercial and the product doesn't work or someone DIES (Like medicine commercials) Again, he stresses that voice acting is a business and need insurance and to protect yourself TRADEMARKS, LIBEL, DEFAMATION From Chapter 4 All about CONTRACTS gets very specific about setting rules and time frames for delivery for clients, what happens if you get sued and breach of contract and making sure you get paid Also WORK FOR HIRE, Time is of the essence vs. REASONABLE TIMEFRAME AND what I consider the most interesting question that finally gets answered: WHAT IF I LIVE IN ONE STATE AND CLIENT LIVES IN ANOTHER AND I GET SUED HELD HARMLESS CLAUSE CANCELLATIONS RETAKES AND REDOS ARBITRATION JURISDICTION Chapter 5 INTELLECTUAL PROPERTY ISSUES COPYRIGHT INFRINGEMENT HOW TO COPYRIGHT YOUR VOICE FAIR USE Chapter 6 Whats the difference between a Manager and an Agent Also the talent managers association, as well as union and non union agents ALSO READ THE CONTRACT BEFORE YOU SIGN YOUR AGENT, GET AN ENTERTAINMENT ATTORNEY Make sure you get paid for your work, on time. It should have: "1) rate of compensation, 2) length of term, 3) payment of costs, 4) termination right by talent, 5) agent’s right to continue to receive compensation from artist after termination of the agreement." DON'T GET SHELVED! It's real! The author talks about some agents will hire you just to make sure you don't compete with the other talent on the roster. They won't send you out for auditions or work. CHAPTER 7 Unions, RIGHT TO WORK, FI-CORE This is something I really wanted to know, in fact, I made a reddit post about this and nobody had an answer (https://www.reddit.com/r/VoiceActing/comments/u6ol9y/can_you_do_nonunion_work_once_your_union/?utm_source=share&utm_medium=android_app&utm_name=androidcss&utm_term=1&utm_content=share_button) Anyway, this is a touchy topic, but from what I understood is that if you live in a Right-to-Work state, and you are Fi-Core, you can work union jobs and non-union jobs without discrimination. Here's a list of these states as of November 2022. (https://www.google.com/search?q=right+to+work+states&oq=righ&aqs=chrome.0.69i59j69i65j69i57j69i60l2j46i433i512j0i131i433j46i433i512j46i131i199i433i465i512j0i512.1362j0j4&client=ms-android-google&sourceid=chrome-mobile&ie=UTF-8) Chapter 8 BUSINESS INSURANCE Do you need it? only if family and friends are in your house, near your booth. But if you are a hermit you should be fine. Author recommends state by state research and ask an attorney for this. Chapter 9 TAXES And yes to finish off, he goes into detail about how you can write off your purchases of microphones and a booth and for travel like flying to Los Angeles for an audition and hotel stays. I highly recommend looking at that chapter. He recommends checking with your tax attorney before doing all of these write offs though. And finally, he has a sample voice actor contract that you can use freely if you are just getting started. He still recommendeds you have an entertainment attorney look at it. AND THAT'S ALL FOLKS. I hope this post gives a glimpse of what you can learn in the book, and I hope the author doesn't get mad at me for sharing too many secrets.

Questions I need answered by Abstract_Corduroy74  •  last post Nov 14th

* As actors, how can/do we measure truthfulness in what we do onstage and on camera? * How often does real, truthful, spontaneous, and unplanned acting occur? Those little tiny moments where you feel magical, invested, and truthful that appear out of nowhere and are gone within seconds, unable to be consciously replicated. Those little instances that actors pursue all the time and hope will come every time they act because those are the moments where acting is really acting. And what do actors do the rest of the time? When those rare moments don't happen? Do they just fake it and it comes off truthful? How can I get to that point? * How can you really, truly be in the moment and believe what is happening onstage/on camera in front of you without losing control and forgetting you're just acting? * As actors, is there a measure to how connected and empathetic we are to our roles on an emotional level? Like, if you can't feel this or know this, you're not connected enough?

