We have found 19,242 posts across 4 actor forums:
There Are No Stupid Questions - Jul 28 by AutoModerator • last post Jul 28th
Please feel free to ask any question at all related to acting, no matter how simple. There will be no judgements on questions posted here. Everyone starts somewhere. So ask away!
Atlanta or LA? by donnie_marko • last post Jul 28th
Hey doods. Currently out in LA strugglin. I am taking acting classes and looking forward to doing some Shakespeare in the next month or so. I have made a fee connections, but am seriously struggling. I have to work so much just to make ends meet, and I have to drive what seems like forever to get to auditions (if i even can). I wanna know your thoughts on Atlanta. As an emerging market have any of you jumped over there and seen more success? Do you feel there are more opportunities there or here (nowadays)? I am just so tired of the struggle, the high cost of living, and traffic. I’m not having any fun doing what I love because I’m so stressed all the time. PS: I’m 22. Male. Work in tech so I can transition pretty easily. Edit: Cause the only answers here seem to be unhelpful. I am not dissatisfied with my work, nor my success as an actor. I am young, and fully enjoying the small success I am having, and taking things as often as I can. What I want to know is if any of you have worked in the Atlanta market, do you feel it is comparable for a young actor to begin there while we build our resume? Since it has a lower cost of living it is more appealing to me because I could save more money and time, and it would be easy for me to take my current, full time position along with me.
What do you think about my acting? by holobert56 • last post Jul 27th
Hi everybody!! Im a begginer in the beautiful world of acting,and i would like to know what do you think about my performance on this monologue written by joseph arnone: https://www.youtube.com/watch?v=-Sv1QjRV9wg&t=7s i would aprecciate opinions,tips and advices!! (Im spanish,so i would appreciate also tips about my english accent) Thank you...
Neat except from unaired interview by Michael_Dinich • last post Jul 27th
I was really excited to share an interview with an actor that I felt shared tons of neat insights. The actor really turned negative and despite my best effort I had to basically say, I might be a nothing to you, but I'm not a doormat. (let's leave it at that). Here is an excerpt that I thought was cool; Also, it's more challenging than ever and that's not just LA, that's everywhere. The truth now is that honestly Hollywood's dead. It's a little bit dead. . Now that with the internet, with digital media, with digital, with ways of now actors are constantly ... It's called self-taping. You no longer have to live here. So even years ago when I moved here, and I would go in and my agent would say, "Oh, they're seeing the usual suspects." So you knew that maybe for a big role on TV there were the same 30 people going in for it. Now, your competition level, and I hate the word competition, but your competition level or people vying for the same position is tenfold. So now they will watch 3000 self-tapes that were sent in from actresses from LA to Atlanta to Florida to Hawaii to Alaska and on and on and on it goes. Now you no longer have to be, because of the digital world, you don't have to be here anymore. That's something that is a blessing and a curse all in and of itself.
Place for industry people to critique your website? by rrichardjames • last post Jul 27th
Hi all! I’m an actor based in NY who spends way too much time on his website. I was wondering if anyone knows a place or site or service where a CD or manager or agent can give you feedback. Any and all leads encouraged! Thanks! -rr
Why Do You Like LA/NY? by GritParagon • last post Jul 27th
If you're an LA/NY native this doesn't apply to you. This topic is directed towards those who packed their bags and moved from out of state. For those of you who made the big move to two of the biggest markets for actors, do you enjoy living there? Does the question of "*this is where I plan on living the rest of my life*" ever cross your mind? LA is like an industrial town. Instead of steel, there's film. Actually, instead of steel you've got ~~cattle~~ artists. I'm curious as to how many of you, especially those of you who managed to stay there past the three year mark, have learned to accept this aspect? How often do you get out of the city to maintain your sanity? It's hard isn't it? You'll miss an important audition if you leave even for a second. Or perhaps you fell in love with the city and absolutely love it there. In that case, I guess you can consider yourself lucky. Or maybe you're living it up in Santa Monica and not drudging up the 110 temperatures in the SFV. Successful actors don't have to stay in LA permanently. But if you're struggling and hustling like most actors, you don't have much choice but to stay seated.
