We have found 19,298 posts across 4 actor forums:
Pay to play in NYC? by Swaggermidget • last post Oct 8th
Does anyone have any experience with places like one on one or actors connection? I hate the concept of pay to play but I’d be willing to do it if people have actually found success this way. But it seems to me unless you already have some decent credits it’s kinda a waist of money/time. Would love to hear any thoughts
Ethics of working at LaGuardia "Fame" High School for the connections? by dontstopmenow9898 • last post Oct 8th
Hi everyone! ​ I have a friend who works in education as his day job and is also an actor. He is thinking of moving to NYC and applying to teach in performing arts schools such as LaGuardia and the PPAS to teach young people who are passionate about the arts but also potentially make connections himself. We were discussing the ethics of this and I found it really interesting and wanted to share. ​ Do you guys think it is unethical that he would apply to work there to propel his own acting career (i.e. getting connections with an agent) or is this just another method to break into the industry??
Casting Call for Audio Drama by myinvisibilitycloak • last post Oct 8th
Casting Call-Audio Drama The Show: Russian for Cats (Season 2) available on all platforms, including Apple Podcasts and Spotify Synopsis: A bilingual cat escapes from a secret lab and finds refuge with Brian, a hoarder with a heart of gold. Brian hides the cat from the spies chasing her and she helps him clean up his house. Season Two takes place first on a cargo ship, then in Iceland as they continue evading the Russian spies. Recording location: Remote. Each actor sends in his own audio files. Pay: Ten cents per word USD. This part currently has about 500 words. I don’t expect it to increase much. Character: A 20-something YouTube travel vlogger who calls himself Bro on the Go. He has a huge ego. Thinks the world revolves around him. Obsessed with his stats and his followers and making sure everyone around him knows how much he travels. My first choice for his accent would be Australian, but it’s not crucial. I’m more concerned that he sound the right age and have a lot of energy. For round one of the casting call, send me your reel ( therealpamcameron@gmail.com)and if I want you to audition, I’ll send you part of the script to read. I’ll delete this post when I’m no longer accepting applicants.
watching riverdale and want a discussion bout the actors by onerighteye • last post Oct 8th
So I’m on season 3 of riverdale and at first I was kinda confused about why they’re not making bold choices. Like the words they say are fucking wild and it looks like the actors aren’t making the most of their words- why aren’t they? Has anyone identified it? Even if the writing is all over the place, wouldn’t the actors try to live in the heightened reality? is there something I’m missing? It seems like they’re dealing with such life and death stuff and like everyone is toning that stuff down?? Am I missing something? Does the network want to save the heavier stuff for that or idk?? what are your thots? EDIT the reason I’m confused is that they’re all strong actors!!! cole sprouse, Luke perry, the guy who plays fp Jones from Jericho! I’m wondering if there’s a style that they’re all shooting for or what?
Scare acting health and safety concern help by LancetteRose • last post Oct 7th
Hey hey! I don't really know how Reddit works so apologies in advance if I'm doing anything wrong by asking here... I'm more of a lurker than a poster >.< ​ I was hoping someone might be able to give me some advice/insight regarding a health and safety concern at the scare attraction I've just started working at (in the UK.) ​ I've been a massive fan of scare attractions for years and always try to squeeze in as many as possible during October. October is by far my favourite month of the year and Halloween is my Christmas! As a fan, I had wanted to see what it's like to be on the other side of things for a loooong time, but due to suffering with social anxiety I had never previously had the guts to go for it. This year, however, I managed to push myself and got a job working at a place I've admired for years. ​ I guess I can't really say too much as I don't want to accidentally breach my contract in any way! But my concerns are regarding special effects in my room and my costume. ​ I have very poor eyesight and so I have no choice but to wear contact lenses for the job. My character is based in one room that's pumped full of dry ice/fog (which I don't have a problem with, I weirdly love the smell of it xD and my optometrist assured me my lenses are fine to wear in it.) The complication arises because I have to wear a full face latex mask as part of my costume. It doesn't fit my face very well, my vision is restricted due to the eye holes not lining up well with my own eyes, the edges dig into my eyelids and disrupt my lenses in my eyes. The room gets very humid and inside the mask I get soaking wet from sweat, which I can't wipe away and water also runs into my eyes. ​ Even worse than that is I cannot access water. We are told repeatedly we must have a water bottle with us and we must make sure to drink regularly. My mask has a small mouth hole but, like the eyes, it does not line up with my actual mouth so I can't drink through it. I cannot get my bottle underneath or over the top of my mask. Even if I wear it loosely, the headpiece I have to wear over the top of the mask presses the mask tightly to my face. To drink, I would have to remove both the headpiece and mask, which there is not time to