We have found 19,295 posts across 4 actor forums:
Acting classes in New York? by Web-Wonderful • last post Oct 5th
Hey everyone, I’m visiting New York in November and I’d love to experience a New York acting class looking for recommendations for any drop in acting classes I could attend for professional actors. I am hoping for either an just a short evening class but all I can find are long courses. Any suggestions would be great.
The acting class I’m in sucks what do I do by Saaaintniiiick • last post Oct 5th
The city I currently live in isn’t renowned for its acting but I joined an 8 week acting class to keep up my training as I do auditions off in the city. The first class was tonight and man, I hate it. Firstly, I’m a 20 year old woman and 90% of the class is 60+ year old men so don’t know what that’s about. Secondly, I’m not by any means an acclaimed working actor, but I’m trying so hard to get there, and when the teacher asks if anyone knows what an objective or beat is and people shake their heads, I’m just exhausted. Everyone is nice and passionate about acting, but I’m so much more than this. There’s only one another studio in my city I can try for classes, but this studio doesn’t offer any sort of refund and I don’t know if I can stick it out. It was a couple hundred dollars so I dunno if I can just drop it, but it’s two hours once a week I could spend doing meaningful work on auditions. I’ll try and ask/beg if I can switch into another class w people my age but I’m not sure it’ll happen and this studio seems pretty amateur and probably doesn’t care abt my acting development more than profits
Seeking very specific 2-woman (or gender neutral) comedy scenes from TV by gina_theresa • last post Oct 5th
Hi everyone! I'm new to the forum but not new to acting! I'm a bilingual (eng/한국어) acting coach and I've recently taken on a new client. She is a very well-established actor, but is just starting to learn how to act in English. She tackled her first monologue like a champ, and now we're moving into dualogue work. The only problem is, I'm struggling to find solid examples of 2 woman/ gn comedy scenes from television. Most comedies/ sitcoms are massive casts, like 5+ people (Friends, HIMYM, New Girl,) and it's been like a needle in a haystack trying to find a two burner with women. So, if any of you are avid television watchers and can think of a scene that had you in stitches, please drop them below! I don't mind doing the transcription work myself as long as I can find the episode somewhere.
Is it worth to get an agent if you are just starting out? by eldemusic • last post Oct 5th
Hi all! I've been asking dumb questions all over this wonderful subreddit and of course on my journey to becoming a va more of these come up. I got a little role in a videogame demo, which made me happy. It's by no means perfect. It's over acted and made under a blanket, but it's a start. I want to become a videogame voice actor. It's a hobby since I just like learning accents and making up voices in my head, trying them out, tweeking them a bit and such. I DON'T WANT TO MAKE BIG BUCKS I have a job for that. So that's what I wanted to ask. Is it worth to just shove off all the work to an agent? I have abysmally low reply rating on all the cites and emails I send. Usually the v.g. companies just tell me "we use an agnet, sry". So, maybe I shouls get one? If yes, than which ones are better? What company should I go to? If not, why?
How much leash do agents usually give actors when they first sign them? by Legendsball • last post Oct 5th
Just passed the one year mark since I signed with my agent. We have a great relationship and I've gotten a few pencils, callbacks and have auditioned for some cd's multiple times but no bookings yet. Just got updated headshots and got my showreel sorted a few weeks ago as well. Is there a point where you would start worrying if you'll get dropped? I have confidence in my abilities and I know I'm doing well but the fear of getting dropped just won't go away.
