We have found 19,293 posts across 4 actor forums:
How to start by Postman1776 • last post Mar 23rd
Hi I’m a high school student trying to go into the military but I want to finish a dream before I’ve always wanted to be a voice actor listen I’m not asking for how to get in an anime or cartoon I just want to start small because really all I have is a microphone. So is there any website I should look at I’ve tried Upwork but they mainly want experienced ones. Any help would be very much appreciated!!
Headshot-Age Range-Character Type Feedback by AutoModerator • last post Mar 23rd
Use this thread to post your headshots for feedback, get info on your age range/type, find good headshot photographers, ask any questions you may have about headshots. If you are posting a DIY headshot for feedback, and not just a snapshot in order to get feedback on your age range/type/etc, it is advised that you do at least some basic research on what actor headshots look like--composition, framing, lighting. You will find a Google Image search for "actor headshots" to be very helpful for this. Non-professional shots are fine for age/typecasting; please keep in mind that one picture is a difficult way to go about this. Video of you moving and speaking would be ideal, but understandably more difficult to post. ​ For what it's worth, the branding workshop at SAG-AFTRA recommends a five-year age range. That's inclusive, so for example 19-23, 25-29, 34-38, etc.
Filmmaker blasts Pedro Pascal for being in a bloopers reel… by DPool34 • last post Mar 23rd
Podcast episode on acting by OthersideStudios • last post Mar 23rd
I've just interviewed the very talented Koko Marshall on my podcast. I'm not an actor by any means, but I think it's really worth a listen for people in the film industry. Koko had a lot of insights about the world of acting as we discussed her career and major influences. I'd wanted to get Koko on the podcast since I first watched her in the heist thriller Solid Rock Trust (2022). The performance she gave in that film was so complex and had so much range. Here's the link if you'd like to watch the podcast. Hope you enjoy! [https://youtu.be/RgzMffO82ts](https://youtu.be/RgzMffO82ts)
if you actually want people to apply to your casting call, don't be braggy like this, it's pathetic by Pearlsgalore • last post Mar 23rd
Have you ever been bullied by casting directors in your local area? by MoreLynx6389 • last post Mar 23rd
Case Study: Reports have shown this is common in smaller markets aside from Los Angeles and New York. Has anyone been bullied by casting directors in their local area by consistent and excessive exclusion without merit, treated poorly, false rumors, discrimination? Anyone like to share their experiences? Casting directors don’t choose the roles or who gets cast. The director and producers do. Their job is just to present the actors in the local area who fit the description the directors and producers are looking for. There is often a lot of confusion about that. But they do have power in that if they decide to bully someone, they will just not let the person audition despite the actor being right for the role and qualified with previous work experience. Artificial Intelligence could do their jobs and hopefully the industry will work towards that direction to prevent this type of treatment towards actors in the future.
Have you ever been bullied by casting directors in your local area? by MoreLynx6389 • last post Mar 23rd
Case Study: Reports have shown this is common in smaller markets aside from Los Angeles and New York. Has anyone been bullied by casting directors in their local area by consistent and excessive exclusion without merit, treated poorly, false rumors, discrimination? Anyone like to share their experiences? Casting directors don’t choose the roles or who gets cast. The director and producers do. Their job is just to present the actors in the local area who fit the description the directors and producers are looking for. There is often a lot of confusion about that. But they do have power in that if they decide to bully someone, they will just not let the person audition despite the actor being right for the role and qualified with previous work experience. Artificial Intelligence could do their jobs and hopefully the industry will work towards that direction to prevent this type of treatment towards actors in the future.
SAG-AFTRA and social media by Audience-Select • last post Mar 22nd
Question for anyone who knows - I’ve googled like crazy and cant find a clear answer. This is about SAG rules as it relates to appearing in social media videos. I’m a SAG actor (recently joined back in February as a must-join). For my day job, I own a videography business with my partner. We are a small biz and get most of our leads on Instagram. Am I allowed to appear in video social media posts (Instagram reels) to promote my business? Do I have to make my company a SAG signatory for something like Instagram reels or YouTube? And to that end - am I allowed to appear in social media videos on my personal/acting-focused Instagram account?
