We have found 19,250 posts across 4 actor forums:
Help with some feedback by PortalOfMusic • last post Nov 22nd
So this is not a demo (definitely not ready yet) but more so a mashup of different voices and characters I've done over the past few months. I'd really truly appreciate some feedback across the board, since I've barely really received any thus far and I feel a bit directionless in that sense. I'd really like hearing opinions on my voice as a whole. A lot of times I feel like it just sounds too weird and I can't really find any other voice actors I can use as a comparison. Alongside this, I'm also a bit lost as to where I "fit" in the market. As you may notice I kinda try to go for pretty much anything and although I feel I'm at least competent, I really am clueless as to what sort of archetype I fit into or what type of characters I'd have better success pursuing. Whatever critique you can give, be it technical, acting wise or anything else, it'd be a great help! Thanks in advance :) [https://soundcloud.com/melissa-zq/feedback/s-ZvGMf8J6C4r?si=6a3d65ebe0fd40729671629be5739c35](https://soundcloud.com/melissa-zq/feedback/s-ZvGMf8J6C4r?si=6a3d65ebe0fd40729671629be5739c35)
Music videos are my favorite form of acting. by DinnerGlass • last post Nov 22nd
Between the dance sequences, the storylines, the themes, the dramatic acting music videos are so fun to watch. The theme of the song makes the actors appear as they’re either having the best or worst times of their lives and I feel in my bones. I grew up doing theatre in high school and have been watching music videos since I was a kid, so I always loved super over the top performances. If I were to pick up acting again it would be my dream to be in music videos. Acting in a music video is like bringing the feelings and emotions behind a song to life and to me that’s so powerful. Even in the times I was so depressed and didn’t feel like getting out of bed music videos could still make me feel something.
Actor’s access without demo reel? by Busybee_unbusybody • last post Nov 22nd
Does it make sense to join actor’s access without a demo reel? And also how can I go about getting one? Will putting together a collection of monologues work?
Did IMDB Update today? by Terry McFadden • last post Nov 22nd
Just wondering as my page has not updated and everybody is still rated from last week's Starmeter? Are they slow becasue of Holiday? Anybody know? Thx.
Should characters be played by actors who represent their reality? by FurmidableCat • last post Nov 22nd
By that I mean a queer character being played by a queer actor, a trans character being played by a trans actor, a handicapped character being played by a handicapped actor, etc. But obviously not for BIPOC because it’s actually about the casting and we are not going to put white people in blackface, that would be awful. As a queer autistic person, I used to think that characters should be played by people who represent their reality but I changed my mind. Here’s why. 1. I want to get the role because I was the best actor, not because they feel bad for me and think I need some kind of help. I would be insulted if I was hired just because I was queer/autistic even though they didn’t think I was good. 2. It wouldn’t make sense to hire someone who has no acting experience/training and who is not a fit for the job just because they represent that reality. The person needs to actually be good (and tons of diverse people are) otherwise it won’t make the character look any better. Giving someone a lead role when they are not ready and don’t have the support required to do the job will do more damage to their acting career instead of helping them. However, when the person is diverse AND a good actor, they will naturally be better for the role. 3. A diverse person is not necessarily more aware of how to represent this diversity in a good way. They are aware of their own story but not necessarily of everyones reality. This could lead to more stereotypes. Some queer people are also disrespectful to other members of the queer community for example. I’d rather see an autistic character played well by a neurotypical person than played badly by an autistic person. When I want to play a sex worker for example, instead of having them hire real sex workers, I say that I am not only a trained and experienced actor, but I am also trained in pole dance, burlesque, striptease, and lap dance, have met real sex workers to represent them well, studied sexual health at university to represent them well and have all the costume and accessories they need. This makes me more skilled than a real sex worker to play the role. 4. The problem is often in the storyline and not by how the role is played. We need consultants who help screenwriters more than we need real people playing a role written stereotypically. 5. Casting real people can lead to more discrimination. I have often been told that I can’t play autistic/queer roles because I don’t look queer/autistic even though I am. Some actors really are gay but pretend they are straight to avoid discrimination so it would be weird to force them to come out to play those roles. Are we really going to ask if someone is trans/gay/handicapped at the audition? Being so publicly open about it could lead them to face more discrimination. 6. What if we want to show a handicapped person before they were handicapped? A trans person before their transition? A person in a wheelchair who dreams they can walk? That won’t always be possible with a real person. 7. Queer/trans/handicapped/etc people risk being type cast by their identity when they wish they could play normal roles too. The cashier at the grocery store who has two lines can be played by anyone so why look for a specific casting? Some people say it’s unfair to give « normal » people queer/trans/handicapped roles because these are the only roles queer/trans/handicapped people can play. The real solution is opening « normal » roles to diverse people too. Let’s hire the best actor for the role. That’s it.