Seeking advice for breaking into receiving quality tv/film auditions and getting momentum by detlillaspoket • last post Oct 4th
I've been in LA for 4 years now. The first two don't really count when talking about auditions because I spent them in a 2-year acting program learning the craft and not auditioning. Then Covid happened. I didn't try to work during covid, as I was focused on staying home and staying safe. I landed my first agent mid-2021, with whom I only ever received one theatrical audition (albeit for a great show), but they had 1000 clients so probably not the best person to get me out. I've since signed with a boutique agency, 100 clients, 20+ year industry veterans, so a lot more focused, but I have yet to receive a single theatrical audition through them despite everyone telling me I have great headshots, including my current and former agent, and being SAG-eligible. Is it "normal" in the beginning of your career to rarely get auditions even if you have an agent? I'm 20s-30s age range & female so lots of competition but I do have a bit of a character look and identify as lgbt. I have a reel that I paid to get produced, plus some footage from a short film I produced and it's okay. Definitely decent enough to land a co-star audition I would think. I have spent lots of time (6+ years) in acting class and am currently in a booking class so I think I'm capable of booking but I just....don't ever get the opportunity to book the job. I do self-submit on actor's access and am auditioning through there and I'm also producing some stuff on my own, so I'm staying busy, but I want those big theatrical auditions that you can only get through an agent and I've yet to really land any despite having an agent. I'm wondering what you folks did to get yourself to that point. Building relationships with casting directors? Joining SAG? Having a bunch of credits on no-name projects around town? Getting a great agent? How does one get a great agent without having recognizable credits? I'm just frustrated because I feel like I'm right at the precipice of breaking through that wall, and I see it happening for my classmates, but I just haven't been able to cross that bridge yet. Tips?
For those who think Tom Cruise is not a good actor by onionsandradishes2 • last post Oct 4th
Ralph Macchio acting technique by bohrphycs • last post Oct 4th
Ralph Macchio being my favourite actor, I wonder which acting techinque he uses. Is it The method, Meisner, any other???
Casting director's explanation of which audition wins by controltheweb • last post Oct 4th
> *"I listen for one authentic moment—which most auditions have zero of—and then figure we'll bring you into the studio and get a few more moments out of you."* Another useful quote I remember: "Well-trained actors sound like non-actors. Non-actors sound like bad actors." ([What is Voiceover](http://whatisvoiceover.com/) has some tips on how to achieve authenticity in voice acting.)
Joining Spotlight via recommendation by FrenchFriedIceCream • last post Oct 4th
Has anyone done this? For background: I'm British but I've been in the States since high school age, so my acting agent is based here. I know Spotlight changed a little in pandemic so that actors can use a recommendation from an agent (that is part of the Talent Agent's Association? on mobile so I can't 100 percent check right now) to join, but I'm wondering how you all went about if you joined via recommendation vs joining via drama school or having the correct amount of credits. I'd predominantly be using it for voiceover or remote work for now, and while I would like a UK agency in the future, I know most if not all won't give you a second look unless you have a Spotlight account. Also, for anyone who is using Spotlight that's based in the US: how did you explain it to your agent when they asked what it was? Should I expect to field any questions from them?
Guys, serious question. How can I become an actor with no acting school? by res_rei • last post Oct 4th
I am really interested in film-making industry and being an actor, but I have no idea how or where to start. Please, all suggestion are accepted.
Online Acting Masterclass by TypeAffectionate • last post Oct 4th
I’m taking about the ones with actors such as Samuel L Jackson, Natalie Portman, Helen Mirren, etc. on masterclass.com. Has anyone done them? Are they work the 15/month (which is pretty cheap compared to some others? What was your experience?
Feeling competitive by Strange_Clothes_4382 • last post Oct 4th
Hi guys, so I just joined a film acting group to gain some experience and there’s a ton of amazing resources and networking and I’m very excited. However one problem I have is feeling like the other actors are not my friends but more like competition. Even the guys and girls that don’t even look like me?? But at the same time I’m so excited to work with them because I’ve never had an opportunity to work with other actors and I have the freedom to be creative and it’s a comfortable space to grow and learn. I guess it’s a little bit of jealousy too from actors with more experience? But like that doesn’t help me at all. I don’t even know if I’m going to dive into the acting industry…I want to but it’s scary. but in the meantime, how can I change my mindset around this?? It’s toxic and I feel like an asshole thinking like this. I’m really excited to produce films and stuff and actually work with other people interested in the same things.