First time going for an acting gig! I got a few questions :) by Busy_Jicama_9224 • last post Mar 22nd
I am not an actor nor would I have ever thought I would have a chance to do acting at all so I’m a little confused by the process. I am a full time highliner and I was contacted by Subaru to highline in their National commercial. I sent in a self tape about a week ago and they start shooting mid April. how long does it take to hear back about a really specialized role like highlining? Do you think it would take a while for them to choose someone? Also how many people do you think got contacted for such a niche role? Anyway I’m stoked for the oppertunity and hopefully you wonderful people can shed some light on my situation:) Thanks!
What questions do you have for working actors? by iJuanAyala • last post Mar 22nd
I host the podcast [Actors With Issues](http://youtube.com/actorswithissuespodcast), where I interview working actors from TV, film and Broadway, many from popular films and series, about the career obstacles they've faced, the lessons they've learned and advice they'd give to young actors. I want to integrate listener/viewer questions more often so I'm asking for anyone to submit their questions here and we'll possibly feature them on the show. These can be about any topic because I interview such a wide range of actors on our show: audition anxiety, imposter syndrome, mental health, diversity, etc. The one thing I ask you **NOT** to ask is regarding "how to get an agent or manager" because you'll just get their story and not really concrete advice because as we all know, there is no one way, right way or normal way to get one. Actors self-submit, others are referred, some do a workshop or a showcase, and my agent found me themselves. Thanks in advance for your questions!
Amy Lyndon technique? by EffectivePineapple • last post Mar 22nd
Anyone have experience taking her class? I’m looking into the weekend intensive class as I’ve heard her name around town but want to hear if it’s worth it to take as a trained actor.
So slight chance at losing my voice. by mildhot-sauce • last post Mar 22nd
So for context I'm a voice actor, I know redundant. I also have a large non toxic multi nodule goiter. Dont look it up, basically my thyroid is enlarged and lumpy. Ive been told to think about removal. With a thyroidectomy there is a chance at damage to the RLN nerve the nerve that controls the voice box. Along with all the other horror stories like if they find something on my larynx, poof gone. My question is. If you lost your voice, be it completely or you sound muted/ its extremely painful etc. What are you doing? How do you find meaning after that? Sorry if this doesn't make sense spent all night worrying about this.
Some of my insights from the Writer's Strike that happened (2007) and the one that didn't (2001) by CanineAnaconda • last post Mar 22nd
There's a lot of chatter going on right now with a possible strike by the WGA, whose contracts expire in May 2023. Many in the industry are saying it will happen, but the reality is that no one knows what will happen until it happens. That hasn't stopped widespread speculation that it's a certainty, affecting decisions that affect us actors directly. This post is not to debate the merits of a possible strike, or its demands, but just to share some of my experiences as an actor over three decades. In 2007, I was acting in shorts, independent films and some theater, and for work, I was a utility stand-in on a network comedy, so I was on set a lot when the strike approached, was called, and in effect. Though the Teamsters have long had clauses in their contracts forbidding them to strike in solidarity with striking creative unions, SAG-AFTRA will not cross picket lines when the WGA strikes, and in 2007, this was true: SAG and AFTRA had not yet merged, and were both in solidarity with the WGA. However, it was not considered scabbing to shoot and act in TV and film whose scripts had already been written, so there was several weeks of work after the strike started still to be had for actors (and the rest of the crew and production), as long as the scripts were produced exactly as they had been written. On the show I was working on, one of the series regulars had a penchant for improvising and riffing, and the script supervisor who was used to letting it go for this actor had to work extra hard to get our star to say the line EXACTLY as it was written in the script: if one word came out of their mouth different from what was written on the page, it was considered new writing, and was a violation of the strike. A couple of episodes still in draft form went on to get shot, and it showed in the quality of the writing in the final product. Though the strike concluded in the first few months of 2008, the remainder of the season had already been scuttled by the networks and there were only 12 or 13 episodes made in what would have normally been a 22 episode season. It's an interesting endeavor to look at episode lists on Netflix or IMDb of shows produced in the 2007-2008 season that had abnormally low episode counts, and by many viewers' take, some of those episodes' writing was weak in comparison to other seasons'. The strike ended with