do in between groups of guests. Therefore to drink, I would have to leave my scene... but that's not allowed as our nights we typically work 4 hours and are not allowed a break (even for the toilet) unless we run over 4 hours. Also, my role is very physical and I'm not particularly fit! ​ My family are afraid I will wind up either passing out at some point or getting an eye infection. ​ There is one other actor who works in that room with me but her role is mainly outside of the room with her just popping in every now and again, whereas I'm in there for the entire evening. Both of us raised the issue with the person in charge of all cast members and this person agreed that it's not really acceptable for us to work like that. It was then said that when we next performed we would be in makeup instead of masks. ​ However, I wasn't scheduled to work the night following, but the person who works in the room with me was and she updated me with how the night went. She told me that we're still in masks because the company owner had overidden the cast managers decision to switch us to makeup! Now, I can understand that they want things a certain way, but this just doesn't seem right. ​ I don't really know what to do now because I can't work in those conditions without risking my health, but I don't want to wind up being told to leave because up until these issues everything was great. I've made new friends and our attraction's team is like a little family. I love the place and have supported them as a customer for years, now I want to do my best whilst working for them. I really wish my ability to perform wasn't so compromised. ​ It's not like this is a new company either, they're experienced and have won awards. ​ I was just wondering if anyone has any idea how to approach my concerns because it seemed like things were sorted. If the company owner refuses to allow us to switch from masks to makeup, what on earth can I do because there's no one I can speak to now that can help :( ​ Sorry for being so long winded and thanks for any advice you can give! :3
First major breakthrough! by Garavila • last post Oct 7th
So I've been doing acting for the past three years - took my first on-camera class in 2016 and since that class was more focused on camera technique, I told myself I wanted to learn how to act before I start to audition seriously and therefore enrolled in my local university's theatre studies track. So I've finally got some momentum building and got casted in a student film and my department's play last week! Additionally, while we were rehearsing for my student film yesterday, one of our takes felt SO REAL. I literally felt like my character and wanted what they wanted and felt like my scene partner was actually his character too. I told the director how I felt afterwards and he said "yeah, I could totally feel that too, the tension was definitely there." Eee! I'm so excited that I've finally witnessed a point where most actors strive for - the moment of ultimate "presence" in a scene and complete listening. Anyway, never give up! It's taken me three years to get this far and boy was I tempted to quit last year.
Additional Demo Practice (Follow-Up to My Last One) by ChanChanRevolution • last post Oct 7th
Hey y'all, I just wanted some tips on this latest demo. I've posted here before and the responses were incredibly helpful. I took the feedback to heart and changed up a couple things on how I did this one. This process has helped me learn things about myself as an actor that I had inklings about before, but now are becoming clear, and I feel that I'm taking the steps from being an amateur to being a novice. So yeah, after all that, please feel free to judge and critique as you see fit. As with my last one, I left my slate off because there's no reason to include it here. https://soundcloud.com/chantrieri/chantrieri-demo-practice-2
Do I Need A Natural Talent? by Ketshup • last post Oct 7th
I have no experience or training in voice acting, I don't get comments on how great my voice is, and I'm literally just a teenager. That said, I think that voice acting is a career that I would love every aspect of. I can practice and all that, but something I've heard is that you need a natural talent. Is this true? Or can anyone become a successful voice actor/actress with enough hard work? If a natural talent is required, how do I know if i have it? I know you can't start off perfect, but I don't want to like waste my time or something. Thanks for reading!
Victorian College of the Arts (VCA) Acting Studio Company? by sighphers • last post Oct 7th
Hi, I'm based in Melbourne and looking into whether I should join the 2020 Acting Studio Company. I was wondering if anybody has had any personal experience with this, or heard about it? Otherwise, I'd welcome any advice on whether this 'short course' would be worth it, compared to 16th Street and other options in Melbourne. (It should be noted that I live on the west side, however, making consistent transport to the east - where most acting studios are - quite difficult; VCA is located in the CBD, which is more convenient for me.) I'd like to train/study as an actor in some capacity, although I don't think I have the time/money to commit to a Bachelor of Fine Arts as I'm already pursuing other undergraduate studies. Here's a link to the website: [https://mspace.unimelb.edu.au/courses/short-courses/acting-studio-company](https://mspace.unimelb.edu.au/courses/short-courses/acting-studio-company)
Should I use Backstage or Actors Access? by hoodiebeanie • last post Oct 7th
Backstage is pretty expensive. What do you suggest?
