We have found 19,412 posts across 4 actor forums:
How to Improv? by 0point7navy • last post Jul 31st
Hey, guys! So I'm currently on my summer break from theatre school and have feeling a little bit uninspired... I've been wanting to "work on my craft" but I just don't know how. So my question is, how do you work on your craft on a hiatus like this? My school doesn't really tackle improv too much and I do feel that it is my weakest point acting wise, and so I've been wondering if any of you also know how I could improve on that specifically. I live in Toronto if that opens up any options.
Help a Noob Out by SamiXAli • last post Jul 31st
Hey everyone. I applied for about 20 roles on backstage two nights ago and now I have about 4 auditions coming up. I know I wont get all of them and maybe none but it's important to put myself out there and get some experience in somehow! I know almost nothing about how to audition. I have been searching the net but would love some clarification and tips. What is a "side"? If sent a script to tape an audition, do I read everyone's line off the script as I am auditioning on tape including my character's? What are common noob mistakes I should avoid? Thanks, Sami!
Becoming An Acting Coach Without Many Credits by witsel32 • last post Jul 31st
I've been pondering the thought of starting up a coaching business for actors (strictly film actors) since it's something that I've done through the majority of my teens and early 20s. But I'm getting a case of imposter syndrome because I'm afraid no one will take me seriously because of my lack of big credits (I was in small tv parts, indie films, student shorts before I stopped). My career got cut short because of some extreme health conditions that make "becoming an actor" a little complicated (A three year stint with anorexia as a guy + other mental health complications). Before that, I was actively involved in classes for 5 years, did trial and error on every technique I could possibly read up on, ran a weekly meetup group for actors that I lead sessions for, went to New York to study for a few months (Canadian actor here), and have had some pretty good agents & big auditions along the way. From someone on the outside: How's it look to you for someone with little actual success in the industry telling you how to act? I personally believe I have a lot of value and insight on where I went wrong in my career & a deeper understanding/skillset than your average actor BUT I also realize that that kind of stuff means \*\*\*\* all without the one thing that actually matters: RESULTS AND BOOKINGS. Do I stand a chance? I really can't see myself acting personally on-camera again because of my personal health but I still love acting and would love to guide people in developing a healthier acting craft for their budding careers (would really like to integrate a holistic approach since it really follows how I've come to this point in my artistic life).
ATTITUDE IS EVERYTHING - AUDITIONS, INTERVIEWS & YOUR REAL CHARACTER by Winniehiller • last post Jul 31st
As an acting coach, I teach that thinking the thoughts of your character is one of the most important aspects of a believable performance. You may not realize people can see what you are thinking, but they can. And the camera can see even more. By simply changing your thoughts you can become a completely different person. I wrote about this in a previous post titled “WHAT YOU THINK IS WHAT YOU ARE”. Today I feel that I need to talk about the thoughts we hold in our minds during the difficult aspects of our acting journey...in our everyday lives. It takes a strong character to make it through the day to day struggles. The frustration, the heartbreak of disappointment and rejection, the helplessness of feeling you can’t get the break you need...these feelings can trigger thoughts that take over our lives. I have seen right here on this subreddit, actors feeling disgust and resentment for agents and casting directors. I have read posts from actors who are hating the journey they are on and wish they could quit. They think they are being unfairly judged or that other actors are favored over them. They call the people they need to impress, “assholes” and “jerks”. They are plagued with thoughts about how unlikely success is for any actor. What they don’t see is that their thoughts...their attitude, is not serving them. Last week I posted about “AUDITION NERVES” and how maintaining a stream of your character’s thoughts can replace your own thoughts of self-doubt and anxiety. Today I’d like to discuss the character you choose to have for yourself, the moment you walk through the door of an interview or audition...and even more important, the way you look at life in general. As I have said before, each of us has a variety of personae that we can possibly take on. Sometimes we slip into our “negative selves” and get stuck there. “What you think is what you are”. Everyone can see it...in real life as