some concessions to the WGA, and it didn't fully impact major changes in the industry. In fact, some might say that this was the beginning of TV's new Golden Age, as scripted shows became more in demand around this time, and the general consensus was that the writing in those shows was getting increasingly better. In 2001, I was acting in theater at night and working during the day for executives at one of the big networks, and early that year, everyone on the network side was convinced the WGA would strike as SAG had done the year before over commercial contracts. At the time, two huge hits on network TV were *Big Brother* and *Survivor*. Because both shows used non-actors (contestants) and didn't use pre-written scripts, they were out of union jurisdiction. The network started green lighting every reality show that came across their desks, expecting a strike would last at least through the beginning of the shooting for the 2001-2002 season, and with the added bonus of reality shows costing as little as 10% of what a scripted union show might be, and audiences were eating them up, the era of reality shows had come into full strength. Also, stars who had little theater experience started getting booked in limited run theater stints so they wouldn't be idle during the strike, as well as to keep their names in the public eye. That summer in New York, Shakespeare in the Park alone had at least a dozen actors known more for their film than stage work, and they were runaway hits, thus starting the trend to pepper theater productions with big screen stars, regardless of their theater chops. The trend of casting famous screen actors (though theater novices) in plays because of their ability to drive ticket sales came into full force at this time. Also, some of these same A-listers, traditionally "above" the mundane work of shilling for products in commercials, started booking voiceovers and on-camera roles on TV ads, both for the exposure and for the money that wouldn't be coming from TV and Film sources during a strike. The strike never ended up happening, but just the specter of it altered the professional landscape forever, making it that much more challenging for actors who weren't famous trying to get ahead. Speaking of the 2000 commercial strike, which lasted about 7 months IIRC, I wasn't in the unions yet, and was suddenly getting random calls for "non-union" commercials. At the time, the only non-union commercials were low-rent ads like local attorney commercials, small market ads, and 900 numbers. So when, during the strike, a non-union actor got called in to a non-union commercial for a major brand, they'd end up in front of a casting office with a picket line from SAG members at the entrance. Commercial productions started looking overseas to shoot, and after 7 months and little gains for the actors, the strike was over. Commercial producers had figured out ways to bypass their union agreements for major brands, like shooting in other countries, or ad agencies with agreements with SAG opening up separate "boutique" firms (like Ogilvy's Gramercy Park Films) to sidestep their agreed commitments to the unions. Thus started the decline in union commercial production, and now, it seems the majority of commercials shooting are non-union, and paying as little as 10%-5% of their union counterparts for national spots. I am 100% pro-union. I have been a member of various actors unions for at least 20 years, and should a strike be called, I won't scab. But this is also an illustration of how risky a strike can be on how actors can make their living, or even their ability to make a living. Strikes are absolutely necessary, but the decision to call one is a very serious decision to make, and should only be taken as a last resort. The results can be a breakthrough to getting working artists to be fairly compensated for their huge contributions to making a show a hit. But they can also alter the working environment forever, for better or for worse. Some actors during these times may have experienced these events differently and I'm interested in hearing those takes in the comments. I just thought my experience might be informative to those who have yet to experience labor turmoil in our industry. In solidarity, \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ EDITED for grammar
How to Make Sure an Actor is Legal by Whole_Respect998 • last post Mar 22nd
I have a problem that makes me uncomfortable. An actress is interested in acting in my film that included nudity and intimate scenes, but she looks pretty young. I asked her her age but she wouldn’t tell me, which makes me suspicious. She claims that she is legal, but I have no « proof » and there is almost nothing about her online, not even her real name. I only found her profile on Linkedin and even though her jobs are most often done by adults, they are still open to minors. I also have no proof that she did work there. How do I make sure she is not lying and that she really is 18 + to make sure I don’t break the law and don’t hire a vulnerable teenager girl? (note : I’m a female actor and this is a feminist project. I’m not interested in portraying teenagers in a sexual way, which is why I want to make sure she is legal).