SAG-AFTRA agents by ZookeepergameNo3630 • last post Nov 22nd
So despite really wanting to be an actor, I don't really know how an acting career works. How does one actually qualify and contract SAG-AFTRA for an agent?
Is there a zoom class that is all about self taping? I don't want to do any acting in the class- just watching each other's self tapes and then re taping them and sharing them again. by nacho__mama • last post Nov 22nd
I took a class like this with Randy Kovitz over the summer and really enjoyed it but he's not teaching it again. I also liked Anthony Robert Grasso's class. I audited it. But he doesn't do self tapes. They just prepare for self tapes by rehearsing in class. I liked his style but he doesn't teach a self tape class. Is there a group online somewhere that is free- where people post their self tapes and then give feedback and then repost them? I find this really helpful to watch as both an actor and director.
Questions to Actors from Ontario / Toronto by apsibkn • last post Nov 21st
I’m a teenager and my drama teacher suggested me to become an actor because she thinks I’m pretty good. She also told me to start doing background work to get experience on set so that after high school, I will start working in actual movies/tv shows. She didn’t tell me how because she hasn’t acted since some time and just focused on teaching so how do I star as a background actor in Toronto? I don’t really care about money, I just want some experience like she said. Thanks :)
Rise above the haters! IMDB Film Stars by Ellila-Jean Wood • last post Nov 21st
Our Indie Film "Repeat" is out now on SKY, Amazon Prime and lots of other platforms throughout US, Canada and the UK. Unfortunately even before the main release we had an influx of haters all give it a 1 star review! Shocking, why do people have to be so cruel? It's a zero budget 5 person crew filmed in 10 days but made it on SKY. If anyone wants to give it a watch and a review/rating I will be very grateful. Thank you! Here is our IMDB link for a hopefully cool rating https://www.imdb.com/title/tt11563364/ Thank you
Is going for a Masters worth it?! (Scotland) by Smilingtribute • last post Nov 21st
Hello. I’m a 22 (M) actor from Scotland! I’m currently doing an all theory theatre course at university (BA Performance) but we get to devise our own work and occasionally get workshops. I am thinking of applying for a masters in a few years as I’m in my third year in university. I did try out for one drama school (RCS for BA) but got rejected as I didn’t want to apply to lots of universities and get overwhelmed as I’m dyspraxic and wanted to pass my final year at college. I got rejected with all of the other practical courses apart from one reserve offer. We don’t get a showcase at my uni but you get to make your own website & showreel during my final year. I’m currently apart of a Youth Theatre company that occasionally gets professional work opportunities and we get to work with people from the RCS Alumni. I’m unsure either to go for the Masters in RCS (Contemporary and Classical Text) or the MFA Stage and Screen Acting (Napier) The masters at Royal Welsh looked very interesting as well. Do I think I should go for it?! I feel like I’m lacking the practical aspect of my course despite getting an A in my HND Acting and Performance and being told I’m good actor (comedy typed cast)
What is a Recording live session in Voice over? by happyclasher11 • last post Nov 21st
So I was talking with a professional voice actor some days ago regarding work and she asked will this recording be a live session and I had no idea what that meant. I mean I can sort of guess by the words but I didn't knew if I was right in terms of voice over or which way it will be beneficial for me? So I thought if you guys can tell me what does this mean it would be helpful for my project to choose the better option. Thanks in advance!