Is taking BA acting for university important? by MrPopulism • last post Oct 7th
I'm a 19 yr old guy who's only been in one play in my entire senior year but who has ambitions of being an actor for film and TV. I've been looking into taking an acting course in Norway as it seems it's one of the few available Bachelor programs. My family tells me to pick some other course other than acting so I've been thinking for quite a while. I just want to know if it's necessary for me to take an acting program in college to improve my career chances after graduation?
Are most actors wage slaves ? by Which_Set • last post Oct 7th
I've heard that more than half of all the actors have another job than acting to pay the bills, and that most actors act for a very low salary, sometimes even for nothing. So basically most actors pay the bills thanks to their side job. I'm considering to try an acting career, but I want to be prepared, that's why I'm asking : should I expect to be a wage slave for a while, or even for a long time ?
UK actors wanted for Skulduggery Pleasant short film - the button by Vaikriya • last post Oct 7th
Hi people or r/acting I have recently begun casting for a short film on Starnow and wanted to get the word out. Here is the listing: [https://www.starnow.co.uk/listings/ListingDetail.aspx?l\_id=1035642](https://www.starnow.co.uk/listings/ListingDetail.aspx?l_id=1035642) The production is Birmingham based and as it is a student production unfortunately it is unpaid, however I will be paying for lunch on shooting days ​ The Button is a short story written by Derek Landy that takes place within the Skulduggery Pleasant universe. The story is about the two main characters of the series, the titular Skulduggery Pleasant the skeleton detective, and his teenage protégé Valkyrie Cain, on December 21st 2012, trying to prevent the end of the world. The cause of which is predicted to be an Irish boy, named Conor, who has built a doomsday button that will end the world when pressed. The film will be 10-15 minutes long and be a simple dialogue scene within one location. The roles needed are Valkyrie Cain Skulduggery Pleasant Conor ​ If you don't have a Starnow account and are not comfortable with making one please feel free with PMing me with your phone number, acting experience, where in the UK you are based and Head shots/ photos of you. In tern I will send you a copy of the script and ask you to send back a video audition by November 1st. (I will not be taking application after 20th October) After video auditions are sent in I will then be holding in person auditions at Birmingham City University, which is located within Birmingham City Centre. If you are an actor who is just starting out and would like some work on your portfolio or you are someone who is very passionate about the skulduggery pleasant series and believes they will be perfect for the role, please apply. ​ Also as a side note I do know people on the photography course at Birmingham City University so although the project is unpaid I may be able to offer professional Head shots for your portfolio.
Wanted to share some info on proper acoustic treatment and recording setups by ErikPeabodyVO • last post Oct 7th
Hi everyone! My name is Erik Peabody, and I'm a voice actor and audio engineer based in Pittsburgh, PA. I see a lot of posts here about setting up recording areas and how to get a better sound from your recordings, and wanted to chime in to offer some advice. I spend a LOT of my time mixing audio for clients that have recorded in sub-optimal recording environments, and I also see a LOT of products marketed as "sound absorption" and "acoustic insulation" that have no business being sold as such. Keep in mind that everything I'm about to say doesn't matter IF YOU'RE HAPPY WITH HOW YOUR RECORDINGS SOUND. Every room is different, and you can sometimes stumble into great results in a situation that shouldn't sound nearly as good as it does! So, take everything here I say with a grain of salt. MAKE SURE YOU'RE LISTENING PROPERLY: Before we talk about anything else, you need to make sure that you're listening to your finished recordings properly before you can really diagnose what you should change with your recording setup. If you're only listening over desktop speakers in a reflective room, you won't really be able to hear your recording properly, and can't tell if you need to dampen your recording environment more. If you're listening on casual-listening headphones, you likely won't be getting a full representation of your bottom end, and there could be noise or rumble down there that you'll never know about. In a perfect world, you would have flat(ish) response monitor speakers in an acoustically-treated environment, but that's out of the price range for a lot of folks. My best advice is to invest in a good set of headphones. I use a set of Beyer Dynamic DT-880 open-back phones and love them. Good representation across the EQ spectrum, I get a decent idea of the low end, and they're comfortable to wear. That being said, it's always good practice to high-pass your recordings at a certain point (specifics depends on your voice) to make sure that you're removing any rumble that your headphones might not pick up. Keep in mind that open-back headphones tend to be better for critical listening, but are not good for use during VO recording, as there can be sound bleed out of the open backs and into the mic. FOAM DOES BASICALLY NOTHING: The "acoustic" foam that's widely marketed and that I see a lot on here doesn't do much at all. The goal of acoustic treatment is to absorb the sound and prevent it from bouncing around your room, which will result in an inability to properly hear frequencies during mixing, and will also create echo and reflections during voice recording. To absorb the full spectrum of your voice (or any sound,) any absorption material