better actor sandra bullock or julia roberts? by _donquixote_ • last post Mar 22nd
taking into account both of their films, to settle a dispute i’m having with a friend. [View Poll](https://www.reddit.com/poll/11z0z9p)
Need your advice by snoo-8762776 • last post Mar 22nd
I had an agent for 2 years, but things weren't going well, despite having some interesting auditions, I can literally count on one hand how many I had during the 2 years I was with them – but maybe it's also fair to consider the lockdown time. Still, very little visibility. He is a nice person but wasn't working for me as an agent. Six months ago, I left that agency and signed with a new agent who, despite the initial conversation being good and interesting, I see that I'm not getting the visibility I expected – and I'm not saying this with arrogance, but as a disappointment really. With her, I had an audition in the first week for a small project and then never had any more auditions for audiovisual projects, which is my focus and we talked about it. I had a few auditions for commercials, and last week she sent me a project which is a photoshoot for these girls that are graduating. I don't think I'm "too good for this" by no means, is just that my agent sending me a student project shocked me a bit because I expected her to be representing my profile for other projects. Like, this is why you get an agent, right? Now, a new agency that seems interesting has shown interest in my material and sent me an email to schedule a meeting because they are interested in representing me. This agency is small but better known, and I'm just starting out, so of course, I'll be represented at the beginning by a smaller agency. My acting teacher is also represented by them, so I asked him about his experience. An actress I know from a short film I participated in is also represented by them, so I asked her as well. The agency itself is better known in the market, as far as I can tell, compared to the one I am with currently. At least, that's my impression – I'm new to the market though. But I wonder if it would reflect badly on me if I change agencies now after 6 months with my new agent. I don't have enough experience to know if this is a very short time to end this or not. When I asked her about auditions and opportunities, she just said "it's too early, we need to wait," which frustrated me a bit because I'm tired of these vague responses. What would you do in my place? Should I consider the fact that 6 months is too soon to change agents, or should I give it a try?
What to put on resume? by Big-Adeptness995 • last post Mar 22nd
For context, I’m in Canada where co-star roles are usually billed as either ‘Actor’ (typically less than 5 lines of dialogue) or ‘Principal’ (typically 5 or more lines of dialogue or a large amount of onscreen presence but not large enough to be considered a guest star). I recently booked a role, where the breakdown identified it as an ‘actor’ role, however, after I booked, my contract said ‘principal’ and I was paid principal rates. I had fewer than 5 lines of dialogue but quite a bit of silent acting on camera. Should I go off what the contract says or the initial breakdown? Is it safe for ‘principal’ to go on my resume, instead of ‘actor’?
Is Casting Networks worth is for Background Acting? by thegreatestwhale • last post Mar 22nd
Hi all! I am new to background acting. Started with central casting about a month ago and I have been working 1-2 gigs per week through them. Seems like the other background actors are getting a lot of work from casting networks. I have been applying to jobs there for about a month and haven't received a single call. Is this normal or could something be wrong with my profile?
When creating a website & social media pages, should I brand myself as a Voice Actor or Voiceover Artist? by chaz65 • last post Mar 22nd
I'm interested in voicing both commercial gigs such as advertisements and explainer videos, as well as acting roles such as animation.
How realistic was Leonardo DiCaprio’s meltdown scene in Once Upon a Time in Hollywood? by CopeHarders • last post Mar 22nd
For more context here’s a video of the scene: https://youtu.be/s3maJDDoX1Y So I’m someone that has always been very interested in the art of acting. I’ve studied a bit of Stanislavsky, took Meisner classes, Practical Aesthetics, etc you get the point. I wouldn’t consider myself an actor more actor curious. The scene in question Leo’s character is livid that he screwed up a couple of lines and is berating himself for it. He even says he made a fool of himself. Is that how it goes typically? Actors that mess up lines here and there are looked down upon so harshly by cast and crew? Or is his character just being overly self critical? I guess my question is, is making a mistake that big of a deal? Even during the scene before when he calls for a line twice he almost loses it asking to redo the take with the director refusing. Anyway, thought both scenes were great but wondered if this was the true mindset of an actor and if this scene resonated with actors on an almost inside joke level.