We have found 19,247 posts across 4 actor forums:
Focusrite Scarlett Solo vs 2i2 vs Behringer QX1002 USB with Audio-Technica AT2020 microphone? by SpectacularLifeNoise • last post Apr 11th
I'm a complete newbie, but want to be a professional voice actor. I read a Masterclass article to get my equipment recommendations. The QX1002 was a step up from the $89 model and was recommended to use with the Blue Yeti. After reading some more, I decided to go with a condenser microphone because I can't completely sound proof my place. Leaning towards the Behringer QX1002. Anything I should know about it before I buy?
Network Approval? (What does it mean) by kkrs28 • last post Apr 11th
Hey guys I recently was told that I was being forwarded to the network approval stage of a production but I’m not really sure what Network Approval entails, or what that means for me. It’s for a titular role in a show so I imagine more steps will have to follow, but what happens after a network approves an actor? Is there typically more auditions, how many people usually are put up for approval? And is this like a penultimate stage in casting? Also what factors go into disapproval or approval? Thanks for any and all answers and sorry for throwing all these questions at you guys I have already combed Google, Twitter, and Quora :,)
Thoughts on Skillshare/ Masterclass VO courses? by Darth_Quixote • last post Apr 10th
I've gotten a handful of paid gigs over the years hobbying around, but I'm plunging head-first into it this summer. I'm a big believer in the "forever student" mindset, so I'd love a regular lesson schedule to keep skill sharp. Unfortunately, I'm priced out of most coaching. What are your thoughts on online VO classes from the likes of Skillshare or Masterclass? I don't mean if you've had direct experience with it. Would you (or a client) negatively judge a voice actor who's "training" listed classes from self-paced, online VO coursework?
New voice actor. Just passed an audition and I want to make sure the client is doing right by me. by boxboothstudio • last post Apr 10th
I passed the audition for a narration gig for a YouTube channel. The client has several semi-successful channels that range from 60k - 200k subscribers. They are trying to get another one off the ground. I'd be doing scripts around 2000 - 2200 words. He's offering around $10 - $15 a script, with discussion about an increase when the channel gets monetized. He mentioned also wanting to use my face on certain videos for around 30 seconds to give the channel more personality. I'm very new to the business. I'm not sure what I should be charging or even what this kind of work is worth. I was just looking to get some experience under my belt. What do you all think?
Talent Agency- Introductory email? by Failed2launch • last post Apr 10th
There is a new talent agency that popped up in my town. On their website, it says they are SAG-AFTRA affiliated and the best way to reach them is by email. My question is what should I say in the opening email? For example, "Hello, my name is Bob and I am a voice actor. Here's a link to my website, and to my demos. Thank you, and I look forward to hearing from you." Or another I was thinking about was "Hey, I'm Bob, I'm new in town. I saw you have some great talent on your team. My phone # is ..... and I look forward to hearing from you." Any suggestions or recommendations are helpful. Thank you.
Is it rude to suggest a director's last second change might not be a good idea? by ellebelle2580 • last post Apr 10th
The second night of a show I was just in, one of the directors decided to change how my final quick-change went, making it much more complicated. The night before, she had kept telling me to make it faster, so I did. So when she changed it, I told her I didn't want to add in extra steps and that if I did, I could not make it fast, and she seemed to think I was stepping over the line. I didn't say it in a disrespectful tone or anything. Is this just something actors aren't supposed to do? Should I just listen to my director even if it doesn't make sense to me? Her Telling me one thing one night and the opposite the next really stressed me out.
How do you make notes form watching other people acting ? For eg: let's say you're watching Streetcar Named Desire, how and what will be your notes about Marlon brando, which can/will help you in your own performance ? by dying-wolf • last post Apr 10th
I am really new, I don't know how actors watch others actors and what do they generally see or make notes of ?
