We have found 19,242 posts across 4 actor forums:
Auditions for blockbuster films/TV series by boba_toes • last post Apr 13th
Hi all! I noticed that recently there have been a lot of posts from people who have asked if they will be able to 'apply' for roles in big movies and TV shows that have just been announced (the Harry Potter one has been the most common recently), or are rumoured to be underway. As someone who is a working actor and producer with my own company (and I often sit in on casting) I wanted to make a post to explain to people who might be newer to the industry how the casting process works for big projects like this, to hopefully empower you and help you understand better. Remember this is SUPER simplified, and any stage of this can get very complicated. Also, my experience is largely in UK-based productions (although I've worked on a couple of US productions too), so there may be a slight difference depending on where you're based. For clarity, I worked my way up from a production assistant, then producer's assistant, now I produce my own work, so I've seen a lot of levels of this. This post is LONG, so strap in. I didn't want to leave anything out! Anyway - let's start from the very beginning, and pretend that I'm a big important executive from a network or studio who wants to make a prestige TV show like Harry Potter/Rings of Power/House of The Dragon, etc. How does it work? >**1)** I will approach my network/studio and pitch the idea to my boss, say I've convinced the author to sign over all rights to the work, and ask for approx $200million to make it. If I've done a good job and the idea seems solid, my boss might say yes, and authorise me to use some of the $200million to find my core team and come up with some basics. > >**2)** The first thing I need to do is find a **showrunner** (the person who will be head writer and steer the project from beginning to end). The process of finding them and getting them contracted could take me anywhere from months to years. > >**3)** Once I have my showrunner, they will go out and find a group of **writers** to come up with an **outline** for the first series, and write a **pilot script**. This process could take anywhere from a few months to a year (or more...) > >**4)** I'll go back to the studio, show them the script and outline, and ask for the 'green light' to begin pre-production. They might say yes right away (sometimes you might see this being called 'ordering' episodes), or they might offer notes and tell me to go back to the writers and implement those notes - which might take months. ^((At this point, since I first put the idea to my boss, a period of a year to even five or ten years may have passed, depending on how many other projects my studio has going on - this is called being stuck in 'development hell' if it drags on for years.)) > >**5)** If they say yes right away, I will get the **'green light' to start pre-production**, which is the time before filming where the production team and director do all the necessary prep work: **casting**, finding and booking locations, finding crew, making/buying costumes, building sets. Casting usually comes first, because any further financing and crew acquisitions will depend on which big famous person we convince to sign on. > >**6)** From the scripts that we have, the casting director we hire will start to make **character breakdowns**, which tell us how many roles we need to cast from leads to one-liners, and what they will be like (age, race, accent, height, personality, etc). These breakdowns will go out to the various agents in the next steps. > >**7)** The first roles to be cast will always be the leads and pivotal supporting roles, because they are crucial to the idea - for adult roles, we will likely have a "wishlist" of 10 - 30 known/name actors per role. Many of these actors will be 'offer only', meaning they have gotten to a point in their careers where they will no longer audition, and will only consider roles if they are offered to them directly. > >So: the first thing that will be done is **sending the script to each of them in a hierarchical order** \- and believe me, the politics on this one are painfully intricate. You can't send it out to multiple A-listers simultaneously, it has to be one at a time. Agents will sometimes refuse to offer a script if someone else has been offered it first, I've heard it with my own ears (for instance something like "Nicole won't read this if Charlize has already turned it down" or "this needs to go to Reese before it goes to Rachel"). But in general it goes: \- Oscar winners, true living legends, permanent A listers \- Emmy/SAG/BAFTA etc winners and reliably bankable stars \- 'known' actors who may not have an award but do have name recognition \- trendy promising up-and-comers > >Each of these actors will have a certain amount of 'reading' time they require in which to read the script and discuss the role with their team, which can take from weeks to months depending on how busy they are - the **average is 4-6 weeks for A-listers**. You can imagine the math on this: the first person takes 4 weeks to read and then says no, the second person