Auditioning with no experience - does it help you or hinder you more? by LordGranthamofDonk • last post Jul 27th
I can imagine that it gives you a lot of great experience and makes you less nervous about auditioning in general, but if you're terrible, won't casting directors remember and not call you in?
Communicative Drama Games by AverageBrendan • last post Jul 27th
Studying Theatre and Drama in College and one of my assignments is to plan a workshop with a specific takeaway Theme. My title / Theme is "Communication: The Power and Place of Words". Just wondering if anyone has some suggestions for drama games specifically orientated around Communicative / Persuasive / Debate Techniques. I've made a pretty good start but if I could a few more relevant exercises: that'd be just baller.
2 Qs: Would you consider acting "intellectually stimulating?" Is acting "emotionally draining?" by lucidpersian • last post Jul 27th
My only experience is being a main character (4 total) in a play at uni and, for whatever reason, perhaps acute awareness of my incompetence, i found it boring. Never felt like i was IN the role; just felt like a performing monkey. (Only time i "connected" was during a short reading, using an image my prof suggested) My prof said she couldn't be an actor and preferred directing because acting took too much out of her. Any thoughts?
How can I politely tell my boss I have to pick the audition over work? by tlmrhpwj • last post Jul 27th
I live in Los Angeles. My manager has usually been pretty flexible with my auditions, but no one was able to take my shift and my manager needs help during this particular shift. If it was a lower budget project I wouldn’t have a problem asking for a time change, but this is an audition for a really big TV show. I have two other jobs so I’m not really worried about losing this one, I just feel bad. She told me there’s nothing she can do. How can I politely tell her I have to choose the audition?
Blade Runner Recreation Acting Scene by reesegiles • last post Jul 27th
i want to be done with acting. i truly hate this "journey". but i'm obsessed. how can I once and for all release myself from this? by frogfrog91 • last post Jul 27th
i've rationalized my entire existence as "put on this planet to be an actor". now that i've been doing this for a few years and see how truly awful it is, that it is a LOTTERY FOR RICH PEOPLE that really has nothing to do with talent, i just want to be done. almost every single actor i've ever met has been a cut-throat competitive asshole, almost every single agent / manager i've ever met has been an egotistical self-important deuchebag. i've been fucked over god only knows how many times. people are SELFISH. its just a giant pissing contest. i don't want to waste my life pursuing this anymore, but it's like my body and my brain won't release me from this! maybe it i just do one more shitty unpaid student film maybe THAT video clip will change things. maybe if I just do one more ridiculous pay to play workshop to hear more conflicting advice from an agent / manager THAT will be the agent that actually does something for me. i'm fucking sick of it. i'm sick of being trained and experienced and talented and union and repped, but not even given the opportunity to do 1 line on television, but then seeing rich kids that have no talent or experience or even a REEL book a co-star, guest star, fuck even a series regular. it's ridiculous. there is no integrity. casting directors don't give a fuck about providing opportunity to people that have been busting their asses putting good work out there for years, none of that matters! i want to enjoy my life, i want to have my work be COMPENSATED and have control over my career, there IS NONE in this industry as an actor, i don't care what YOU have told yourself, anyone who thinks there is is just unable to see how ridiculously ridiculously LUCKY they are. anyway, i don't know how to be done. its like my body just wants to torture myself over and over about it. it refuses to allow me to walk away without this regret, without this sick compulsion to keep submitting or checking emails or blah blah blah. how can I be done? how can I just walk away WITHOUT feeling this regret? i really truly want this torture to be over. i want to move on and do something else with my life, once and for all.
Want to start by Bash0423 • last post Jul 27th
I’m an attorney with a passion for acting. I realize it’s quite logical for someone in my position to be interested in acting (eg influencing a jury is acting mostly), but I think performing as a character or someone other than myself is really my calling. It’s so much tougher being myself in front of an audience rather than being someone else. My dream my whole life has been to act - any advice on how to start?