Is it possible to become a famous actor while being open about using drugs once in a while? by Autismdemigodof420 • last post Apr 10th
Im just starting to get serious small roles in series and stuff, however now im getting a little more eyes on me im a little nervous about me being open about using ketamine once a while. I don’t think any director has checked my social media yet, otherwise I wouldve had a conversation about my social media and stuff
Am I too poor to ever become an actor? by Vixizzi • last post Apr 10th
Hello everyone, I’m 17(f) and I am wondering if I’m too poor to ever start acting. My mom is jobless (I don’t have a father figure to help with income either) and we barely have even 10,000 dollars saved. I can’t get a car because of it. I’m going to Nassau community college when I graduate because I have no other choice. I really want to be an actor, will this ever be possible? I also don’t have any other special skills other than my teachers saying that they think I’m good at acting. One plus is that I’m already really close to NYC.
What’s more beneficial: having more time or more space? by muhliza • last post Apr 10th
Hi there, I’m hoping to get some advice on what changes I should make in order to put as many eggs in acting as possible. I have tomorrow to tell my boss whether or not I want to quit. I’m currently 23 years old living at home with my parents in Seattle. I work three fairly flexible part-time jobs (I’m a graphic designer) that are stable and collectively good income, but it can be hard to balance them all. My co-workers are very nice/forgiving but I wish I wasn’t spread so thin so I can do my best work in one job. (Even though I want to pursue acting, I still care about my design work.) After work, I usually have acting/improv classes at night. Because of how busy work can get, I don’t always have enough time to prep and sometimes I come to class in such a distracted headspace that prevents me from performing my best on stage. I was hoping to quit two of those jobs so I can focus on one job as well as acting and comedy writing. However, I would probably have to continue living with my parents which can be frustrating. Just not a lot of privacy and the lack of quiet space to create work as an actor. Our relationship is alright but I sometimes think it would be healthier if I just left. Also, the idea of having my own space seems like it would allow me to be more creative and able to create work that could financially support me one day. However, I would need to keep all three of my jobs to pay for that lifestyle for now (Seattle is just expensive). — I don’t know what to do: 1. Quit two of my jobs and keep one. I might be able to find a dirt cheap apartment but I’ll probably have to keep living with my parents. More time to focus on my acting training and comedy writing. Flexibility to travel and do workshops in LA, since the job I want to keep is remote (unlike the other two). 2. Keep all three jobs, get my first apartment, and try to set firm boundaries with my jobs so I have time for acting/writing. I’m still worried that this won’t work out as planned and I won’t actually have the time. But this will be a new experience since I’ve never lived alone before. I could live near my workplace which would cut down on commute. Sorry this is a lot of info but I get so caught up in the different variables. Would really appreciate a little advice. Thank you so much.
Looking for advice…got into Juilliard BFA but I’m so anxious and scared by epicemmmi • last post Apr 10th
Acting is my passion and my dream. With all other complications of life off the table, I would dedicate my life to the art. But I never thought pursuing acting would be an actual option for me. For context, I’m 18, and I’ve spent my entire life up until this point preparing to go to a top college; I’ve been extremely focused on academics. I’ve spent all my free time in high school pursuing artistic extracurriculars but I always assumed I wasn’t actually good enough to make it as an actor. I assumed it would end up being a hobby. The thought of this was somewhat saddening, of course, but I had come to terms with it. This fall, I early actioned to Yale and was deferred. I decided to shoot my shot at some BFA programs, expecting very little but thinking why the hell not. I did a lot better than expected, with the biggest surprise being Juilliard. A few weeks ago I also got into Cornell, Duke, and Northwestern, schools I had been preparing to go to my whole academic life. My parents will support me with either choice I make, but I know they’re quite hesitant and fear for the instability of my future should I choose Juilliard. I know Juilliard is what I want, but I’m so scared that the harshness of the industry will ruin my love for acting. I’m scared that I will end up broke and regretting not choosing these top schools where I know id at least be able to support myself in the future. I wish I could feel confident in my decision, but even with Juilliard there are no guarantees and I feel like I’d go into school feeling this incredible pressure and fear of failure and regret. Any actors out there have any advice or words of wisdom? I would truly appreciate it.
Casting Director workshops by ActorWriter24 • last post Apr 10th
What are your thoughts? LA pretty much banned them unless you count Ace Studios. NYC is overrun with them. People claim you need to take them. I get auditions from CDs that don’t do workshops. VO actors swear by them and it seems workshops are a thing in the voiceover world. I’m just feeling conflicted on this topic.