takes another 4 weeks and says no, and so and on and so on until you hopefully find someone who says yes and isn't too far down the list. So let's call this step a further 3-6 months. > >**8)** Once the lead roles have been cast, the supporting roles will be cast. The casting director will generally go hierarchically here as well, so they'll ask for submissions from all the top agencies in the country they're shooting in or approach specific people they have an eye on globally. Then they'll work their way down to boutique agencies, start ups, and so on and so forth. By the time they reach boutique agencies, 99% of the time, they'll have found what they need and won't need to go any further down their list, but in case they haven't, they might go out to big agencies in an adjacent market (for example US/Canada, US/UK, UK/Europe, UK/Australia/New Zealand) and then work their way down their agent list hierarchy in that country as well. 99.999999% of the time, at this point, we will be fully cast for speaking roles. ^((Side note - Do I agree with this hierarchy? No, not necessarily - but it is the reality, and I want you to know about it!)) > >**9) L**et's say one of the supporting roles is a very specific type of person. Maybe we need a Farsi speaking amputee, or a long-haired 6'5" Viking-looking man who can do a headstand on horseback, or a 95 year old Thai woman who can tap dance flawlessly. At that point, an open call would be put onto reputable online casting platforms for those very specific people, and the casting director and their team would start to think outside the box - maybe street casting? Maybe models? Maybe athletes and stunt people? Maybe they'll go out into community organisations? > >**10)** Or maybe a lot of the roles are for children, like Matilda The Musical. In the UK, the casting director would generally go out directly to major youth organisations (like the National Youth Theatre), drama schools/university drama and theatre departments to target 18-20 year olds who look younger, children's acting schools, and then finally high schools in general - they will organise carefully controlled and managed open calls at each high school. If they still haven't found anyone, they'll put an open call online. > >**11)** At that point, 100% of the time, we are 100% cast for all speaking roles. Extras and background will be hired on a rolling basis throughout principal photography through the appropriate agencies that are local to the shoot. > > > >^(A caveat to all of this:) > >^(Once in a blue moon, a studio will demand a "true" unknown for a lead role in a blockbuster film. This is more common in indie film, but) *^(occasionally)* ^(happens for a big project. The most recent memory I have of one of these is from the new Star Wars trilogy. A worldwide search was conducted for the roles of Rey and Finn. HOWEVER - although thousands of people who are unrepresented self-submitted and sent in tapes, a casting director was simultaneously following their usual hierarchy and going to agents looking for someone, and it's worth noting that both Daisy Ridley and John Boyega were already represented and had some small professional and indie roles under their belts. I generally mistrust studios when they ask for a "true" unknown - they don't usually want someone who is completely new, they want a skilled, proven actor who is a new face to THEM and to the wider industry. Keep that in mind and keep a healthy skepticism when seeing these open calls.) So I suppose the answer to the FAQ "how can I apply for a role in (huge thing)?" is - you can't. The reality (however unpleasant you feel it is) is that a lot of very experienced people work very hard to make sure casting for big projects is a **controlled, closed process.** There are a lot of reasons for this, but the number one reason is time and money. Imagine that we put an open call online for a new prestige TV show - how many *millions* of self submissions would we get worldwide? We would have to pay a small army of casting assistants to sort through them and respond and organise and watch self-tapes - it could take years. Nobody in the industry has that kind of time or cash available to them: not even the biggest, most expensive projects. The best advice I was given in my early career was to **always blend in as a professional, rather than stick out as an amateur.** Meaning - don't delude yourself into thinking you can be the exception to the rule, and start to pull silly stunts to try and get noticed. \- If you email your resume to a random person who's connected to the project but isn't in casting, I can guarantee they'll just roll their eyes and delete it and maybe block your email for good measure. \- If you DM someone involved with the project on social media, they either won't see it, or they'll delete/block there too. \- If you put a video on TikTok saying how perfect you are for a role, or film a self tape unsolicited and put it online and ask people to tag creators in it, you'll likely be laughed at. I've seen all of those things happen before, and it's not pretty. I - and my colleagues - still remember the names and faces of actors who have done