well as on stage or screen. That includes agents and casting directors, If you walk around with a chip on your shoulder throughout each day, should you ever get the chance to have an interview with someone who can help you in your career (a great privilege) you’re going to carry that negativity right into your interview or audition. In that moment, your personal character is just as important as your ability to play a character. To understand, you’ve got to take a glimpse into where the agent and CD is coming from. Perhaps it would help to take a little walk in their shoes. Agents are people. They meet nervous, hungry desperate actors every day. It may seem sometimes they are cold and unfriendly. But they don’t have time to baby you. They need to meet a lot of people in order to find the right people. They must choose clients who will get callbacks and bookings. They need to pick people who are easily cast-able. Their best bet is to choose people who have some credits and a good reel, so they can convince casting directors to see them. They NEED casting directors to call them. They NEED casting directors to be pleased with their submissions. If they don’t send great actors, they don’t get future calls, and then nobody gets any money. Sometimes they will take a chance on a newcomer. But they need to assess you. So in their office, they’ll hand you, a stranger, a piece of commercial copy to read cold and then might listen to a monologue. That’s when they make a decision as to whether they should gamble on someone like you. It is so much more than a meeting. They are taking in the energy you exude from the minute you walk in the door. If you aren’t happy with your life...if you are desperate...nervous...scared...if you don’t believe you have what it takes, they will feel it. Many agents have never studied acting. But most have developed their own system of choosing which actors they think they should take a chance on. They have been successful at allowing their intuition to lead the way. Sometimes it’s an energy. Sometimes it’s an air of confidence and charm. Sometimes an actor’s performance truly moves them. That is rare. Most of the actors they see are too busy hyperventilating to do their best. This is good for the agents. There are too many actors and agents must eliminate most. They need only actors they can trust to be self-assured, charming, with impressive skills. If you can’t go into the CD’s audition and wow them, there is no reason for an agent to represent you. Now, when you enter an agent’s office, what “character” do you need to have? What thoughts do you want them to see running through your mind? Are you thinking confidently? Why not? Can you cold read? Is your monologue impressive and moving. Can you calmly and delightfully convince him/her that you will be her next money maker. You are the product of the attitude you have about acting every day and about the way you take responsibility for being all you need to be. If you care you will prepare! You must understand that no one owes you anything. You and you alone are responsible for being the person they need. Go in and do your best. Whether they say yes or no means only that you didn’t get them to “click” with you. Learn from the experience. Do better next time. Think the thoughts that will keep you moving forward in an optimistic way...always knowing that you WILL do this. Agents NEED good actors. Be one. Casting directors are human beings, too. I think it is important to understand the pressure they are under to find the right person for a role. Think of what it must be like to see nervous, needy actors all day, trying to kiss up to you...some barely knowing their lines. CDs NEED the producer who hired them to approve of the actors on their reel. You see, the CD gets to choose which agents they call and which of their clients they will see on the first audition. But the producer and director are the ones who decide on callbacks. They will make the final decision. The CD is responsible for bringing in people who impress them. They should only see actors who can do the job with grace and style, because producers want great choices. Otherwise, the producers will hire another CD for future projects. If YOU are not good, they will look bad. If they don’t provide lots of great choices, they will not be able to continue in their position. CDs NEED YOU TO BE GOOD. Feel some empathy for them. They need someone. Go in there with the attitude of offering yourself as a possible answer to their dilemma. Be friendly, confident, prepared and professional. Feel warmth for them. They are not your nemeses. They are people in need. I think a big part of being able to handle auditions with the right confidence and attitude is that too often actors don’t have the skills needed to do the job at hand. One actor here mentioned that she was thrown off by CDs who expect her to prepare in only 20 minutes. Everyone gets a little nervous in auditions. But the reason