Do below the line agents ever rep actors? by stugotsmymoney98 • last post Oct 4th
So I had a situation the other night where I was at work waiting tables at my restaurant and i waited on a woman who basically told me she was a producer and asked for my info, she seemed normal and nice so i gave it to her, long story short she emailed me and told me she had a friend who "used to work at X agency and now has their own". (one of the big 3) so in the email after saying it was great to meet me etc., "I made a call to X. I think it's better this way". the name of the person was not searchable. A person with the same last name, and a very similar first name, IS the person she was most likely describing from what i researched. (used to be a big deal at one of the big 3, now has their own agency). but then in the follow up email she used the wrong first name again! (maybe she was drinking? she made a joke about being tipsy when i waited on her at the restaurant in the first email) ..... but they rep below the line people..... mostly DPs and editors that have worked on major blockbuster films by A list directors.... but still it's not actors.... I'm thinking this lady is just super nice and was just feeling good and wanting to help me, but not really knowing how things work? or, this below the line agent that used to be a big deal at one of hte big 3 could potentially pass along my info to his agent buddies that do rep talent? now i already have rep and tape on a regular basis so i don't really care / am not putting stock into this just as i never did the 15 million other times people have said and promised random shit like this in the past.... but what do you think?
I’m a novice and typecasting/branding comes off as superficial and morally wrong to me. IRL people with a badass face aren’t necessarily badasses and people with dummy faces can be geniuses by bdlflgl • last post Oct 3rd
Can you help me change my mind please ? I’m driving my actor friend who tried to explain it to me crazy
Getting an agent with only one or two scenes reel by An-Actual-Vampire1 • last post Oct 3rd
I have taken some acting classes (including advanced) and have two lead scenes from my work, plus a bunch of acting credits (mostly background so nothing to show for those) . Both scenes are about two minutes but one is pretty well produced. Would this be enough to show an agency, or should I wait to have more (or even purchase) scenes? How many scenes or clips should demo reels have? Do any agencies take on actors without a demo reel?
OPINION: What I've learned (insert clickbait title here) by Cordath • last post Oct 3rd
I've been doing voice acting for just over four years now and wanted to share a perspective that I've developed recently that I would have found immensely helpful to have back when I started. Obviously, this is based entirely on my own worldview and personal experience (and will probably be controversial to some), so take it or leave it as you wish. This is just where I'm at currently and I'm sure my views will develop further as time goes on. ​ The mentality that I had when I started voice acting was that I needed to book the job. That's the whole point. You get the coaching so you can get the demo, so you can get the audition, and then book the job. Everything I did was in service of getting the job. All the courses, demos, and recordings I made were to get the job. Several months ago I had an epiphany (in no small part due to the out-of-this-world perspectives of Elley Ray Hennessy). I now feel that I've been going about things completely wrong this entire time, and it had driven me into the ground. Let me elaborate. ​ If you've been in this industry for any length of time, you know that one of the things that is taught regularly is that you have to get coaching before doing anything else. How people go about getting the coaching is up to them, but it has to happen. Some people go through CCC, others use Gravy For The Brain, and plenty of others get one on one training, but the majority aren't going to get it all from one source. However, there is one thing that almost all of these coaching methods have in common: they teach that there is a "right" and a "wrong" way to go about doing things. Some examples may be that it's wrong to brush over the brand name, it's wrong to inflect down at the start of a list, or it's wrong to skip over periods, or repeat sentences for emphasis if it isn't written that way, or add humanisms if they aren't included in the script. The issue here is that, as I've come to see things, "wrong" is a matter of perspective in this work. Yes, there are certain things that are wrong without question (ignoring file labeling instructions comes to mind) but when it comes to the artistic side of this work, wrong is a matter of perspective. ​ I have a couple of agents I'm working with right now. Shortly after getting the first one, I had a call with them just to introduce myself and to learn more about their work process. One of the things they commented on was my slates. For every one of the sample scripts they sent my way, I had done some variation