stuff like this, and *trust me when I tell you that you don't want to be remembered for that*. So what *can* you do, if you're unknown, to get a role in your favourite project? Honestly - nothing. I'm sorry if that feels brutal to hear. **BUT:** \- If you have an agent, you could let them know that you're really keen on the project for when it comes around. You could also ask them if there's a possibility of them setting you up with a **general with the studio's head of casting**, or the casting director who's on the project when their name is announced. \- If you know anyone from your network you suspect might be involved directly, it can't hurt to send them a catch up email - be casual, and don't ask for favours. Meet them for coffee, show genuine enthusiasm about what they're doing and tell them what you've been doing. Hopefully seeing you will jog their memory if there's a role you might be suitable to read for. If not, no harm done, you've had a fun catch up with a friend and colleague. \- If you don't have an agent, you can keep up all the usual stuff like training and self-submitting, and make sure you are registered with your local online casting portal or any directory/youth group/drama department that is relevant and available to you, and that your profile is up to date and that you have good head shots. \- If you have very unique physical attributes, see if you can find an 'alternative' modelling agent or similar - they will also be a great port of call for casting when they're searching for people with very specific looks that are harder to find in the general acting population. ​ I really sincerely hope this helps, and I'm happy to answer as many questions as I can! :)
In Search of Acting Class (NYC area) by willbesomeonesoon • last post Apr 13th
I just moved to Midtown East, NYC a month ago, and am interested in signing up for an in-person acting class. Preferably with a curriculum of 1 night/week. Price isn’t a huge concern, but something not-terribly-expensive is encouraged (will settle for paying a higher price if you have found the class to be well worth the money). I have years of acting experience from middle/high school and have starred in 3 short films in the past year, so a more intermediate course would be ideal. Ultimately looking to refine my acting skills, as well as connect with other up-and-coming actors in the city. Does anyone have any suggestions? Thank you in advance!
How would you approach an actor for a cameo in your film? by SwimGood22 • last post Apr 13th
Working on a feature script, and my team and I would love to attach an actor for one of the characters. The only issue is - their on-screen role is very minimum and would only be in a scene or two. I know actors have been part of films as cameo roles (i.e Matt Damon in UNSANE) which are smaller, but what is the best approach to getting them attached? Do you even explain it as a cameo in the film?
How to use your resources and network to help your career by Sad_Nebula17 • last post Apr 13th
Hi guys! First time poster here. I've been in the acting game for over a decade. I am now in my early 30s and finally have my agent, but honestly, been a lot of false starts in recent years with my career, which I'm sure many can relate to. I know that's just how this industry works, but my question is: how do you use your network to leverage your career fairly? Meaning, I have plenty of friends who are successful in TV, film and music, who I admire dearly. Thing is, I've always been wary to ask them for a little help introducing me to the right people, as I never want to make my friends feel that they are only there to help me up the ladder. But a part of me just wonders if maybe I've just been missing out on a lot of potential opportunities by being too timid and not bold enough to ask for guidance, mentorship, networking help from my friends. I'm talking people who are well known and have many film and TV credits. I'm thankful that I've gotten to do a lot of amazing networking on my own, but sometimes it just really takes someone else with a track record to introduce you to people. Should I keep networking and auditioning as is? Or should I reach out for a little help, and how? Look, I'm not looking for fame necessarily, what I'm looking for is financial stability and the opportunity to work in my field steadily (I know, an actor's dream!) Also, I live near LA, and am moving there again in the next few months. Feels like my close proximity hasn't deterred me too much, but I know I'm missing out on the face to face networking you get by simply living in the city. Thanks everyone! Happy auditioning.
Protective Styles in Head,shots? by sionaxyw_ • last post Apr 13th
Hi there! For my Black actors out there who wear protective styles, do you think it would be noticeable if I had a slightly different protective style than my headahot? For example, in my head, shot I have knotless braids. However if I took them out and put passion twists or marley twists in my hair and I did an auditon with that style do you think casting would notice or even care? I'm thinking this is something I might be able to get away with but I'm not too sure. Thanks!