My Rant...Tongue and Cheek.?. by ijustact • last post Jul 27th
In the not so distant future, I think we as actors could see the old studio contract (or a version of it) come back into existence.. An actor is paid by insert platform, "Netflix" annually with health benefits and pension and agreed to do so many projects throughout the year and can be loaned out to other platforms when not filming for additional work. A new version of a merged agent / manager / producer / attorney is created and is the go between the talent and the platform studio / network system. Present day reality...I feel like it's never been harder to make a living as a working class actor. $9,000 network guest stars are now $250.00 new media contracts for various platforms and residuals are drying up. Commercial work is now a hobby for many that use to rely on this income as their mainstay. For those of you that are making the same if not more this year than the last two years tell me a good bed time story. Honestly I know it's the wild west out there and it's exciting times as well. A lot of new platforms and so much new content. However to keep acting as a profession and not a hobby is becoming much more difficult. Los Angeles is only getting more expensive. Unions are scared shitless with new media and at the same time conveniently increasing health care annual minimums. Residuals in the digital landscape are laughable and every actor works their butts off with shit side jobs so that one day they can make a living just acting. Now that day has arrived and that full time working actor is staring down the barrel of having to work even harder for a lot less money. Minimum wage starts looking like a potential hourly realty for the working class actor. Just ranting but would love to hear from some of the vets out there, especially the ones that continue to thrive in a very volatile and endangered profession. ijustact Nissan new media commercial breakdown today... **AREUFKM?** **Nissan TrucksCommercial, Non-UnionPosted: 7/26/2018Product Name** Titan Trucks**Union Status** Non-Union**Run(Usage)** Usage Internet, Social media, New Media , clients website and industrial, in perpetuity, Not to include PRINT is all rights / all media excluding broadcasting - in perpetuity.**Rate** $1000 / Day Rate $1500 buyout forusage plus 20% **Submissions Due By** 7/27/2018**Callback Dates** 8/2/2018**Audition Dates** 7/31/2018 **Shoot/Performance Dates** 8/11/2018, 8/12/2018**Shoot/Performance Dates Note**one or the other **Project Notes** In this Commercial or product demonstration video it will be showing all the uses that this truck is made for, Hauling Boats/ Construction materials / Fleet use for Mulit purchases to business's The Interior the Single Cab& Crew Cab and the King cab/ Shots will be on the Road and at a construction site ROLE:
ACTING - LESSON #2 by Winniehiller • last post Jul 27th
Hello! This is Winnie Hiller. I’m a Hollywood acting coach, working on writing a book for actors who need to learn the basics. Agents and managers often send me young actors (many with no previous training) to coach just before their auditions for film and tv roles. I have learned what works in coaxing out a believable performance that gets callbacks and bookings. Here is a rough draft of the second chapter of my book, in progress. There is lots of important and essential information here. Check out the first chapter on my post, here, called, ”ACTING - LESSON #1”. CHAPTER TWO - ANALYZING YOUR SCRIPT How many of you remember taking a literature class in high school or college? You were probably asked to analyze the plot, explore the characters’ journeys, map their "arc" of development . You most likely would need to include themes, symbolism and metaphors. The relationships between the hero and those who affect his/her life are all a part of the author's message. If you had to write an essay for your class you would need to include all those things. In the acting profession, actors should (at least briefly) do this every time they have a new script or sides to work on. You need to know the message of the piece and your character’s part in delivering it. You need to notice how your character changes in the course of the story and how he or she changes others. In fact, you need to know your character well enough to think like them, speak like them, move like them. The essential details that are not included in the script, you need to create. As your character, you need to know where you came from and where you intend to go. You need to know how you feel about every other character and how you are triggered by what they do. Each actor is very much a part of the creative process. When an actor wins an Oscar or Tony Award, you often hear people say, “He made such interesting choices!”