We have found 19,414 posts across 4 actor forums:
Why the Oscars Have Lost My Interest - Even Though it’s Hollywood's Biggest Night by Aaron Marcus • last post Mar 10th
Why the Oscars Have Lost My Interest - Even Though it’s Hollywood's Biggest Night
https://youtu.be/gAtU6Gueabs
Did you watch the Oscars? If so, what do you think? I would love to hear your opinions. Share them here and on the channel so we can all learn from you.
Why We Avoid Learning Our Lines—And What to Do About It by Alexandra Stevens • last post Mar 8th
I wanted to follow up on Tammy Hunt 's great post about not learning our lines and using that as an excuse for not giving our all in acting. In my experience, this often happens because we have a lurking belief in the background that we aren’t good enough. Rather than risk ‘failing’ by fully committing—learning our lines well and giving it everything—we hold back. If we don’t get good feedback, we can tell ourselves, *Well, I hadn’t really learned my lines anyway.*
It’s a strategy to cushion the blow of disappointment. And while it makes sense, it doesn’t actually help us grow as actors. What does help is understanding why we do it. Once we have more awareness, we can make different choices.
Here are three things we can do:
1. Who is the avoider/excuse-maker? How did they develop?
Get to know this part of you—the one that avoids learning lines (or anything else). How old do they feel? Are they a teenager? A child? Don’t overthink it—just go with what comes to mind first. When did this part develop? Was it in secondary school when exams started to feel overwhelming? Or in PE class when you dreaded being picked last? Understanding where this pattern started can give us insight into why it still shows up.
2. How is this avoiding/not-fully-invested part trying to protect you?
This might seem counterintuitive, but every behavior we develop is originally there to protect us—even the ones that don’t seem helpful anymore. If we view them as having a *benevolent* intention, it changes everything. The ‘not-fully-invested’ part likely developed to shield you from the shame or humiliation of failing. Ouch. No wonder it still tries to step in.
3. Have compassion for that part.
Once you recognize how hard this part has been working to protect you, show it some appreciation. Our inner parts respond to being valued and validated. Let it know that you’re an adult now, not a child or a teenager. You’ve survived plenty of ‘failures’ and are still here. You’re okay. More than that, you’re *safe.*
You can reinforce this by giving yourself a hug, taking deep breaths, or doing anything that creates a feeling of physical safety. The more this part trusts that you’re okay, the less it will feel the need to hold you back.
So next time you catch yourself avoiding, I invite you to take 10 minutes to check in with that part. Get curious. The more you befriend it, the less power it will have over you.
I’d love to hear how it goes!
Stunt Performing: The Art of Falling by Maurice Vaughan • last post Mar 8th
If you’re thinking about becoming a stunt performer or you want to learn more about stunt performing, check out today’s blog. Zuzi Fort talks about how she became a stunt performer, where she trained, why it’s important to get accredited as a stunt performer, and more. www.stage32.com/blog/stunt-performing-the-art-of-falling-4034
Acting Habits to Avoid by Tammy Hunt • last post Mar 7th
- Using lines as an excuse
- “When I know the lines I’ll be able to perform the scene better” - this is an excuse to cover up many things, mainly inhibitions, the fear of trying something or not knowing what to do because you haven’t read the scene/script enough. As Lee Strasberg (The Method guru) once said, learning lines is about memory and acting has nothing to do with memory. My advice is to play and experiment with the scene. You can only do this by reading it and making justified choices. Find a suitable way of training your memory to learn lines effectively because that’s not the job of your acting coach.
- Not reading the script enough - AKA lazy acting. Some actors go through the script, but only to learn their lines. You need to know the full story, not just the story of the scene your character appears in or only the story of your character. To get the full picture you must read the entire script (more than once). Depending on your character and the size of your role this may not be possible because casting isn’t allowed to send you the full script, but if they can this is the best scenario of course.
Here are some things to think about when reading the full script: Why does your character choose those specific words? What do they really mean? What is really going on? What has led them to where they are now? In the early stages of character development you’re like a detective; you have to piece the full picture together to be able to connect to the character, then you have to figure out what the motive behind the character’s behavior is so you can make clear choices in each scene you appear in.
- Forcing emotions/trying too hard - this is usually done to impress, and there is logic in that, but acting should feel effortless. When you try too hard or try to force something, it looks fake, feels strange and just doesn’t make the thing you’re trying to make happen appear. The same happens with emotions. Find inner purpose for what your character is going through and demonstrate through gestures and expressions.
