We have found 19,407 posts across 4 actor forums:
Podcast interview with Steppenwolf actor Francis Guinan by theworkingactors • last post Nov 16th
[https://workingactorsjourney.com/podcast/episodes/francis-guinan/](https://workingactorsjourney.com/podcast/episodes/francis-guinan/) ​ Season Two of **The Working Actor's Journey** continues with a wonderful and long-time Chicago actor, Francis Guinan. ​ **Listen to the podcast episode** » [*Ep #14: Francis Guinan on Being Blue Collar and Slightly Undisciplined*](https://workingactorsjourney.com/podcast/episodes/francis-guinan/) ​ **Francis Guinan** has been a Steppenwolf Ensemble member for 30 years. We chat about discipline and focus; messing with other actors onstage; great directors; rehearsal questions; John Mahoney; Shakespeare; younger actors; current passions, and lots more! Plus, he works on a piece from THE REMBRANDT, which premiered at Steppenwolf. ​
When is it time to quit school and focus on acting full time? by t626 • last post Nov 16th
Hi all, so I wanted some advice on this predicament I’m in. Get ready for a story because I’m incapable of summarizing. I signed on with my agency for my 18th birthday a little less than 5 months ago. Auditioned for most of the summer and was put on avail about a month in, but didn’t get the part. 4 months in and I got my first co-star (I had 3 lines). The morning before that gig I auditioned for a guest star appearance. I found out I nailed it a week later. Off to NY for a few days. A week after I got back I was invited back to NY to do a paid workshop with a few other bigger actors (the producer saw my reel from the episode). Long story short I’m still in school. I quit my job a few weeks ago once I got the first gig in NY because they weren’t very accommodating with this or school... but you know it paid well and I gotta pay for school somehow. My mom was upset at first because she thought I wasn’t ready and hadn’t gotten enough parts to prove it- until this latest workshop. Primarily because the producers and writers reached out. Not my agency. If I nail this and get the part I’ll miss the last month of next semester, which could potentially waste thousands of dollars. Even now it’s difficult balancing school primarily with attendance. Lots of professors are pretty strict about that, and only one of them has been accommodating (with the exception that I keep up and do extra work when needed of course). I love school. Don’t get me wrong, I’m a film major and did this as my back up plan but I still really enjoy my classes. Not as much as acting professionally of course, but I’m so scared to take that leap. My parents are actually suggesting I take a semester off if I keep getting parts (say once a month). Not to toot my own horn, but so far my risks have all been worth it revolving around this issue. I promised myself if anyone ever took me seriously with this that I would never say no. This ALWAYS comes first. And I always at least go on the initial audition. I feel like now is too soon... but like I reeeeally don’t want to waste my money on school if I’m not going to finish it you know? Just seems like thousands of dollars I’m flushing down the toilet. School is always there right? But I don’t want to ever be in a situation where I’m fucked with no acting and no degree for a decent job. What do you guys think? Should I let this job determine my faith? If I get it I’ll have a decent theatre gig for about 12 weeks, and another great thing to add to my resume.
Best Casting Websites by MissAndreaDraper • last post Nov 15th
What are the best casting websites for California actors?
Thoughts on A1’s? by Gavgem345 • last post Nov 15th
Hi Guys! I was just accepted to A1’s this year and I wanted to know about people’s experience in the past with it and how they felt about the audition process :) comment below :) any info is helpful!
Anyone Reccomend a Great Podcast on Acting? by Jade Robinson • last post Nov 15th
Being a very busy minded person I like to constantly be absorbing information and listening/reading/watching interesting content from people in the industry. Can anyone recommend a great podcast, or even a video series on advice for actors/screenwriters/filmmakers in general?
NYC Repped Actors: Who Do Agents Want You to Train With? by tragicomic • last post Nov 15th
Hi! Wondering if anyone can shed some light on who agents are recommending right now in terms of coaching, specifically on-camera, but generally as well. I know certain studios have better reputations than others, but are there recent trends/interest in individual coaches or teachers specifically? It would be great to...
English / drama or just drama at university? What’s the difference? by Gwts200 • last post Nov 15th
I want to become an actor and I’m using uni as a safety net if I don’t get into drama school. I’m wondering whether it’ll be more beneficial to study a English and drama course or just a drama course? Would a solely drama course be more beneficial and give me greater opportunities ?
Headshot-Age Range-Character Type Post - Nov 15 by AutoModerator • last post Nov 15th
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. 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.
music video eligibility as a SAG-AFTRA member by cnote1011 • last post Nov 15th
Hi! I'm getting a little ahead of myself but I'm curious. I'm a singer- and that's the main goal. I also am signed w an acting agency and have booked a non-union commercial. I had an audition today that asked if I'd be okay with being SAG Eligible if i got the part, so I started researching. I know Union actors can't take non-union jobs after joining, but would I be able to be in my own music videos, since they're my creation? Any insight would be great! Thank you!