Is a Casting Network subscription worth the price? by c_aesthetic  •  last post Nov 14th

Hello fellow Reddit actors! I'm currently acting in a market outside of the Big 3 and was wondering if the costly CN subscription price is worth it or if I'd be practically the same sticking with AA. Thanks for your insights :)

Location submissions by _Ultimate_Simp  •  last post Nov 14th

Without an agent or manager, I have to rely on looking for projects I want to act in. Though I am not in Atlanta, New York, or LA, but the small state of West Virginia, where there is almost no acting stuff going on other than school plays. Backstage, Actors Access, and other sites have a spot that says "seeking submissions from..." and I was wondering what would happen if I submitted myself to such things. Will they ignore the submission and give me no chance? Or will they view it with possibility of me getting the role if my stuff is good enough? If they do and I get the role, will it be a local hire situation? My full question here is, will they give me a chance if I am not from the location they are seeking submissions from? Or is it totally pointless and time wasting to try?

When should I join pay 2 play? by glutamat3  •  last post Nov 14th

Hello voice actors, I have currently deciding whether I should join p2p or not. I have made my commercial demo with music (all self made – I have a background in video editing, and I have spent a whole month researching plugins, effects, etc. and I am quite good at editing my voice), I have 12 diy acoustic panels, a king bee mark ii, 1 year of theatre from high school, and additional few weeks of auditioning for casting call club. I’m thinking whether I should get more experience on casting call club, or transition to sites like voices.com for more commercial work and money. If there are alternatives sites to earn income from voiceover, do you recommend voicebunny/fiverr/Upwork etc., and why? Thank you all for your responses.

How does an actor at a top drama school get A List agents immediately representing them? by Swimming_Zucchini_80  •  last post Nov 14th

Upon graduation, that is. I just finished watching "Normal People" and "Aftersun" with the rising star BAFTA-winning Irish actor, Paul Mescal, and noticed that he had bagged top representation coming out of drama school. As someone who is studying acting at a prestigious drama school in New York, how does one gain such representation if there is not much information about industry showcases? And even if one does go to these showcases, how does one even guarantee they get spotted by top agency such as Curtis Brown (for UK members who are familiar with it - where Mescal is affiliated right now) or something comparable like UTA in the USA, for reference? ​ With hundreds of mainstage shows and various different opportunities, how do you distinguish yourself?

Any AUSTRALIAN/Sydney Actors/Actresses able to give advice? by KittyMacaroon  •  last post Nov 14th

I am hoping to become a TV Actress, but I have no clue how to start. I have 0 experience beyond high school and one minor role in a university play. I was rejected by NIDA, and can't apply till next year. No feedback from them so far either. So I have a couple of questions, where should I get started to acquire experience and break into the Industry (I'm based in Sydney)? Anyone have any tips on NIDA and what they're looking for? And are there any actors meet ups etc. to meet people and build connections in Sydney?

More experienced actors please help ease my mind about upcoming Zoom table read!! by sp00kysabrina  •  last post Nov 14th

Hey!! I have an upcoming table read coming up for a short film of which I'm playing a large supporting character. While I have done many short films in the past, all of them were either short enough to where I could completely remember all the lines rather then remember them as a shooting schedule was given out (all of the short films beforehand never even gave out a shooting schedule.), or my role was small enough it was unneeded. This script is 28 pages, each of which I have lines on. I already checked with the team who said there will indeed be a shooting schedule given out when we're closer to filming time. For now, I have a Zoom table read coming up and just want to make absolutely sure I'm totally prepared!!! I am SO paranoid of having it turn out I SHOULD have remembered lines when I didn't

Actors, how do you prefer being directed? by ProductionBlues  •  last post Nov 14th