I need advice please by aku454 • last post Apr 13th
Hello, I'm a newer actor currently choosing which acting class format to take and I need your advice! I'm a full time college student in LA so I go back to my hometown (not in SoCal) for three months in the summers and one month in the winter. I want to get solid training in the Meisner technique to improve as an actor and overcome my awkwardness and nervousness when talking to other people. The problem is that many Meisner technique studios offer two year in person programs that I can't attend consistently due to my summer and winter breaks. I looked around for classes both in LA and near my hometown and I am faced with two choices: 1. Take a three month in person introductory class in Hometown Acting Class this summer, and then continue my training at a different in person LA Acting Class when I get back to college next school year. 2. Take the zoom option for LA Acting Class this summer, and hopefully transfer to their in person acting classes when I return to college next school year. And just continue hopping back and forth between Zoom and in person (not sure if I can do that...) in the same studio until I complete their training. I just had a talk with Hometown Acting Class and the ball is in my court whether I want to move forward as an applicant and I'm going to have an interview with the LA Acting Class tomorrow. Do you think it's ok for me to jump between Meisner studios from the summer and school year in regards to training as an actor, or is it better to stay with one studio consistently? For the second choice, do you think it's better to take Zoom classes/in person classes with one studio, even though during the summers I won't have the benefit of in person classes? Thank you so much for taking the time to read and/or give advice. I am very grateful and wish you the best day/night. :)
Play for Acting Class by Free-Patient2102 • last post Apr 13th
Hi everyone! I have to perform a 7 minute scene in my acting class with my friend. We need to find a play that has 2 characters, 1 girl and 1 boy. Does anyone have any suggestions? I would prefer comedy but am open to anything. (I am not an actor so am very new to this) Thank you so much!
A Big Thanks by Barry Culver • last post Apr 12th
Thank you to everyone who gave me advice on nursing my voice and helping me out while I was sick. My voice is feeling much better (as am I). I was able to get an audition done for an indie game. My first character demo had to take a backseat, but it’s still in the works! Appreciate you all!
Billy Porter To Star In & Co-Write James Baldwin Biopic! by Ashley Renee Smith • last post Apr 12th
I'm so excited for Billy! I'm curious, if you could play any historical figure in their biopic, who would it be and why?
Any actors here who aren’t working a living wage on the side? by Civil-Gift294 • last post Apr 12th
What I mean is are there any of u guys that didn’t finish a degree for another subject? And is just working a minimum wage job? Reason I’m asking this is because, I don’t want to go get a certificate or go to college to complete another degree that isn’t acting. Don’t some actors go to university or get a certificate etc. to have a backup job just in case they can’t live off only acting as their jobs? Just curious
Survival Jobs by TypeAffectionate • last post Apr 12th
Hi, I am currently in college and want to go into acting when I finish up; however, I don't want my sole focus in college to be acting when you don't need a degree for it. I thought nursing might be a good choice, because you could work at a hospital, do 3 12's, and be done for the week; however, after doing some reading a little bit ago, maybe I'm not going about it the right way like I thought I was. ​ So actors who went to college, what did you do that helps you pay the bills and still have time to pursue acting (professionally)?
Actors in Chicago by ElGalloClaudi0 • last post Apr 12th
What is the better school to go to for beginners? I have found a few but I also don't have a lot of money
Struggling currently… by Capital_Team_3352 • last post Apr 12th
I just started acting again recently (30F) and am 8 months into classes. I recently started my intermediate level and was pretty confident but after seeing others I just feel like I am not progressing and growing as much as everyone else (or even as good). I’m hoping this class will give me the skills to grow this semester but I keep questioning whether I should continue. I am always so happy to hear other students successes but it does make me feel worse about myself. I get a good amount of auditions but not a lot of callbacks and I don’t book much and I know most of the time it has nothing to do with me and just a part of casting but it’s hard to not think I’m just not a great actor too. How does everyone deal with this? What are some things you do outside of class/work to help you grow your acting?
This is what Kent kasper always comments on actors needing guidance by Proof-Pollution454 • last post Apr 12th
Uk actors. Is it me or has it become ridiculous easy to get on spotlight now ? by bustergaming777 • last post Apr 12th
I’m not saying it to sound elitist or anything but there was a time it was hard to get onto for a reason, now it seems like anyone can just get on it?