Acting and Copywork by Meeks_1Uh • last post Nov 20th
I posted this in r/theatre but it got flagged for spam. I thought I might try posting it here. I have some food for thought. I think acting can be taught by having your actors imitate good performances; I also think feeding them line readings can be incredibly useful. I have come across this method called "copywork." Writers use this method to improve their own writing by copying their favorite authors; they study the authors and try to understand how they write. I think the best way to teach acting is to have your actors imitate their favorite performances. We're so lucky to live with the technology we have today. Some of the best performances of all time are preserved on film and online; it'd be ridiculous not to devour, copy, steal, and reverse-engineer these good performances! If artists, writers, and athletes can learn by copying "the masters," then why can't actors? Actors will learn how to think like a good actor by copying and reverse-engineering good performances; they'll start to understand why some acting choices work and why some don't; they'll learn how to react; they'll learn how to create compelling characters. I've been imitating a scene from Timothée Chalamet's performance in Prodigal Son and it's crazy how much I've learned. I'd ask myself questions like: why does he emphasize this word; why does he snap his fingers here; why does he does he repeat this gesture; what is he thinking when he says this line? I also started to feel pretty emotional. I may not have been expressing the exact emotion Timothée was, but at least I was experiencing something. The goal of imitation is to understand why the performance works. Getting fed lines by your director can feel patronizing. I know. But, I think line readings can save tons of time in rehearsal. I was listening to a podcast recently and a director was talking about how important it is to not tip-toe around your critique when you're giving acting notes. This same director is also against giving actors line readings--he is a fan of coaxing actors to do what he wants. Coaxing is fine; it gives actors ownership. However, I don't like how coaxing feels like tip-toeing. It can be incredibly frustrating when you've tried everything to coax your actors but nothing works. I think it's okay to be direct and show the actor exactly what you want. Peter Brook has a method of giving his actors line readings. Once the actor perfectly recreates the line reading, he tells them to forget it and do it differently. The purpose is to get the actor to understand exactly what the director wants. Once the actor has the blueprint they are free to do what they want; they can emphasize this word but not this one; they can omit this gesture; they can add another objective. If you're a theatre teacher or acting teacher I would love to hear your thoughts on this!
Auditions for faith based films when you are not known as a faith based actor. by Un-Disclosedrotca • last post Nov 20th
Complete waste of time. They only want to work with people that have the same beliefs as them, which they have every right to do. Thoughts?
Tips For Your First Time Being an Extra on Set by timemystic • last post Nov 20th
This post is for anyone who's going to be an extra (also called "background") on a TV or film set for the first time. It'll tell you what to expect, how to prepare, and what to do and not do while working on set. I've been an extra many times (it's how I first got started). Here's some tips, advice, and insights from my own experience, doing background work in Los Angeles: 1. **If they ask for wardrobe options**, bring 4-5 shirts and maybe 2-3 pants. Pick different styles and colors. Make sure there's no logos, images, or artwork on them. Nothing that could potentially be a trademark or copyright issue. Usually a regular pair of shoes is fine (as long as they don't show a big logo and/or stand out with bright colors or something). Never hurts to bring a second option though. The costume people will LOVE you for bringing "too many" options -- but at the same time, remember, you gotta bring \*everything\* with you to "holding" (more on that below), and there's probably limited space. So, generally, 3-5 shirt/pants options is great. 2. **"Holding" is this space they have all the extras wait**, when they're not needed on set. It may be nearby where they're filming, or it could be far away. Holding will be your second home. You will either be on set, in holding, or in the bathroom -- NEVER go wandering off anywhere else, ever. 3. **If you have to go to the bathroom**, let a Production Assistant ("PA") or your Assistant Director ("AD") know first. If one of them isn't around, then let a few other extras know in case the PA or AD comes looking for you to call you to set. On a film set, you'll learn they've got special codes and nicknames for everything. A bathroom break is called a "10-1". That means you're taking a quick pee and should be back in a couple minutes. (And you guessed it, #2 is a "10-2", but try to avoid that on set if possible. It happens, we're all human -- but, if you gotta, just be quick about it.) 4. **Always be aware of your volume.