. Even though the writer gives you the framework for your character, there are many aspects of portraying him/her that you alone can decide. This is what makes for a unique portrayal. And the choices you make (even though no one may ever know the details you hold in your mind) should be interesting - both for you and the audience. When you first get handed written copy, read the material given to you, carefully and thoroughly. Make sure you understand it completely. If there are words you are not familiar with, look them up. If something doesn’t make sense to you, ask someone for help. When you think you grasp every word, you can begin to ask yourself the following questions: ———— 1. Who am I? The answer to this question must be much more in depth than a character description you might receive in an audition breakdown. You need to know your character inside and out. There are all kinds of clues hidden in the script itself. Notice how your character reacts to the events in the play. Are they easily discouraged or always ready for anything? Are they confident or shy? What do they love or hate? Do they have a good sense of humor or not so much? Do people like them or try to avoid them. Are they kind or selfish? What do they believe in? What would be their philosophy of life? There is so much to learn if you look closely and dig deeply... you must be a detective, like Sherlock Holmes. You’ve got to solve the mystery so you can begin to think, talk and respond, exactly as your character would. Your character will resemble you physically. But how are they different than you personality wise? Why? Were your backgrounds different...parents, education, living conditions? Do they walk differently...speak with a regional accent? How are you the same? If your character does something you think you would never do, you need to figure out a reason you would do it - under different circumstances. What would it take? You want to be able to walk in your character’s shoes...inhabit their skin, but you must find him or her within you...amidst the many aspects of your own personality - both in who you have been, and who you could be if the situation were different. Who you are now, who you have been in the past and what you imagine you could be, is what you have to work with in creating a character. (See my previous post, “YOURSELF - YOUR CHARACTER”. ) All of this information will factor into how your character thinks and responds to people and circumstances within the story. The more you know...the more you can relate to the character’s point of view, the better you will be able to allow him/her to live within you. It might help to write a short bio and description of your character. 2. Who am I talking to? If you are working from a script, you’ll know the character’s name, but what is your relationship with that person? Do you have a similar relationship in real life? Remember that every person you know brings out something different in you. Be specific when choosing who you might cast (in your mind) as that other person, from the people in your own life. Though you will do your best to embody the thoughts and desires of your character, your own life’s experiences are your best resource to draw from. Imagining you are speaking to someone you actually know will help you to portray a believable relationship between your character and the person they are speaking to. Suppose you are doing a monologue and you are speaking into the camera or doing a soliloquy....you still should choose a person from your own experience to converse with. Real people don’t chat to cameras or speak at length with themselves. If they do, there is an imaginary person conversing with them...someone giving them opposition and responses. It is important to remember that no matter how much backstory you create for your character, it is actually the person you are speaking to who should be the focus of the scene. Rather than it being about you, the scene should become about them and how you want to change them. More on that later. 3. Where am I? Your environment has a big effect on how you feel and act. You are in a different mood when you are in your bedroom than when you are in your kitchen. If you are auditioning for a role, you will probably be in a casting director’s office. This is not an environment most people feel at home and relaxed in. But the scene does not take place in a casting director’s studio. So it is your job to place your character in the appropriate environment, using your imagination. When you are on set, you will need to imagine that you are not surrounded by crew or audience. They must disappear from your awareness. Putting yourself in the correct surroundings will very much aid your ability to immerse yourself in the fantasy and allow you to give a believable performance. 4. What do I want from the person I am speaking to? This is your objective... the big “act” of your ACTing. I spoke about this at length in the first chapter of my book (See my post here, “ACTING - LESSON #1”) . Every word you say in the scene is to accomplish this...to get the other person to give you what you desire. This quest - changing the other character, is what the scene is all about. 5. What are my tactics? You have one objective but you should employ a varied strategy to accomplish it. As you look through your lines again, explore the different ways you are using your words as you attempt to move the other person to your way of thinking. You may try humor or sympathy, bribes or threats, guilt or anger. This makes for an interesting quest. (See my past posts, “BEATS = TACTICS” and “DON’T WASTE YOUR WORDS”). 6. What was the conversation leading to the first line? Your character didn’t suddenly appear out of nowhere on his first appearance in the story. His entire life led up to that moment. What was said immediately before the scene begins, is what caused it to begin. It probably isn’t in the script. Still, you need to know why and how you came to that moment. Your scene is a continuation...a response to what happened before. In fact, all of your lines are a response to something. You should never make any statements as you act. Everything is an answer...either to what someone asks, implies or what you think they don’t understand. You are always in dialogue, even if you are the only one actually speaking. I have lots more to say about this later. 