needs MASS. Foam does practically nothing, since it weighs practically nothing, and is so porous that most sound will cut right through it. You will likely get \*some\* change in sound if you put up a lot of foam, but it will mostly dampen the high frequencies, which require less mass. If anything, this will make your recordings sound boomier, since the low and mid frequencies are still bouncing around. You can spend a ton of money of proper absorption setup if you want, but there are some budget routes that work remarkably well. Booth Junkie (who frequents these subreddits) has a great video on building a budget acoustic panel, and shows you how much of a difference it can really make. I recommend you check out his video (and many of his videos) to help learn more about the acoustics of your room during voice recordings. [https://www.youtube.com/watch?v=z5ApIWbjvcA](https://www.youtube.com/watch?v=z5ApIWbjvcA) To those of you that say, "but I put up a bunch of foam and now my recordings sounds way better," I respond, "do they really?" I would suspect that a great many of you that feel that way are actually lacking the proper listening setup to be able to determine if it really sounds better, or just sounds different. Remember, if you record in an echoing room and then listen back in the same room, how can you tell? Even if you can't tell, you might not be getting gigs because the people deciding who to hire CAN tell. PICK THE BEST AREA TO RECORD IN: Having a super small space (like a closet) will likely give you trouble even if you toss a ton of good absorption material in there. Every space is different, but I'd caution you to be VERY critical when listening to your first recordings, as low-end bass reflections are notorious in closet setups. If you have the option to try a few different areas, it's worth your time to setup your acoustic panels wherever you can and see which room sounds best. Sometimes, a larger room will work better if you're smart about placing the panels. WORK ON BETTER PRACTICES BEFORE BUYING NEW GEAR: Not happy with how your final masters sound? Outside of setting up better acoustic treatment, make sure to learn as much as you can about your software before you decide you need a new mic, preamp, AD converter, or anything else. I did the first year of my VO career with a Behringer B1, which cost less than $100. Proper EQ, compression, etc will have a huge impact on how your final recordings sound. It is much more worth your time to practice using these tools than it is to just go out and upgrade gear. Along those lines, find a professional voice over site that will let you download a demo from another VO artist. Toss that into your recording software alongside your own recording and do everything you can to make your recording sound like the demo recording. With some practice (and a proper listening environment!) you'll be surprised at how much closer you can get it without spending hundreds or thousands of dollars on new gear. Keep in mind that mixing and mastering are totally separate disciplines that people spend years developing, so don't expect miracles, but you will likely get more mileage from this than purchasing new equipment. DON'T BE AFRAID TO GET HELP: There is frequent advice about hiring voice coaches or acting coaches, but I'm not here to talk about that. If you're not happy with how your recordings sound, don't be afraid to reach out to a mixing engineer for help. There are tons of people online (myself included) that offer professional services to VO artists and are happy to work for a reasonable cost. Additionally, I've had a number of situations where I've helped clients setup their room to work better for them. If you're doing this for fun or for little CCC gigs, do NOT spend any more that you don't need to. However, if you're frustrated with your progress and want some help in getting better recordings, there's nothing wrong with reaching out to a professional instead of wading through the dozens of charlatan blog posts and youtube vids online. That's it! I hope that this helps you setup a better recording environment and avoid spending money on foam and other things that you don't need to. I'm happy to answer any questions here, and you can also email me at [erik.peabody.voice@gmail.com](mailto:erik.peabody.voice@gmail.com).
When to follow up with representation? by FunneyBonez • last post Oct 6th
This past Wednesday I had a stellar “audition” aka pay to play meet with a manager. Performance went smooth, which they enjoyed but the conversation following is really what me feel we’re a perfect match. We spoke about everything under the sun acting related, they even called me a “star” (no I’m not letting it get to my head) amongst other kind things said. They seemed incredibly interested in representing me, I got the email and left with a big smile. The next day I sent over an email with most of my headshots, my resume, reel clips with a thoughtfully worded email thanking them.......alas to no response. Now I know most of you may be thinking “But Bonez, this is still *very* early in terms of communication and contact” and I completely understand that. But for us actors when our eyes light up and we have interactions like these, it’s hard to not feel uneasy when things suddenly go blank. I made the mistake of sending it with an email tracker on, which shows they opened it, clicked my reel, watched 30 seconds and that was that! (I promise I’m not crazy). With all of this being said, should I reach out next week? Never again? I’m currently doing a solid amount of work so I feel it would be great to rattle their memory, but part of me believes how could they possibly forget the wonderful conversation we had! The other part of me is thinking “they’re also probably just busy” which may just be the case. Reddit, what would you do here? When’s the time to follow up?