on slating my name. On one I'd chosen a very melodramatic tone and said "(off mic) ugh this is so lame! (on mic) It's \*name\*. (off mic again) that's it? I can go now? Great." Each slate had a different characteristic and showed my ability to do something that wasn't in the script. The agent said that they thought my slates were clever, showed my range, and they made them pay more attention to my reads. "They woke me up". For my third agent, I got a call from them, and immediately after saying hi and confirming that I was the voice talent that they wanted to speak to, they said "So, your slates are really weird. Don't to them like that." They then proceeded to explain why my slates were jarring and would cost me work, and even went so far as to say that unless the script said to slate, I should never slate. This really threw me off because I thought I had something good going on with my slates. They were unique to me, with my own stupid sense of humor. My calling card, if you will. The agent, however, said in no uncertain terms that they were bad and that I should can them. This was especially discombobulating for me because my other agent liked them! It's also not like the first agent was smaller than the second agent or something; both are quite well known. What gives? This experience percolated for a while until I did some coaching with Elley Ray, which shone some light on it and gave me a new way of looking at things. ​ You've probably heard of "tips and tricks" that will give you a higher chance of booking a job. Things like improvising a bit, doing multiple takes, humanisms, leaving your mistakes in, etc. I've gotten plenty of them from a whole bunch of different sources and I've tried them all. What I didn't clue into is that they are almost entirely redundant for one simple reason: *you don't know what the person listening to your audition is thinking.* The listener could be hungry, or biased against your accent, or stressed out about their home life, or have had a high school bully that your voice reminds them of. My regionalisms could be jarring, or I could be reading too quickly, or pause in the wrong spot, or inflect in a way that they didn't like. Bottom line; there are a million factors going on that I have zero control over that play into whether or not I'm going to get the job, and there is *nothing* I can do about it. It doesn't matter how many takes I do if the listener is in a rush. It doesn't matter how funny my improv is if they just want to hear the lines of the script. It doesn't matter how convincing my humanisms are if they don't want them. It doesn't matter if I get my audition in early if they listen to auditions a week after submitting the request. It doesn't matter if I slate creatively if they don't want creative slates. It doesn't matter if I don't slate at all because they may have wanted a slate. It doesn't matter if I do the perfect read, because they may want someone who sounds more like Aaron Paul than I do. We all know how ruthless the auditioning process is. My read MIGHT get listened to for five seconds. If I haven't captured them in that time, I'm out, and there's nothing I can do about it. The thing is, all I can do is GUESS what is going to hook them, and considering how many possibilities there are, the chances of me doing the "right" thing are inconceivably low. *I doesn't matter how well I audition if, for whatever reason, they don't think I have the right read.* ​ To delve deeper into this, I present to you two links to two different ads. Both are from the same series of ads for google chrome. One is for the American market, and one is for the Australian market. American: [https://www.youtube.com/watch?v=nd7zxDThkvk](https://www.youtube.com/watch?v=nd7zxDThkvk) Australian: [https://www.youtube.com/watch?v=qdH\_KocQbpA](https://www.youtube.com/watch?v=qdH_KocQbpA) Same product, same type of script, VASTLY different reads. Question is, why doesn't the American spot sound more like the Australian spot or vice versa? There are a couple of reasons that come to me off the top of my head. 1: There are different styles of voice-over depending on where you are in the world. You learn things from British coaches that are discouraged by American coaches, for example. 2: Different casting directors could also play a role. Each one will have an ear for their respective market and what is going to do well. 3: Talent worldview. Everyone grew up differently, and it influences how we see the world, communicate, and most importantly, take direction. The thing is, the talent doing these reads have no control over any of those things. How many amazing reads do you think were sorted through before they settled on these two? ​ Another example: The guy who's currently the official voice of Mickey Mouse, Bret Iwan? Micky Mouse is legitimately his first gig. He just had a good sense of who Micky was and had a friend at Pixar that sent him the audition. No training, no microphones, no booth, nothing. Just talent and good fortune. Keep in mind, he booked the gig AFTER Disney had already gone through who knows how many other