Giovannie Espiritu: Actress And Filmmaker Discusses How To Be Successful by Michael_Dinich • last post Nov 15th
Discussion with Actor John Tague about how to make it. by Michael_Dinich • last post Nov 15th
Which day jobs have flexible times for actors? by man_from_orion • last post Nov 15th
Hi there everyone!. I live in South Africa and I'm slowly but surely making a name for myself in the acting scene. Problem is, I'm currently doing mostly future work and don't have a permanent role yet. It doesn't cover all the bills... So I've been trying to figure out what day job I can get that has flexible hours so I can also be on set during the day. Does anyone have any suggestions?
What is the most important thing an actor can do to further themselves in this business? by TheaterNerd • last post Nov 14th
Besides the obvious of working on one’s craft, taking lessons and the like, what do you think is the most important thing an actor can do to help themselves? What have you noticed helped you the most?
Casting Director Workshops by futurebro • last post Nov 14th
Been thinking about trying to build relationships with casting directors through classes since I've been unsuccessful in finding an agent so far. Does anyone recommend one of these over the others? One on One Actors Launchpad Actors Connection Any others? ​ Any advice in general about this?
On Getting Paid (or not) by RothkoRathbone • last post Nov 14th
This was written for the perspective of filmmakers but I thought is might be helpful for deciding whether or not to take a non-paying gig. Personally I’m always of the belief that if you can’t afford to pay your actors you can’t afford to make a film, actor compensation should always be a part of the budget from the beginning. The SAG day minimum is $125 so that is what you should aim to pay per day, when budgeting your film in pre-production. “But I don’t have any money.” You and everyone else trying to make it in this business. You are prepared to take the actors time for free and still sleep at night, when they (if they are serious, and good) are busting their ass giving their time, money, and energy to do what they love. That you don’t have any money for your film, for the most part, doesn’t matter to anyone but you, just as what’s in the actors bank account and how much they can afford to eat doesn’t matter to you. You say ‘I can’t give away money to you, I need it, I want your time and work for free.’ It’s just as fair for the actor to say ‘why should I go without, why don’t you go without?’ “My film is going to be great though.” Yeah yeah, festivals etc. Everyone likes to throw this around. It’s your movie, your passionate about it, you’re giving it everything, of course you want to believe it’s going to be great. But unless you have the experience and professionalism to back that up those dreams are just hopes with a small chance. It is not bargaining power because there is no proof, and it doesn’t mean anything in real terms. The truth is a lot of filmmakers believe that, or want to, and the movie goes on to do nothing, and in the worst case is so terrible the actor wishes they hadn’t done it. A lot of actors have had that experience. So your physical movies that you have done in the past are the only things that mean something moving forward and in the here and now. “We’ll pay gas.” This means very little more than just not paying anything. Sure it sounds nice on paper, and makes you feel a little better when you write that on the casting but the reality is it’s almost worst because you’re making the actor feel cheap by having to get reimbursed for 5 or 10 or 20 bucks, which they probably won’t bother to do because they’d feel cheap. The movie will mean more to you than it will to them. People respect filmmakers who have made a short, no one respects an actor’s talent unless they were in something they have heard of. It shouldn’t be that way, and filmmakers shouldn’t perpetuate that by not paying the actors in *their* film. At no point is it a surprise to you that you have to pay actors. If you are thinking in the beginning, ‘well maybe we just won’t pay the actors,’ then you are showing a very poor sense of professionalism, and care for your movie. If you think your movie is going to be great, don’t you want the best actors you can get? And if you do, don’t you respect them? And if you do, don’t you want to pay them? Here are some things to consider on when it might be reasonable to not pay and why. *You are just starting out and so are they* If you are in film school, and are having to spend thousands of dollars to go in to debt and you are hiring talent that are trying to build up some credits it may be fair to not pay anything. The actor in this instance is gaining experience being on set, and *possibly* something they can use in their reel. It is more reasonable not to pay them because you can not guarantee how good their performance will be. Equally they can not guarantee how good the movie will be, or their own performance, so they might not even use the footage for their reel in the end anyway. Both sides are learning and the people that will see the finished film are limited. In the grand scheme of things the experience will count for more than the finished film. There may be big dreams of film festivals, but at this stage this is not something that adds up to a lot. If the film got in to a festival it would likely be a small one that again, doesn’t really mean that much beyond personal achievement (which is not nothing but its also not an instant career). Now someone in this position might be thinking, wait a minute, I’m only going to make a good film, and it will highlight the great things I will go on to do, OR an amazing film and clearly this is the next Kubrick at work.This might come true but it’s all after the fact and can’t be used for bargaining power. The chances are the filmmakers have little to offer, and the actor has little to offer too. You are getting what you pay for and can’t expect too much, but the stakes are pretty low so it’s all ok, the acting is not being evaluated anyway, the