Help by Motor-Requirement143 • last post Apr 12th
im 17. im from australia. i live on the island below it and there's literally no acting opportunities. id have to fly to the mainland for qn audition which would cost $500-$800 and I might not even get a role from it. i'm sick of auditioning and not getting anything or almost getting the role but losing it to someone with more experience. directors say they want experienced actors but I have to start somewhere, right? I know that rejection is the main part of the business but I'm sick of it. pouring my hear and soul into every audition and not getting any appreciation in return. I can't afford basic things in this cost of living crisis so I don't know if I can continue to audition and have a partime job anymore. I don't want to give up trying to become an actor. how do I get my big break? I want to be able to afford heat and food. some people spend their whole lives trying to and never do. I don't want to have a failed career and have nothing else to fall back on. I'm not even sure if I should continue studying drama and theatre performance if I won't be able to get a steady job with my future qualifications anyway. someone help me, give me advice or reassure me.
Stagedoor Manor. by Apprehensive_Sea332 • last post Apr 12th
Hi! My names Kyle I was wondering about the "Stagedoor Manor" summer camp in the catskill mountains, NY. I was wondering about how good of a performing arts summer camp it is and if it compares to "French Woods" I'm an aspiring actor and I know "Ansel Elgort, and Natalie Portman" went there. Thanks! I most likely wanna act in film as well, but I just wanna start small and build my way up.
Tax Help? LA Actor hired in NYC as Local Hire by timrasputin4 • last post Apr 12th
Hello, I booked my first real acting job in 2022 on an NBC show and got paid a decent amount, but also had a lot of expenses with it. I'm a bit confused if I can deduct anything though. Maybe some kind and knowledge person here can help: • Paid via W-2 (around $10k for two weeks) • Live in LA but had to travel to and stay in NYC, paying for my own flight, cars and hotel (roughly $6k in expenses) Paid my manager 15% of total (roughly $1500) Paid SAG initiation fees (roughly $1k) Earned: $10k Total expenses: $8.5k As you can tell, I didn't really *net* any money on this job, but needed to take the role for my career. Now it's tax time, and I'm not sure if I need to pay Fed/State taxes on the full amount, since it's a W-2 and I don't have enough for an itemized deduction (filling jointly). I'm assuming writing these off as a "business" expense on a Schedule C would trigger an audit or get flagged, since my income for this job will be reported on a W-2? I also have to file state taxes in both NYC and CA? Any help or advice would be much appreciated, as it doesn't seem fair that after all of these expenses I now need to pay taxes to the government on the full $10k.
Stage name or ride it out? by Current_Confection63 • last post Apr 12th
I’m really new to acting, I’ve been self submitting and just booked my first gig . It’s still a few months until filming. I always planned on using my real name and try not to get ahead of myself but I feel I might have a problem. So my last name isn’t super common…. However, there is an actress who has used the French version (same as mine) and also the American version of my last name. We also have the same first name . Which she’s gone by the name and nickname. Basically she’s credited under different variations of the same name as mine. For how long she’s been in it and how many credits she has, I’m assuming she’s joined the union. From what I understand , if I were to join the union, I’d have to change mine? Is it better to just do it now from the get go? I don’t want to cause confusion with the job I just booked. I also don’t want to worry about it if I don’t need to.
Summer Intensives (Meisner): Where to? by Hi-raeth_ • last post Apr 12th
Hello my fellow creative minds <3 ​ I am in a bit of a pickle. Please, allow me to explain my situation. I would be humbled to receive your advice. ​ I am an actress from The Netherlands, and the acting industry here is really tough to break through. Thanks to God, I met an internationally recognized industry professional who has seen my talent, and who wants to invest in me and help me achieve my goals as an aspiring screenwriter and actress. I am not new to acting, although I do need to train more. I know little about the industry and what the best places are for people of color to practice their craft, which in my case is acting AND screenwriting. I will get back to acting school in August in The Netherlands, but I also want to expand and go abroad in the summer of 2024, and after. My main question is: What is the best place for an actress of color to flourish: The United Kingdom, The United States, Los Angeles, New York City, Atlanta - Georgia, or London (for example) ? Or somewhere else? One of my coaches swears that I should go to London and do theatre until I bleed, but I would like to study the Meisner Technique in the US at the Neighborhood Playhouse or the Meisner Esper Studio. ​ I would really like to follow a summer intensive that focuses on the Meisner Technique. What would you recommend me to do? I am feeling miserable not being able to express myself through acting. All advice is greatly appreciated, my friends. Thank you, if you've read my post thus far. ​ Never give up, keep your hopes high. Nurture your artistic soul.