What are your thoughts on Anthony Abeson and his classes? by Then-Muffin9229 • last post Apr 9th
I came across him through a cry on cue video and have looked a little bit into him. He has taught some A-list actors like Jennifer Lawrence and Ian Somerhalder. I plan on starting monthly classes with him this summer and even the prices seem reasonable. What are your thoughts on him and his studios? Have you ever taken a class at the studio? Any answer on this would help!.
Diversity in UK Acting by bronsonmcjohnson • last post Apr 9th
Hey people, just wanted to hear some stories about the experiences of diverse actors finding work in the United Kingdom! Are there notable challenges/benefits to speak of? Do you get typecast, and if so, how? What could a half-latino Australian actor (ie. don't really present as "white") moving to the UK expect from the British film industry in 2022? I understand I may be biased by the number of period dramas I see produced by the BBC here on Australian television, but it seems a lot of the roles out there appear to be geared towards your standard Anglo-Saxon. Which is totally fine, especially for those genres! Just trying to get an idea of what to expect when I move there later this year.
Laurette Taylor on "The Quality Most Needed" by thisisnotarealperson • last post Apr 9th
Shoutout to /u/cryoncue for referring to this often enough to make me track it down. Some context: *this was written in 1914*. Don't forget that as you read. Some of the references and cultural things won't land as intended, but this is a full eight years before Stanislavski's troupe would tour the States and captivate a New York audience that included Lee Strasberg, among others, who sought out these actors to teach them the style they were using. Stanislavski did not invent realism, he just attempted to codify it. Laurette Taylor has an interesting history. She worked on stage to great acclaim and in silent films. Her star faded and she was an alcoholic which led to a decline in opportunities, but she absolutely electrified audiences in her final role in 1945 as Amanda Wingfield in the original production of *The Glass Menagerie*. This lady knew what she was doing. Below is her text, excerpted from *Actors on Actors*. --- I have been asked to discuss, for the benefit of those who may go on the stage, the qualities which are most important as elements of success. If merely the financial or popular success of a woman star is meant, I should say that beauty is more essential than magnetism. But if by success you mean all that is implied by the magical word Art—success in the sense that Bernhardt, Duse and Ellen Terry are successes—I should say most emphatically the reverse. And I should add that imagination is more important than either. Mere beauty is unimportant; in many cases it proves a genuine handicap. Beautiful women seldom want to act. They are afraid of emotion and they do not try to extract anything from a character that they are portraying, because in expressing emotion they may encourage crow’s feet and laughing wrinkles. They avoid anything that will disturb their placidity of countenance, for placidity of countenance insures a smooth skin. Beauty is not all-important as an asset, even when the star is not anxious to achieve true greatness. Many of our most charming comediennes are not pretty women. Rather, they are women of great charm and personality. I cannot for the moment recall a single great actress who is a beauty. At least not in the popularly accepted idea of what constitutes beauty. Personality is more important than beauty, but imagination is more important than both of them. Beauty as I understand it does not mean simple prettiness, but stands for something illusive and subde. The obvious seldom charms after one has had to live close to it for any length of time. Being all on the surface, there is nothing left to exhilarate, once the surface has been explored. On the other hand, the beauty which emanates from within becomes more enchanting upon close acquaintance. It is constantly revealing itself in some new guise and becomes a continual source of joy to the fortunate persons who have the privilege of meeting it frequently. That is beauty of the imagination, and that beauty all the really great actresses have. The case of Bernhardt is as good an example as one would wish. In her youth especially, she was the very apotheosis of ugliness; still, through the power of her rich imagination that glorified her every thought and act, she held her audiences in the hollow of her hand. It is the strength and richness of her wonderful creative mind that makes it possible for her to present the amazing illusion of youth which she does even today. It isn’t beauty or personality or magnetism that makes a really great actress. It is imagination, though these other qualities are useful. You see a queer little child sitting in the middle of a mud puddle. She attracts you and holds your interest. You even smile in sympathy. Why? Simply because that child is exercising her creative imagination. She is attributing to mud pies the delicious qualities of the pies which mother makes in the kitchen. You may not stop to realize that this is what is going on in the child’s mind, but unconsciously it is communicated to you. It is the quality of imagination that has held your attention. . . We create in the imagination the character we wish to express. If it is real and vital to us in imagination we will