5. What am I really saying? Is your character saying everything he or she means? Probably not. In real life, each time we speak we must choose a limited number of words to communicate so much more. The same holds true for your character. In fact your character may say the opposite of what he really means. Take a look at each of your lines. Read between the lines. He might say “I love you” and actually be thinking “I hate you”. This is called “subtext” and your performance should be rich with it. What you are thinking as you say something gives it its true meaning. So your thoughts as you speak are far more important than what you are actually saying. —————— You should ask and answer all of these questions every time you act, whether it is a short piece of commercial copy or a long Shakespearean monologue. Does this seem like too much work? If you answered yes, it’s because you haven’t done it enough. If you practice, it will become second nature and you will soon be able to quickly see what is required of you in the scene. I am an acting coach and often book students for one hour sessions, one after another. They come to me to get coached for auditions they have that day or the next. I read through the sides once and immediately can guide them on everything they need to do...objective, relationship, subtext, tactics. How can I do this? Because I do it all the time. Experience has given me great insight and the ability to utilize it quickly. It’s just what I do. And it’s got to be what you learn to do too. Pick up scripts when you don’t have an audition. Imagine you only have a few minutes to prepare. Do it. Do it over and over. Soon it will be easy. Let me give you an example of how to go about this. Here is a little piece of commercial copy that a child brought in before an audition: “Pringles are my favorite potato chips. I could eat a whole can by myself. But my mom makes me share with my little brother. He’s such a pest!” Short. Sweet. Simple. But there is lots that can be done with it. Now I will imagine that I am a female child (appropriate for the role) and have just been handed the copy. I need to answer the questions. Some of the answers will come from the copy itself. Some I will need to make up to make the scene believable for me and the audience. I will assume that I will be speaking into the camera. Who am I? I am a child...the big sister of a younger male sibling. I’m a little jealous of him. He’s the “baby” and my mother makes such a fuss over him. It was hard for me to accept this when he was born. It still bothers me sometimes, now that we are older. I used to be the star of the show. Now I’ve got to share everything...my room, my parents, my treats. It’s annoying. I am outspoken and truthful, precocious and possessive. People think I’m cute. I’m not at all shy. Now to decide what I want and from whom. I love Pringles, those stacked potato chips that come in a can. I want some. So I must be speaking to someone (not my mother) who could give me some. I want a whole can for myself. This is where I must be creative. I have not been told where I am or exactly who the person is I am speaking to. It is never “the tv audience”. That does not happen in real life. I am not trying to sell chips. That’s obnoxious. There needs to be something in it for me, personally and I need to decide on one person to get it from. Then create a believable scenario. I’m going to imagine I am in a store with my mother and brother. She took us shopping and it’s taking a really long time. It’s past lunch time and I’m starving. Suddenly I see a lady giving away free sample cans of Pringles...my favorite! I hear her telling people “Only one can per customer”. Oh no! I’m going to have to share! I need to make my case. I want two cans of chips. This is my objective. I am going to make my point by trying to make that lady think we have something in common. I’ll present myself as deserving, cute and in need of food. Maybe I can even get her to feel a little sorry for me. These are my tactics. Now when I look into the camera, I see a nice lady with loads of chips. I walk up to her and give her my cutest smile. She says, “Hi honey, would you like a can of Pringles?” I try to impress her with my deep love for her product, “Pringles are my favorite potato chips.” She hands me a can giving me the “”Here ya go!” look. Now I begin explaining why I need more. “I can eat a whole can by myself.” She gives me the “Well, I’m giving you a whole can” look as she tries to give it to me. I answer trying to get some sympathy, “But my mom makes me share with my little brother.” She gives me a questioning “Really?” look. I need her to believe I really do have a little brother. I say, He’s such a pest!” Though this becomes a conversation, I do not need to take pauses between the lines for her. I am just reading her reactions, which makes me spontaneously react with my lines, in turn. They are all answers to what I see on her face (inside the camera lens). What am I really saying? (This is my subtext) “Don’t you think I’m cute? I’m a huge Pringle lover so we have that in common. I probably like Pringles more than anyone else in this whole store. And I’m so hungry. But my mother doesn’t understand me and how much I love these chips. She forces me to share