professional voice actors. If you want to hear more of his INSANE story, you can check it out here: [https://www.youtube.com/watch?v=9NSCT\_ukW-8](https://www.youtube.com/watch?v=9NSCT_ukW-8) ​ All of these examples point to there being almost nothing we can do as talent to increase our chances of getting booked. This is a frightening prospect! Any sense of control that I thought I had over my booking rates? Out the window. It also means that basing my success on the amount I book is redundant because there are people out there with far less experience who book more/better jobs (I mean, Mickey Mouse? Seriously?) The question then is where does that leave me? If it's just LUCK as to whether or not I make a good enough impression to get the job, then what am I supposed to do? Was I wasting my time when I was learning to interpret direction? To be a better voice actor? ​ Well, here's the logical conclusion: Q. If there isn't anything I can do to make myself stand out and have a better chance of booking the job, what CAN I do? A. There is something you can do to stand out. **Be yourself.** After all, why not? Because of all the factors that we know go into deciding if someone is going to get booked or not, why bother trying to read the tea leaves and predict what they're going to want? The funny thing is that I actually have a *better* chance of booking the audition by choosing to be myself because at least if I'm being myself, I'm guaranteed to be unique in some way, which is the whole point, right? At the very least, I've got a better chance of being unique than the other 50 talent auditioning who are all focusing on the same "secret tips and tricks" and reading the script "correctly" to the point where they all sound the same. In addition, being authentically me naturally lends itself to coming off as more natural, real, and genuine: all things that are highly sought after nowadays on virtually every project. Now, this isn't to detract from storytelling ability. That's just as important, and that's where your training comes in. You still have to be able to forget the microphone is there and deliver a captivating performance. You still have to have good diction. However, those things aren't what adds the "special sauce". Anyone with a bit of training can read a script well, or "properly". It's learning how to bring your authentic self to the script that makes the magic happen. ​ Question is, what does it mean to find your authentic self? How does one do it? I think the process is different for everyone and is ongoing. In my case, I had to realize that my life is based on perspective and that I can choose to look at things however I want and have them be true enough for me that I'm able to stay happy. Nowadays, I "get" every single script I audition for. That doesn't mean that I book the job, but it does mean that I make sure that I'm never doing a canned performance. It means that I'm taking the time required to understand the script and the direction and turn it into something that feels real to me. If I feel like I'm faking it, I haven't gotten it yet. I can't say how you can find your authentic self. That's something you have to figure out. What I can say is that part of the process is learning that you have to let go of other people's expectations of you if you want to have a chance at seeing it. ​ Going back to the "wrong" vs "right" way to read a script; hopefully, I've demonstrated by now that wrong and right in acting are completely down to perception and personal preference. What this means is that on every single script, you have to choose to do what feels right *for you.* Not what you *think* is right for the director, or the writer, or the engineer, or anyone else. *For you*. After all, you are the only person you know well enough to know if you're getting it or not. By being true to yourself, you'll start shaking off the shackles of conformity and will start doing things that surprise your listener. Heck, you might even surprise yourself! Whether it books you the job or not is another matter, but at least you'll be getting their attention more. You'll also be having more fun. I'm pretty sure that nobody enjoys the "ah, I messed up that take" process where you do the read fifty times because you think you're inflecting in the wrong way. Nowadays, I almost never record more than three takes. Forget about the technical side of things. If you've been doing this long enough, that stuff should be second nature. Give into your creative side. "Use the force, Luke". ​ "But I still want to book work!" I hear you say. Understandable, which is why I have one last thing I'd like to touch on. There is nothing you can do, outside of being yourself and being an excellent storyteller that is going to get you the winning audition. However, you can still tip the odds in your favor another way. Strong relationships that are built on trust. If you demonstrate your integrity, reliability, and trustworthiness on every single job you do, you're going to book work more consistently. The funny thing is that it has nothing to do with ability and everything to who you are