** While you're in holding, you'll probably have other extras to talk with. Sometimes it's easy to not realize how loud you're getting. If you're anywhere near set, you may hearing them yell "quiet on set" or a PA may come and tell you to be quiet. If that happens, just SHUT UP, be quiet, and whisper "sorry." That's all you need to do. They don't need big apologies or explanations or anything. They just need it quiet so they can get the shot. If it happens, don't feel bad. Again, we're all human. Just be careful to keep the volume down thereafter. 5. **You may be in holding all day -- or barely ever at all.** I've literally spent an entire 12 hour day on set and NEVER left holding. You get paid whether you get seen on camera or not. So that's cool! But it also kinda balances things -- because some days, you're on set ALL DAY, running around and yelling and doing high energy things. Those days are exhausting. So if you get a day where you can relax in holding for several straight hours... ENJOY and APPRECIATE that! 6. **You may want to bring a book to read.** Lots of experienced extras do. If you want to listen to music or play games on your phone, use earbuds -- but make sure you can also easily hear the PA or AD if they call for you. 7. **NEVER EVER take a nap. Ever. You're there to work.** Some days it may be slow and boring. You may be tired because of a super early call time or you're in a dark quiet room or whatever... Some days, honestly, the most difficult thing about being an extra is staying awake. 8. When they call you, be ready to drop whatever you're doing (reading, playing a game, etc) and jump to your feet, ready to go to work. They may call for you specifically, or they may call for your "category." So the PA or AD may say, "Okay, I need all of Group C" or "Police officers, detectives, office workers, you're up!" **Know your category and be ready for whenever they call for it.** 9. The PA or AD will then escort you to set. They will tell you where to stand or sit. They will tell you, "on action, walk over there" or some other instruction. There will probably be a rehearsal, but not always. Either way, don't be nervous. You're literally part of the "background" to help bring the scene to life, but all the focus will be on the "principal" (speaking) actors. (Unless, of course, you're "featured"; more on that next.) **Your only job is to look as natural and human as possible, without making ANY noise at all** (even if you're "talking" with another extra in your scene; always do pantomime, always stay quiet). Just don't look into the camera and you'll probably be fine. :) 10. **If you are "featured"**, that means you're still a non-speaking extra, but the camera will focus on you for a bit. Usually they ask for volunteers to be featured. If you're nervous and/or just prefer to disappear into the crowd, then don't volunteer. But sometimes the PA or AD will request you specifically. (It could be your look, wardrobe, the right height, any number of reasons.) If you're REALLY super nervous and uncomfortable, tell them that. They'll either help you relax or find somebody else who does feel ready. But remember: it's film. If you or anybody messes something up, they'll just cut and try again for another take. It's totally common to feel nervous and excited the first time you're on set. But we're all here just to tell a story and we get multiple chances to get it right. So relax, have fun, enjoy yourself. 11. Unless a PA or AD tells you to change what you're doing, **KEEP DOING whatever you're doing**, take after take. It's common to feel tempted to ask, "Did I do it right? Want me to try anything different?" But you should always assume, if you get no notes/instructions to change anything, then they like what you're doing and you should keep doing the same thing each take. However, sometimes (often) they will tell you to make changes and adjustments. That doesn't mean you did anything wrong, either. It could just be the director didn't like the timing of something or how it looked in camera. In fact, **EXPECT there to be changes**. They are super common on a film set. Always listen to and do whatever your PA or AD tells you to do. It's never hard or complicated. It's usually "pretend to be talking to that person" or "walk from here to there" or "pretend to be working at this computer". 12. **Extras come in all shapes, sizes, and backgrounds.** Some have a lot of experience. Some have little or none. Some talk a big game about how important and special they are, how they acted across from some celebrity, how they're working on some big indie film project of their own, they're gonna be a star someday, etc, etc... Other extras more or less keep to themselves, stay quiet in holding, and do their job on set with no fuss or issues. It's those latter types you want to be like. THOSE are the professionals. They're there to work. Not to network, try to get "upgraded" to a speaking role, have their face seen on camera, or anything else. They're there to be an extra, period -- and do whatever the PA or AD tells them to do when the cameras are rolling. 