be able to express it with freedom and surety. But we must conceive it as a whole before we begin to express it. There will be those who will disagree with me and say that magnetism presupposes imagination. This is a mistake. Many magnetic actresses are wholly lacking in imagination, their hold upon the public resting chiefly upon personality and charm and beauty. Have you ever gone to a tea party where you met some very magnetic woman who radiated charm, who not only held your attention but exhilarated you until you became impatient to see this scintillating creature on the stage, where you might realize the fullness of her wonder? And have you not felt, when your opportunity came and you saw her on the stage at last, the disappointment of realizing a wooden lady with a beautiful mask for a face, speaking faultlessly articulated lines—an actress who rose desperately to the big moments of her part, and who never for a moment let you forget that it was she, that actress, whom you saw, not the character whom she was portraying? There may have been splendid acting but you were conscious of the fact that it was acting. There was no illusion. She was conscious at the big climax that she was acting this part and that she must reach this climax. She was acting as much to herself as to you. That is not the art of the great actress. The imaginative actress builds a picture, using all her heart and soul and brain. She builds this picture not alone for the people out in front but for herself. She believes in it and she makes the people across the footlights believe in it. Unless she has done this she has failed. She must stimulate the imagination of the audience. An actress should not only be able to play a part; she should be able to play with it. Above all, she should not allow anything to stand between her and the thing she is expressing. How often does an actress play a part so as to leave you with the feeling that you have so intimate a knowledge of the character that you could imagine its conduct in any position, aside from the situations involved in the action of the play? Unless this happens, you feel that after all you have seen a limited portrayal of the character and you realize that though the acting was practically flawless there was something missing. And, in nine cases out of ten, that is because the woman playing the part did not use any imagination. She was entirely bound by the traditions of the theatre. She did everything just as it would have been done by anyone else on the stage. This is fatal. You feel untouched by the play because it was not made real to you. The artist looks for the unusual. She watches everyone, always searching for the unusual in clothes, in manner, in gesture. The imaginative actress will even remember that the French have characteristics other than the shrug! Think of the number of times that there have been Irish plays, of the number of times that the Irish character has been used in the working out of a plot. Yet never, to my knowledge, has an Irishman been played on the stage. (This excepts, of course. Lady Gregory’s players and Guy Standing’s rendition of a current IrishAmerican role.) Real Irishmen have never been played. The Irish can be the most melancholy people on the face of the earth, yet the traditional stage Irish have been lilting colleens and joking Paddies. The most interesting thing to me in acting is the working out of the character itself, the finding of that which is uncommon and the small, seemingly insignificant trait which will unconsciously make an appeal to the audience and establish the human appeal. Too much importance is laid on clothes. In the main, I think that all clothes hamper unless they express the character. Personally, I detest “straight” parts for that reason. They necessitate the clothes that make me self-conscious—or, rather, “clothes conscious.” I want to get right inside the character and act from the heart as well as from the head. That is impossible unless one is free from outside interference. I think actresses pay too much attention to the tradition of acting. That is a great mistake. It cramps creative instinct. I received a good deal of criticism for my walk in The Bird of Paradise. Some of the critics said I should be taught how to walk across the stage. Of course I paid no attention to that. My walk was the walk of the barefoot Italians who carry loads on their heads, and I had learned it from them. It certainly was not the traditional stage walk, but we are living in a time when simplicity and truth are the watchwords of the theatre. The traditional stage walk would not have fitted the character I played. The stage has come to a period of simplicity. A few years ago the direct attitude adopted by the younger actresses of today toward their roles would have been considered ridiculous. The changes have been positive but subde, and the actress without concentration has been unable to discern them. They are the ones who are still sparring for time in their emotional scenes, using the traditional tricks to express grief, joy, surprise, chagrin; and they wonder why they are sitting at home without engagements. They cannot comprehend that the very little basket of tricks which made them the idols of a few years ago fails utterly to get results today. . . The time has come when we may as well realize that we can no longer give a filmy portrayal of emotion and pad it out with stereotyped pieces of “business.” The younger actresses