#actor #tv #film #script #casting
Walton Goggins reveals he was bitten by snake on The White Lotus set, went to hospital: 'Really terrified' by Pat Alexander • last post Mar 6th
Safe to say this is terrifying. Actors -- your biggest fear?
From Script To Storyboards To Beyond: Actor/Actress by Rich Terdoslavich • last post Mar 6th
Sharing this in the Acting Lounge. I recently did storyboards for the film CLASSIC, written and directed by Michelle Hoffman. Here is a storyboard next to a close up shot of the actress/main character in the film. You never know how a scene is visually translated from script to storyboard to how the director and cinematographer frame/compose the shot. In the end, the actor/actress deliver the goods, serving the story by reacting/acting in the scene. Here is one example of the close shot up of the actress, acting in the scene, facial mood/expression/reaction within the framework/context of the shot. It’s as if you co-wrote a song with the screenwriter and the actress, as a singer, interprets the scene, bringing her own creative expression to the visual and the written word. Filmmaking, a collaborative process and a thank you/shout to the actors and actresses, bringing the scenes alive, from a script page and a storyboard.
Motivational Video - Jean-Claude Van Damme Epic Speech - Jean-Claude Vandammelibrary by Florin Şumălan • last post Mar 5th
Jean-Claude Van Damme talks about succeeding in life, the path to reaching your dreams, visualizing, becoming aware of what you want to do in life...
https://youtu.be/Mx0HoQ4iAz8
Actor that needs help by Ferris Vasser • last post Mar 4th
Hello! My name is Ferris, and I’m a passionate aspiring actor based in Dallas, looking for opportunities to break into TV and film. She has headshots, a demo reel, and a strong determination to succeed. I’m seeking connections with casting directors, managers, and industry professionals who can guide me i builds experience.
My goal is to eventually sign with a top agency like WME, CAA, or UTA, but right now, I’m looking for mentors and opportunities to get started. If you know anyone who could offer guidance, please reach out or share this post
Actor Website Secrets 5 Features That Can Get More Auditions by Aaron Marcus • last post Mar 4th
Actor Website Secrets
5 Features That Can Get More Auditions
https://youtu.be/WlqnivdaA6Y
Do you have any suggestions for what must be on an actor’s website? If so, share them here and on the quick tips channel so we can all learn from you.
Feature Film Journey by Omari Washington • last post Mar 3rd
Hey Superstars!
Hope you all had a fantastic Oscar weekend! I was truly inspired by the incredible talent being honored and wanted to share some exciting news along with a few valuable lessons from my own journey.
I currently have a feature film set to release this year, and throughout the process, I’ve learned some key lessons that I believe can benefit all filmmakers.
1️⃣ Choose Your Team Wisely – Work with people who genuinely want to see you succeed. Unfortunately, I experienced a major setback when my Director of Photography—someone I considered a friend—stole footage from Days 1-5 out of jealousy, which delayed production by a month and increased costs significantly.
2️⃣ Pre-Production is Everything – The more you prepare before shooting, the smoother things will run on set. While unexpected challenges will arise, thorough planning helps alleviate unnecessary stress.
3️⃣ Always Overbook Extras – If your scene requires extras, always book more than you need. It’s inevitable that some won’t show up, so having a backup ensures you’re never short on talent.
4️⃣ Contracts & NDAs are a Must – No matter how close you are to someone, always have contracts and NDAs in place. A paper trail protects both you and the production if anything goes sideways.
5️⃣ Feature Films Take Time – The average viewer may not realize how much effort and time goes into making a feature. That’s why having a trustworthy filmmaking community is so important—you need a solid support system.
6️⃣ Invest in the Best Crew You Can Afford – Cutting corners on key crew positions can cost you more in the long run. For example, hiring a cheaper sound mixer might mean spending extra in post to fix audio issues. Always aim to hire the best within your budget to ensure quality from the start.
7️⃣ Don’t Rely on ‘Fixing it in Post’ – It’s always better to address issues on set rather than pushing them to post-production. Fixing things in post is often more expensive and time-consuming, and in many cases, avoidable with the right approach on set.
I hope these insights help you navigate your own filmmaking journeys more smoothly! I truly appreciate all the support, and I’m looking forward to inviting you all to the premiere of Back Burner in July. I’ll keep you posted once I have an official date!
Thank you all for being part of this journey with me!