13. **Never, ever, EVER complain.** For some reason, extras are notorious for bitching, whining, and complaining about EVERYTHING. Oh my God. PLEASE don't be one of them. "It's too cold, it's too hot, I had to wake up too early to get here, the craft services suck, there's no craft services, when's lunch, when are we gonna wrap???" ... You may think nobody's listening, but trust me, there is a PA or AD (or other crew person) nearby... and they hear EVERYTHING. Being an extra is one of the EASIEST jobs IN THE WORLD! You literally get paid to sit, eat free food, and talk with your friends sometimes. You get to be on movie and TV sets. Work side by side with major celebrities sometimes. Wear fun cool costumes sometimes. You get paid to look pretty and walk past a camera when the director calls action. That's your job. APPRECIATE it. Be grateful. There are millions of people who would do anything to be where you are right now. 14. **Don't talk to principal actors unless they initiate a conversation with you first.** Remember, they're there to work too, and they've got a ton of lines to deliver, emotions to emote, and carry the success of the film partly on their backs. Some principal actors like to stay focused and go straight to work. Others may stop by and say hello to the extras. If a principal actor starts talking with you, never ask for an autograph or selfie, or fan-gush all over them, or anything like that. You're both on the same film set. You're both film professionals now. See them as a co-worker. But let them lead the conversation, and as soon as they want/need to go, let them go. 15. **Do not take pictures on set, unless you get permission from the AD first.** Most professional sets have a strict "no photos" policy. But some of the small to medium size ones might allow it, but always get permission first. If you absolutely must take a photo of yourself in costume, then do it in holding against a neutral, blank background... and do not post it to social media until AFTER the show/film has released. Even if your privacy is set to "friends only" or something -- once something's on the internet, it has a life of its own and sometimes gets shared by well-meaning people who are just happy, excited for, and proud of you... and then someone from the film production office somehow discovers you just "leaked" something about their movie, and you can get into trouble. Never, ever take photos that include the actual film set or any other actors in the production. Unless, of course, you get everyone's permission first. 16. **If you don't know or understand something**, or aren't sure what to do, JUST ASK a PA or AD. They'd rather you pause for a minute to understand what they mean or how to do what they want, than for cameras to start rolling and then have you do it completely wrong. No one gets upset when someone asks for clarification. 17. When cameras start rolling, extras usually start moving before "action" is called. **Extras begin their action when you hear the AD say "background".** Then "action" is called for the principal actors to begin. There's a whole list of things they say before the scene actually happens. You'll hear "picture's up!" and "roll sound" and "sound speeds" and "roll camera" followed by "rolling". Usually all the PAs will yell, "rolling, rolling!" Including ones on a radio, far away from the actual set. So no matter where you are (in holding, on set, hair & make-up department, etc), everybody knows when the cameras are rolling and they're going for a take. Then they'll say "background" followed by "action". Stay in character until you hear "cut!" 18. **Now let's talk about food.** Usually nearby holding will be the "craft services" table, which includes an assortment of snacks and drinks. There's usually water bottles and soda, fresh fruit, granola bars, chips, coffee, tea, bagels... It really depends on the day and production, but those are some common staples. If you're not needed momentarily on set, those snacks are there for you to enjoy too. Craft services are for everyone, so obviously, take what you want but leave plenty to share with others. That food is meant to help keep your energy and morale up, because some days get LOOOOOOONG and exhausting. On really big shoots, there may be separate craft services -- one for the union extras and film crew, and one for all the non-union extras. Never complain. (See #13.) It's still free food. 19. For actual meals (breakfast, lunch, and/or dinner as the case may be), extras eat LAST. The crew works much harder and longer hours than you do. They also have to rush back to set first. So let the crew and principal actors be first in line to get their meal. There is always plenty of food. Usually food goes to waste and gets thrown out. So no worries. Just be patient. You may be tired and hungry. So is everyone else. **Extras are at the end of the food line.** That's just how it goes. (But if it makes you feel any better, the PAs actually eat after you -- and they are usually the first to arrive on set and the last to leave after a long day too. PAs are so under appreciated... but it's the entry job that opens up doors to all the better crew positions.) 