of today express the elemental emotions as the elemental person would express them in real life. There is no such thing as a compromise in the logical development of a character in order to make a theatrical effect. . . Too few actresses follow their instinct. I think instinct is the direct connection with truth. It is not enough to know just what you are to do yourself in the action of a piece; you must know also the exact relation you must bear to every other character in the play. For instance, take the business of dying. You must in your imagination realize not only the fact that you are dying but the effect which your death will have on every character related to your part. You know that you are not dying and the audience knows it, but in your imagination you must really believe you are. The business of dying becomes actual to you; also, you compel the audience to believe in you by the very sincerity of your attitude. This trait is really remarkable in Maude Adams. Recall her work in Chantecler. Without her tremendous imagination to gild her impersonation, this frail little woman would have been hopeless in the part. Yet through her marvelous richness of imagination she produced the illusion of bigness that many women better fitted physically could not have done. One would never say that Maude Adams is beautiful, in the sense that she is pretty or has a beautiful physique; but she has charm, magnetism and imagination. These three make a beauty that transcends mere beauty. Beauty, personality and magnetism are not important in the equipment of a star, when compared to the creative faculty of imagination. The first three qualities are valuable adjuncts, and no one should sneeze at them. But you might get along without the slightest beauty and little or no personal magnetism if you were generously endowed with the imaginative mind.
My hopeful life as an actor by Deniz2323 • last post Apr 8th
First of all. I'll apologise in advance for the lengthy post, but at this point I need advice and help Since I was 5 years old I've always wanted to be an actor. At times of felt like it's futile and have tried to find other interests but I've always come back to it. I've done work as an extra and a feature extra in projects that are close to my area. The next part will probably lose you all, but here goes. I have had no acting training but I feel like I am good enough to do the work once I learn more tools to flesh out a script. Truth be told the audition process scares me and I struggle with the character I am trying out for. I guess I'm scared too as training formally for acting. I did drama all through high school and a basic acting class during those years too. I guess my question is how do you get to that next step where you can audition for bigger an better projects without having a huge background of study. Classes would probably be fine but is it not possible to find the right agent that can push you forward into auditions. Are there any reputable agents that take on new clients and provide opportunities for those bigger roles? Thanks in advance, any and all advice is appreciated and hopefully I will get there one day.
How to not break character acting like my ideal self? (May be a weird question, read below) by fvckari8 • last post Apr 8th
This has nothing deeply to do with becoming an actual actor but it kind of does. Anyways, I've been trying to become my best ideal self for awhile now & I come across so many videos that say "act like your ideal self to become them“, "create an alter ego, write down what they do & act like them". “Life is one big movie and the world is your stage.” Etc etc. Yet I know all of these things yet when I get around certain people I cannot act like them. It's like I break character. I write down all of the traits & characteristics I want to have but yet I seem to break character in different settings & around people. This is a crazy question but to all of my actors out there how do I fully act like this person & NEVER break character. Any tips? I’ll link two videos where they talk about this below, If you’re more curious. [the “month of acting”](https://vm.tiktok.com/ZTd95XJ9n/) [create your identity through method acting](https://youtu.be/Tb-BsdyRdqw)
are you ever given less than an hours notice for an in-person audition? (toronto) by Single-Character-434 • last post Apr 8th
I live almost an hour (max.with traffic) outside of Toronto and was thinking of moving right downtown to be within walking distance of the major casting houses. But I am now thinking otherwise because I would have to give up my car to afford the rent in toronto. from what I've heard and read, self-tapes and virtual auditions are now the new norm with in-person auditions happening only AFTER they like of your selftape/virtual audition. I think if I get an in-person audition, once as they at least give me an hour to get to the location, I should be fine living outside the city and just driving in when I'm needed... BUT I'm a newbie actor (who overthinks everything,so bare with me,lol) So my fear is that if i get called for an in-person audition, they would only give me like 20 minutes to get there. Does this happen or has this ever happened to any of you?
event stress by RenB97 • last post Apr 8th
I've organised a fundraising event, with comedians and actors for the 16th of April. I'm getting super stressed that not enough people are going to turn up. How do I spread the word and get people to come?