TV's best perfomance of the last 25 years? by Sam Sokolow • last post Feb 28th
This is an interesting list from Variety. I agree with the top 10 but would have moved Chiklis in The Shield up a few spots - I loved that show. What do you think are the best performances on TV in the last 25 years? https://variety.com/lists/greatest-tv-performances/
Britt Lower talks about what it's like to play two versions of the same character by Suzanne Bronson • last post Feb 28th
https://www.hollywoodreporter.com/tv/tv-features/britt-lower-severance-season-2-helly-helena-1236148471/
Red Carpet Roll-Out: March 2025's New Executives & Education at Stage 32! by Leonardo Ramirez • last post Feb 28th
At Stage 32, we are dedicated to helping creatives like you take your career to the next level. Whether you’re looking to sharpen your skills, connect with industry professionals, or develop your next project, we’ve got exciting new education and executive mentorship opportunities designed just for you!
Check out the Stage 32 available courses for March here:
https://www.stage32.com/blog/red-carpet-roll-out-march-2025s-new-executives-education-at-stage-32-4025#blogComments
Get ready for another exciting Stage 32 Community Wrap-Up this Friday at 10:00 am PT / 1:00 pm ET! by Ashley Renee Smith • last post Feb 27th
Join Stage 32’s Head of Community, Ashley Smith, and Community Manager / Writer’s Room Producer, Kay Ross, as they cover all the incredible things happening in the Stage 32 community.
What’s on the agenda?
• Upcoming events and education
• Valuable resources to help you grow
• Blog highlights and industry insights
• Your chance to ask questions live and get insider tips
Make sure you’re following @Stage32 and @Stage32Scripts on Instagram so you don’t miss out.
Set your reminder here: https://www.instagram.com/p/DGjeDArSG0n/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
See you there!
Put Yourself on the Map First... Then Show Your Range... by William Joseph Hill • last post Feb 26th
As an actor, it's always good to first find your niche to put yourself on the map, then you can show your range. A lot of actors bemoan the idea of "typecasting", but if you can get noticed for a specific niche, you can establish yourself as a working actor, THEN look for ways to "stretch". Perfect example that comes to mind is Lady Gaga. Before she became the music icon we all know, she was classically trained and an actress too. But she created that persona that put her on the map, which opened her to "getting" to do acting roles (which she had always had the talent for already).
I think the current climate is more favorable for actors getting to show range, especially with all of the indie production out there. My career has generally been in the indie world -- it seems that these indie filmmakers have the most creativity and are willing to take more risks, so there are more opportunities there. If you're an actor looking to work, you should get to know some of these indie producers creating their own project outside the studio system. If you have additional skills besides acting, you can build relationships that way first.
And let's not forget creating your own work which can help you typecast yourself the way you want to be known in the industry. I'm doing just that with CYBER FIGHTER, a high-end short film based on my feature script and novel. I'm heavy into Post Production now. I wrote, directed and am acting in it as well as doing all the Post Production work from editing to sound, VFX and color grading. The more jobs you can take on, the less people you have to hire.
If you have a script you're looking to produce, this is the perfect time to go after name actors who don't get a chance to play the role you might be offering. We actors love creating great characters and don't always get the opportunity. Like how Ke Huy Quan has been enjoying his recent success as his talents have finally been recognized. Many actors who might have had a good career financially will feel like their talents haven't been recognized, so if you have a vehicle that lets them show a character they would never get to play, you can probably get them to say yes.
I'd caution that you should first develop the script as much as possible to get it as close to perfection as you reasonably can before approaching anyone. And I don't believe in writing for a specific actor in mind as if they say no, then you got nowhere to go. Instead, you can have them pictured in your head, but develop the character as full and rich as you can. If you're not a writer, then partner with a writer who has the chops to write a great script.
Another case in point -- I just worked with William Christopher Ford on CYBER FIGHTER. He has just appeared in Season 6 of COBRA KAI, reprising his role of Dennis DeGuzman from KARATE KID 3. I had met him years ago and we always talked about working together, so this was the perfect opportunity. I cast him in CYBER FIGHTER just before he got the COBRA KAI call, so we had to push production back to accommodate his schedule. He had signed an NDA so he couldn't tell me what "big project" he had been cast in, but I had a hunch...
I gave his character a lot of fun stuff to do, not just in the action scenes, but a great way for him to show his acting talents and deadpan comedic timing. I plan on bringing him back for the feature once that goes into production.
Finally, remember that this is a long process that can take many, many years before you see the fruits of your labor. I've been developing this project for over 20 years, and the short film for almost 10. So it's a marathon. I have no idea where CYBER FIGHTER will end up yet (still need to finish it!), but it's very empowering to take the reins and drive your own career.