20. **Be on time or early.** If your call time is 6:00 AM, then be there by 5:30 to 5:45 AM... You don't know what the parking situation is gonna be like. You might get lost trying to find the place. There could be a long line from all the other extras and crew members arriving at the same time. It's better to be an hour early than 5 minutes late. Unfortunately, you only get paid starting at your actual call time, not whenever you first arrive. If you get there early, the PAs will appreciate and respect you, and tell you just to wait until they're ready to start checking people in. 21. **When you check in, you'll receive a "voucher"** \-- it's a piece of paper that logs your hours and tells the payroll company who to send the paycheck to. Hang onto it, don't lose it. When you're wrapped, the PA will sign you out and record your actual, final total hours. You'll keep a carbon copy of your voucher for your records. You should receive your check in the mail in 1-2 weeks, usually. Your voucher is proof that you were there and how much money you earned. You get a new voucher for each day you work on set. 22. **Expect to work 12+ hours.** Much of that time could be spent in holding, talking with other extras, eating free food, playing games on your phone... But it's very common to be there for 12 or more hours. But usually not more than 16. After 16 hours, it starts getting REALLY expensive for the production. The union actors and crew members start what's called "golden time" -- they get paid a full day rate for every hour they work past that. So needless to say, production companies don't like paying that if it can be avoided. But 12-15 hour days are fairly common. Sometimes, however, you may only work 3-4 hours. It's super rare, but it does happen. I don't know where you're filming, but on professional productions in Los Angeles, they guarantee you'll make 8 hours worth of wages, no matter what. So even if they send you home after 4 hours, you still get paid for a full 8 hour shift! (Again, another reason never to complain about this job!) But... they'll only send you home early if they're absolutely sure they won't need you anymore. Often, they'll be "done" with you after a few hours, but keep you around "just in case." And then right before you're about to go into overtime, somebody will come and say, "okay, you're wrapped!" Okay, I know I threw A LOT of information at you. And every production works slightly differently. But this will give you a good idea of what to expect, how things work, and proper protocol as an extra. Personally, I loved being an extra for quite a while. It's super fun. Eventually I grew into principal roles and only do those now. But background acting will always hold a special place in my heart and memory. I'm grateful for the experience. If you think you may want to become a principal actor or part of the film crew someday, take this opportunity as an extra to observe and learn as much as you can. Just stay quiet, out of the way, and ready to work whenever you're called. You'll do great! Just relax, have fun, and be a part of the movie magic! Welcome to the industry! :)
Need a good laugh ?? by Commercial-Cup-6799 • last post Nov 20th
Hello all! Fellow actor here Shameless self promotion, but I've recently turned my Instagram into a comedy page. If you are in need of a good laugh, check it out
Looking for an Agent in Los Angeles by Tracy A. Pearson • last post Nov 20th
Hi folks, I'm looking for an agent in Los Angeles - anyone have one they like? Broadcast news expert/host work. Current agent doesn't feel committed. Distracted by his own projects. I'm getting a lot of free PR through own efforts but he's not using it to my benefit. I feel like I need someone working for me in my geo area. Thoughts?
In order to be successful in the film industry as an actor, do I need to put myself in a box? by TwoHefty1657 • last post Nov 20th
Hi, my name is Noah and I’m an actor. Here is what I have going on… I’m a big guy. Not big as in width but big as in length. I’m 6’8” and 270 pounds. I was diagnosed with diabetes 5 years ago which caused a decrease in my muscle mass. Long story short, I look like a tall stick with gynecomastia and I’m 25. My agent and manager submit me for projects that require either the “fat guy” or “muscular guy.” As a diabetic, I can’t afford to be the fat guy. I have the option of being a normal me. But I also have the option of being the muscular. Do I change what I look like in order to have a career or do I stay the way I am hoping that it doesn’t matter?
Can voice actors give me tips on how to imitate Woods from CoD BO? by 202042 • last post Nov 20th
I'm not a VA but I really want to learn to do Wood's voice from Call of Duty Black Ops ([https://youtu.be/W0s\_WEPsnrQ](https://youtu.be/W0s_WEPsnrQ)). Do you guys have any tips?
How much experience does a child actor need to sign with an agent? by SnooPets9936 • last post Nov 19th
Basically the title. I have some experience, but I'm wondering how much more I should get before I contact an agency?