with my brother. Poor me. It’s like the story of my life!” There is a final line (not in the script) that won’t say out-loud. But it just as important as all the written lines. At the end I will ask her with my thoughts (from my heart and out through my eyes) “Do you think you could give me two cans?” This silent question will be asked into the camera until the CD says “Cut”. I may need to follow with a few “Please, please, pleases”. I want to stay in character until the camera is turned off. OK...it’s not Hamlet. But you should go through the very same process if it was (though it will be quite a bit more complex and will require an in depth study of the character). But even this 30 second commercial is now ripe with human drama...sibling rivalry, determination and a bit of scheming. It gives the young actor a chance to use her spunk and charm. And she will be immersed in the fantasy of the scene rather than just giving a forced reading into a camera. It takes the focus away from selling a product and makes the piece about an adorable child who will do what it takes to get what she wants. You may come up with a completely different scenario. (Most of this came from my imagination). You may have had a teacher who told you to go about this in a completely different way. These are the beginning steps I have seen work for my students, no matter their age or experience level. You need to find what works for you. There are many ways to get there, but ultimately we all have the same goal...to give moving, memorable and believable enactments of fascinating characters. This takes skill. Acting is a craft. No matter how you go about doing it, you can always improve and grow as an artist. It is the challenge of your lifetime! Stay tuned for Chapter Three.
The Young Americans College of the Performing Arts? by Looking2Progress • last post Jul 27th
Hi guys, I don't know much about US schools or musical theatre so I'm seeking some advice; a friend of mine (UK based) was just accepted onto this Young American's 9 month program in Corona, LA; when he originally submitted his audition tape he was much more interested in going into teaching musical theatre and thought that becoming a 'Young American' would help him do that. But now he isn't too sure. The past couple of months he's had a couple of small time breaks (a handful of guests on TV shows and a few big roles in musical theatre productions here in the West-End of London) and he's started to seriously consider a career within the performing arts. He's wondering if he should still go to LA and spend 9 months with the Young American's as a kind of training for him before coming back to the UK and pursuing a career or if he should stay in the UK and either continue auditioning or, if things start to dry up, audition for a drama school that specialises in musical theatre like Italia Conti. I'm a drama school trained actor in London and though I can advise him on certain career moves, I'm really out of my depths when it comes to musical theatre and the young americans and all that. So I'm just wondering if you guys had any thoughts I could relay onto him.
Profile by Johnmatem • last post Jul 26th
Tried to post my information the system will not accept my information from another web site (voice123) I have demos there and all my basic who what and where.
A place to get answers. by blindguywhostaresatu • last post Jul 26th
I have posted this on a couple of comments threads already but might as well share it to everyone. There is a Facebook group called talent managers for actors. It has dozens of managers, casting directors and agents who want to be accessible for actors. It was created because a group of managers noticed that there was this wall between new actors and the rest of the industry which made it hard to get real answers for questions that are needed to progress. I highly recommend you check it out. There is a pinned post in the group of A simple FAQ and all of the different people who contribute. They even have representation Sunday’s. The first Sunday of the month you can submit your stuff to be seen and possibly be called in to have a meeting for representation. It’s a great community.
Agent I met today was such an asshole that I want to just tell him I'm not interested in representation. Bad idea? by lemjne • last post Jul 26th
There's this myth that they supposedly work for us, not the other way around. So can I just preemptively tell him (politely and tactfully) that no fucking way would I ever want to work with him? Or do I have to be politically savvy and wait to be humiliated by his own 'you're not good enough for me' letter? I don't know why agents sometimes have such a big chip on their shoulder, but this guy used our entire meeting to tell me how big an idiot he thinks I am on every decision I've ever made. I tried to talk to him about several things, and each time he just shut me down and told me that what I was doing was stupid. When I asked him to offer his own advice then, he says sarcastically, 'Oh, you seem to have it all figured out.' That was basically the meeting. Even the actor behind me said when I left, 'Gee, that was fast!!' No shit! Neither of us could wait for me to get out of his office! Thoughts on (politely) telling him to go fuck himself? The only truly negative thing about reaching out to him before he reaches out to me is he'll just act like he was right that I must be an idiot and not know how to run my career, if I don't choose him.