Do you prefer: 1. When the director tells you the emotions the character should be feeling, i.e. "make it sadder," "be more energetic," or "give me lust" 2. When the director shuts up and leaves you alone to make your own choices 3. When the director takes an active interest in your personal life and gives you directions based on your own real-world experiences, i.e. "like when your best friend died," "like how you feel when you're working out," or "like how you felt the first time you kissed your wife" 4. When the director gives you directions that guide you to the emotions you're meant to portray that are not based on your experiences, i.e. "as if you just lost your baby," "as if you need to rush to the bathroom," or "as if you can't think of anything but stripping her down and taking her" I'm a director who wants to get better at working with actors. I'm curious about what Reddit's actors have to say. [View Poll](https://www.reddit.com/poll/yvngpf)

Advice for young actor in Sydney by zestykiwithesecond  •  last post Nov 14th

Hi! I'm 18 and I know acting is what I'm going to do for the rest of my life. I studied Drama in high school for four years, applied to NIDA (Australia's biggest Drama school) and got rejected. I took a part time year-long acting course this year, got headshots done, signed with a small agent who primarily submits for TVC's. I applied again to NIDA this year and earlier today I found out I've been rejected again. I know being rejected from Drama school isn't the end of the world and plenty of actors have gone on to find success without it, but I feel like I never hear anyone go into detail about how they got their foot in the door without a family connection or a BFA (Acting) Degree. And I REALLY do want to go to Drama School, I think I'm someone who would thrive in that environment- I applied to two other Drama schools but haven't heard back and I'm thinking I need to start assessing other options. Basically, What do you recommend I do next year? Should I take short courses at NIDA? Any recommendations for Acting classes in Sydney? Or does anyone have any advice on nailing Drama school auditions? Cheers.

Demo Reel Filming Services in Toronto? by MaybeTooLost  •  last post Nov 13th

I know there are some very strong opinions on this topic, but please hear me out. I'm not a complete newbie actor, but unfortunately the only "demo-worthy" footage I have (in terms of quality) is from when I was first starting out as an actor, with basically no training. It's just not a good representation of my current skill level - AT ALL. I've since completed my BFA, which allowed me to join the ACTRA but, because of covid, and unfortunate timing, most of my cohort's performances were done over zoom, including shows and "on-camera class" footage. We had someone edit our zoom scenes, but they're completely unusable and, to be frank, embarrassingly awful. I'm having issues getting auditions. I know most of us are in the same boat right now. But, I can see on my youtube analytics, that my current demo (with the 5 year old footage) is getting SOME views, so I'm pretty sure that's what's throwing casting directors off of me completely, and it needs to be scrapped and replaced ASAP. I don't want to go the monologue / self-tape route because, as a union member, it just comes across as amateur. That being said, I've been looking into services that make a reel for you (writing and filming scenes, and editing). The few that I found in Toronto are either self-tape style, or shot in way that I can just do myself or with a friend and a tripod. Is there a service here in TO that will actually provide GOOD demo footage? I came across a company in New York called Reelarc. Looking through their website and youtube content, this would be the kind of thing I'm looking for - does anyone know if we have something similar in Toronto?

Acting and suicide by Abstract_Corduroy74  •  last post Nov 13th

Sometimes, when I get down on myself as an actor and full of self-doubt, thinking I’m too cerebral, too in-my-head constantly, not instinctive/impulsive enough, not concentrated / can’t concentrate enough, not emotional enough of an actor, not imaginative enough, not inspired enough, not relaxed enough, don’t have any training, I have the thought of killing myself. I’ve thought about it many times before. Because acting and having the all the right tools necessary to act greatly is so important to me, if I can’t have the skills or training or tools necessary to help me with every role I may get, then I have the thought that I don’t want to live if I can’t be a great actor.

How long does it usually take for casting directors to get back to you after you send a submission? by lets-snuggle  •  last post Nov 13th

Hi! So I’m an aspiring actress (22f) and I’m signed with nine9, an “unagency” they call themselves. On their website, there’s castings listed and I emailed one with my headshot and resume on Sunday, they sent me sides and requested I read for 2 characters on Tuesday & asked to have them by the end of the week. I sent the self-tapes on Thursday and haven’t heard back yet. The listing said they were going to film between Nov 17-20. Do casting directors usually work on weekends? Will they email me whether I got the part / callback or not?