as a person. Oh, and good fortune. You have to be given the opportunity to demonstrate those things in the first place, and that just comes down to the all-powerful casting director saying "let's try the new guy", and as I've hopefully shown, that has almost nothing to do with you. ​ I know I'm not the only one who's posted on here, discouraged about how things are going. "Why aren't I booking? Am I any good? Am I wasting my time?" All of these thoughts are based on the worldview that I'M the reason that I'm not booking as much as I want, that there's something wrong with ME, and that I should keep trying to fix ME in order to make people like MY reads more. Had I had the perspective that I have now back when I started, I would have been a more relaxed, creative talent from the get-go, and probably would be farther along than I am now. I wouldn't have wasted time trying to please people. I would have taken more risks, perked up more ears, and probably booked more work. I also would have avoided a LOT of pain and mental strain. After all, I don't know how well I'm doing. Not really. If someone isn't booking, that doesn't mean they aren't making it to the top five shortlists on every third audition they do. That doesn't mean that they haven't been getting unlucky with who's listening to their reads. If you've been told by multiple people who know what they're talking about that you're good, then you probably are, particularly if you've been taken on by a reputable agency. You not booking doesn't mean you aren't skilled, or talented. It just means that the stars haven't aligned for you yet, or that you aren't marketing/auditioning enough. ​ To summarize, be yourself because it's the only unique thing you can actually do that will make you stand out in some way, and don't base your success on your booking rates because there are people who are less skilled talent than you who are booking more than you. Find your authentic self and define success in the way that is most beneficial for you so that you *don't give up* and *ARE* *AROUND* when you do get your big break. Network, build strong relationships, and always be ready to lend a hand. Booking consistently is just as much about connections and making a good impression in the industry as auditioning. You'll do auditions that you think are pure gold, and get booked for the job where you half-assed your audition because you were tired. It's completely down to the listener, and you can't know what they're thinking, so why bother trying to figure it out? Be friendly, talk to people, be authentic, and be consistent. I don't think there's an audition technique out there that can beat those things. AGAIN, THESE ARE MY THOUGHTS AND OPINIONS SO PLEASE DON'T VIVISECT ME. Merci Beaucoup.
What are your thoughts on Barry Keoghan’s audition for the riddler? by superbonbon13 • last post Oct 3rd
There has to be more right? Like no way he was booked just off of him walking down a hallway, also how do you feel about submitting an audition that way, you think the way the industry is changing should our self tapes now include more creativity and not just us behind a plain backdrop? Or because he is an established actor he can do self tapes like this and casting is cool about it.
Moving to LA or ATL from San Francisco to pursue acting with no experience by summerfield • last post Oct 3rd
Hey r/acting! I'm a 31 year old software engineer living in San Francisco. I've always dreamt of becoming an actor, but haven't pursued it besides doing an acting class. One reason is that I've been morbidly shy, but have since grown out of it. It's now or never and I'm ready to take the first steps. I have a few options on the table: * Stay in San Francisco, take classes, get headshots, participate in student films, build a demo reel and package. If I see that I enjoy it and want to pursue it further, I can move to a major acting hub like L.A. Seems like opportunity is limited here and I've been itching to move given the high COL, and that I have a remote job where I no longer need to be located here. * Move to Atlanta and try to build my credentials for a year there, and see how it goes before deciding it's not for me, or moving to a bigger hub like L.A. Upside is way lower COL, downside if being far from family/friends and having to ship my car. I think could be a hassle to move 2X, I don't see myself settling down in ATL. * Move to L.A, and start from scratch here. I know this sounds crazy, but my expenses will be lower in L.A. compared to San Francisco. I can work remotely as well. I'll still be close to family in the Bay Area. **The only downside seems to be that it's very competitive, and seems impossible as a newbie to break in.** Maybe I can build my resume with Bay Area opportunities while living in L.A, as I do have family there that I will come up to visit time to time. What do you all think? Thanks in advance!
Who are some gay/Queer actors who regularly get cast in straight roles? by Material_Gworl5 • last post Oct 3rd
i.e. Jonathan Bailey, Luke Evans, etc. Who are some LGBT actors who aren't put in a box/cast as the "Gay bff?"