What happens if I don't submit a requested self-tape on actors access?? by totallytubular11 • last post Oct 6th
I really really really dislike the project and the script, and trust me I know that I should take any given opportunity but I just know I'm not the right person for this part, and wouldn't be serving the story. It's from a fairly small casting director and director that haven't really seen me, so I don't think there's too much to lose. I just don't know how to go about it with my agent because it's not like there's nudity or anything crazy that I could easily say I didn't want to do.... and I'm obviously not in a position where I can pick what projects to do. I also don't have the equipment etc., so I'd have to dish out a bit of money for the self tape as well, and it just feels like a waste. so... what would happen if I just don't submit at all?? or... what are some good excuses to give my agent for not wanting to submit?? I have an in person audition the day before the tape is due, so the "I'm sick" excuse won't seem realistic. Also... I really want to reiterate that in my 5 years going out to audition I've rarely ever turned anything down, and if I have I've been legitimately sick, or out of the country, etc. I know opportunities are important and I will go out for basically anything, but this project is just not it.
Technique to get you cast in more roles by launchmystar • last post Oct 6th
I have created a custom technique to help you raise your IMDB score which, regardless of what anyone else tells you, is extremely important in landing roles. Many people in the industry (actors, directors, producers) will confirm this. If you are an aspiring actor, reach out to me and we can set up a completely free consultation. NO payment until you start seeing improvements on your score AND decide that you want continue working together. PM me and we can have an intelligent conversation. Looking forward to hearing from you guys!
Help me out here! by haya_mohsin1 • last post Oct 6th
I wanna be an actor, I’m studying acting and practicing, and I honestly think I have a chance. I dunno if I’m pretty enough though. I’m 5’3 122 pounds, flat (ish) stomach and big thighs. I have black wavy hair and tan skin. I have some tiny scars on my face but they aren’t that noticeable with makeup on. I have big lips and an average nose, along with what people like to call “anime eyes” I also wear glasses. Ok now that I described myself, try to imagine how I look like. Do you think I’m pretty enough? If you still don’t know then message me and I’ll give u my snap or ig. Help me out here people :(
Acting by PraizmarC • last post Oct 6th
As a growing actor, how do I memorise my lines effectively in order for me not to forget any of them?
Looking for 2 Adult Male Voice-Actors for Vikings of the Interstate animation fight-scene short by Fleckogold • last post Oct 6th
Howdy! I'm Trever Barger, an underground multimedia animator creating cartoons; I'm looking for two male voice actors to fill the roles for my upcoming animation short to a series from writer, Doug Atkinson, called Vikings of the Interstate. You can watch the pilot and follow the storyline from here: [https://www.youtube.com/watch?v=RJb-INOCYk0](https://www.youtube.com/watch?v=RJb-INOCYk0) We're offering a bounty for each of the parts listed below to the VA selected. In this scene, a ninja-viking is facing off against a detective from a small police precinct. A fight scene ensues. **Role#1: ($75) Higgins** is the detective. Southern US accent. Mid-pitch. He's the scapegoat among his compatriots, but excels as a member of the force. After a frustrating set of events when emotions are at full throttle, Higgins gives up trying to contact the rest of his team over his dispatch at HQ. He then makes his way to the back of the station to find the ninja-viking from the pilot episode lurking around the munitions storage. Higgins draws his gun. (sample line 1) : (yelling into an a radio): "Is anyone there?! ... ... .... HEY!" (sample line 2): (walking to the back of the station, talking to himself) "I swear I'm the only competent one in this precinct..." (sample line 3): (seeing the viking, making the distinct connection between what witnesses had warned him about, and what is in front of him. Disbelief disappearing) "Vikings!" (sample line3): (committing to make an arrest on a suspect) "FREEZE!" This is a fight scene so the role demands a few grunts, sighs, and yells to fit the action going on. ​ **Role#2: ($40) Ninja-Viking** won't say much, or even make any grunts; has two lines, but will be speaking Russian. Low-pitch. Calm, cool, collected, balanced, zen-like. (sample line 1) : (after trapping the detective, and making his escape) Это для лучших - "Eto dlya luchshikh" (This is for the best) (sample line 2): (before leaving) Ты увидишь - "Ty uvidis'" (You will see.) ​ Send your sample lines to Doug ([doug@industrialzen.us](mailto:doug@industrialzen.us)) . Those chosen will be sent a copy of the short to sync the final recordings over. ​ Thank you!