technical things are. *You have a little more experience* You are making your thesis film, or you have a few shorts in the can, and you feel more confident about your abilities to make a decent film. But you still don’t have a lot of money. Well if you aren’t prepared to pay anything you should only expect the above type of actor. Now an actor might expect that this film would end up on their reel, but there is still no guarantee of the quality of the film and what success it would go on to have. Actors might still be willing to work for cheaper for student films, the stakes are still low for them, and they understand that you are paying to work in a professional way without being yet a professional, i.e. college. Perhaps the filmmaker has some great films to their name, and the script is great, and essentially there is some evidence that this would be a very cool project that the actor would be very happy to be a part of. In that case it’s a little more reasonable to get an actor with a little more experience than the first actor and not pay them. BUT not paying them is a gamble. You might put off certain talent because they have a hard line on not working for free — you’ll likely attract much more, and better, talent if you are paying. The actor might not feel super committed because it’s free work. It shows poor planning and budgeting, and a lack of respect for the actor. Ask yourself if you aren’t getting paid to do something how you feel about it and how much effort you give. How much time goes by before you start thinking that there is nothing keeping you there? Your effort will go down. It’s the same as getting free crew, they will care less, they can’t help it, it’s just how anyone would feel. It’s a very slim chance that you manage to find people who love the film as much as you do, and believe in you to the point where they would give 100% for no pay. Of course it’s possible, but it’s a gamble. You should also be prepared to be extremely accommodating and have more than enough food and drink. But I still think you should be able to find $50 - $150 per day, then you could avoid all the above problems and know that everyone’s happy. *They are your best friend* If you and your buddies are making a film, and paying each other is not even a thought then of course, that’s its own reward. But that’s a special circumstance, in many instances you can’t expect a professional, or an aspiring professional to give you their services for free even if they are your friend. *You have a high profile actor* If you managed to book a big name everyone would probably go above and beyond for the opportunity and the credit, and that would have more value than the money. \_\_\_\_\_\_\_\_\_ The bottom line is that actors have to put in a lot of time. They have spent a lot of money on classes and maybe school, they have put in a lot of time getting better at it. Working on a role takes time and energy, it requires learning lines, and preparing the character. If you care about your film, you should care about your actors, and that means paying for what they are giving you. And the reality is credits and festivals don’t mean nothing, but they also don’t mean a whole lot. When a casting director is looking for a small role for an episode of a TV show, they don’t care about a small time short that went to a festival (for the most part). ​ Lastly, a lot of filmmakers who have a couple of shorts under their belt, think the actor will feel lucky just to have been offered the role. After all the filmmaker feels good about their film and they have gone through hundreds of eager submissions. I have even heard of actors being given roles and had their acceptance assumed without even being asked! And without seeing the script, and knowing all the details of what's on offer! A good actor, which is likely the one being offered the role, has standards and expectations on their career and where they are on that timeline/progression. They may have auditioned, but that doesn't mean they will take it, the next step is figuring out the details and deciding if they accept the terms and like the script.
I asked to work on a podcast and they said yes by Leeloopanda • last post Nov 14th
Okay. First time poster here and looking for advice. I'll try to keep it short. Some friends of mine were asking for more actors for their podcast in NYC. I live in Florida but still want to be a part of it. The creator said he'd like to work me and suggestes I get a few things. They are recording this Sunday. He suggested (https://zencastr.com/) for recording and to purchase Behringer Professional Podcastudio Bundle (https://www.amazon.com/Behringer-PODCASTUDIO-USB-BEHRINGER/dp/B000PARIZU) How is this for a first time user? Is there anything else in this price range, $100, that is comparable? Is this okay for entry level considering that the creator of the podcast is suggesting it?
Child Actors by TurnTable904 • last post Nov 14th
So my son is 20 months old and I get numerous people telling me my son should be an actor/model. Every parent of course thinks their kids are the cutest and deserve everything.. What's the proper way of seeing in he's capable of being one without paying for the BS agencies?
Raging boner during scene by surosregimeprime • last post Nov 14th
I had to do this scene where the girl pulls a gun out on me and I pull her close to me to take it away. Anyways she did this little moan thing when I pulled her close and let's just say my privates were standing straighter than a Baptist boy in Sunday morning church. Pretty sure everyone saw the Lion's Pride in my pants and I'm not sure if that was unprofessional or an actor living truthfully in the moment. Has anyone had experience with this event and what is the proper protocol from here on out?
Tips for an amateur by Jacarious Garth • last post Nov 13th
I will be attending the ARTS International showcase next year in Orlando, Fl. I’ve been reading different monologues to find which genre I fit in best. Are there any tips from you fellow actors/actresses that I could do for practice to better myself? Thank you all.