Break a Leg!
Actors: Tricky Audition Surprise! Beware—It Happened to Me by Aaron Marcus • last post Feb 26th
Actors: Tricky Audition Surprise! Beware—It Happened to Me
https://youtu.be/-hc_XC1s_EU
Have you ever had an audition surprise? If so, share it here so we can learn from your experiences.
Title, title. What’s in a title? by Nancy Wilkinson • last post Feb 26th
I’ve written a coming of age, based on true events women’s sports story in 1975. We were told no one would pay to come watch women play sports. But a young woman tried out for the college team and was determined to make women’s sports succeed. I’m trying to settle on a title though. Maybe, “We Didn’t Quit,” or “Didn’t Stop Believing, or “Jockettes,” or “ Six Packs and Facials?” Need some serious feedback?
Voiceover Reel Suggestion by Leonardo Ramirez • last post Feb 25th
Hey creatives - I'm in the beginning of my journey with voice acting and in the process of putting together a reel. As a screenwriter, I'm blessed to have material to draw from that I can use for the reel and have separated each into categories. These are the ones that I feel I can do the best on.
Let me know your thoughts as to what else I should include...
Evil Character (gaming) - demon - low pitch/gravelly
Evil Character (gaming) - serpent leader (Phobos) - high pitched
Hero - Middle age /distressed
Narration - calming/English
Narration - calming / Spanish
Narration - commanding
Movie Trailer - Southern draw
Audiobook Narration - normal voice (baritone)
Explainer commercial
Podcast Intro
Latin Accent - male
I've read that having sample in lanuages other than English is also beneficial.
Let me know your thoughts below.
How to make connections by Eileen Gillick • last post Feb 25th
Hi,
How do I make meaningful connections with actors? I'm afraid of coming off that I am using someone just to get information on how they got where they are in the industry. What do I say when I want to know someone who knows someone?
I am still in the beginning stages of acting.
I appreciate whatever advice I am given.
PR in Hollywood is changing… by Maurice Vaughan • last post Feb 24th
I read this in The Dailies email this morning:
**Hollywood's image managers are suddenly the ones needing image management**. A nasty feud between Blake Lively and Justin Baldoni over their film ‘It Ends With Us’ has erupted into uncharted territory: publicists getting sued for doing what used to be considered their everyday job.
**The backstory**: During production of their upcoming film ‘It Ends With Us,’ tensions between Lively and Baldoni escalated into matching lawsuits. But instead of just suing each other, they're targeting each other's publicity teams—turning standard PR tactics into potential legal liabilities.
**The text drama**: It started with a simple damage control move. When a Daily Mail reporter was about to publish that Lively was "difficult" on set, her publicist Leslie Sloane sent what would normally be a routine text, suggesting the cast actually had issues with Baldoni instead. The reporter changed the story—and now Baldoni is suing Sloane for damaging his reputation. Meanwhile, Lively's team discovered private messages from Baldoni's publicity team calling him "pompous"—leading to her countersuit. These cases are the first time such standard PR moves have become legal ammunition.
“*This will change the personal publicist game forever, 100 percent. When a client says, ‘I want you to protect my reputation and get ahead of this story,’ or, ‘I don’t like that headline, can you call reporter?’ No way. If what you’re doing has ramifications for another [celebrity], you’re now going to think that you could get sued.*” — A veteran personal publicist tells The Hollywood Reporter
**The Ripple Effects**: Hollywood PR has always been a two-tier system. Big agencies charge A-listers around $10,000 monthly and include legal protection in their contracts. But independent publicists, who typically charge half that, work without any legal protection for themselves. And it's these boutique PR firms that will likely take the brunt of the fallout from the Baldoni-Lively battle:
– Boutique firms can't maintain their current rate without legal protection—they'd be sitting ducks for lawsuits. But adding legal coverage would force them to double prices and lose clients.
– Hungry new publicists are making it worse, offering deep discounts and working without protection just to build their client lists
– Meanwhile, big PR firms with built-in legal protection keep cruising along
– Some stars are now avoiding publicists entirely—worried it makes them look like they're hiding something
**The result?** The industry is splitting into two lanes: legally bulletproof PR for the wealthy, and risky, unprotected PR for everyone else. It's the boutique firms caught in the middle that are feeling the most pain.
**END OF EMAIL**
What are your thoughts on this?
The email says, “*Some stars are now avoiding publicists entirely—worried it makes them look like they're hiding something*.” Do you plan on doing that or keeping your publicist/getting a publicist?