she was so nervous about this, is she was not confident in her skills to work so quickly. But this IS show biz. Often you get last minute sides and script changes. This industry requires that you have the skills to quickly understand your script, your character and the arc of the scene. You must recognize your objective and your tactics. These will help you to learn your lines as you connect to your purpose. You must be a professional. The more you accept that this is the job, the more you will stop thinking that you need more time. Sure it would be great to have a week to prepare. But you don’t. So think about how confident you will be if you work until all this comes easily for you. You will be as self-assured as the skills you have. It is your job to be a master. Think of yourself as an Olympic actor. You need to work as hard as any skater or gymnast...at least if you want to be able to think and act like a winner. Do you love acting? Then always act like it. Look at auditions as opportunities to act. Give your best...as a gift without expectation. When you are done, leave it behind. Call backs are pleasant surprises. No resentment for preparing and showing up. That is a great privilege. And it is not your business if you are cast or not. It is only your job to do your best. Then move on to do even better the next time. Stop thinking of auditions as win or lose and being judged. Look at them as chances to do what you love most...ACT. Meeting agents and casting directors, or anyone in the business should be looked at as an opportunity to meet a potential friend and business associate. They say it’s all about who you know. But YOU have got to be someone pleasant, fun and interesting to know. I once heard Gary Marshal say that when he was deciding who to cast in a film, he thought about who he would enjoy spending the next 4-6 months with. He had to LIKE his actors. On our tv show, the guest actors who are prepared, pleasant and undemanding are asked back and sometimes become recurring roles. Enjoy meeting people, no matter who they are. Be likable. Be grateful for every opportunity. And stay positive afterwards. Do your best and move on to whatever is next. Don’t look back. If you are called back...great. If not, don’t over think it. Work on your skills. Create your own opportunities. Certainly don’t feel resentful. That never helps. What you think is what you are!!!!
24 years old, not a native English speaker, stupid enough to consider getting a degree in Acting, in need of advice by TheSupahPlayer • last post Jul 31st
I'm a 24 years old guy from Eastern Europe currently living in UK. I have always dreamt about acting, I attended drama school in my teens, I was good at it, yada yada. Long story short, I didn't pursue my passion, I have a bachelor's degree in Management, I have an extremely shitty job that I hate, and I'm actually considering getting a second degree in acting. Honestly, I feel like this is an extremely bad idea, considering that even if I manage to actually get accepted into the Uni, in the end I would most likely end up having the same job I have now only with a huge debt on my shoulders. But let's say that I'm willing to take a risk. A very huge disadvantage that I have is that I'm not a native English speaker. Although I do speak almost fluently, the slight accent that I have is something I will not be able to get rid off. Do you think it's possible to actually have a solid acting career if you're not a native English speaker or am I being extremely wishful? I'm thinking of sending my application to [Manchester School of Theatre](http://www.theatre.mmu.ac.uk/ba-acting/). I am unfamiliar with the selection process when it comes to enrolling into art schools, and I don't know a single person who could give me advice, I guess that's why I'm posting here. I finished my High School with very good grades, but would that even matter in the selection process, since I'm an international student and this is an art degree? Like I mentioned above, I did attend Drama school for 4 years during my teens, but I have no way to prove it on paper. I still have 6 months until I need to send my application, should I consider taking some acting classes or would that be a waste of money? I would have no regrets if I managed to get an invitation to attend the audition at the school itself. Would it be clever to just visit the school and talk with the staff, as the requirements presented at their website are very vague if you are an international student? Oh God, I feel like this post is a mess. Anyway, does anyone have any experience when it comes to what I described above?
CHINA'S FIRST CASTING DIRECTORY FOR FOREIGN ACTORS. THOUGHTS AND FEEDBACK? THIS COULD BE HUGE! by TheBigDog81 • last post Jul 31st
Guys and girls, Fellow Thespian's! So, a friend and I came up with a great idea(Actually, I'll take all the credit for this one it was my idea
NEVER GIVE UP! by Winniehiller • last post Jul 31st
Hi...Winnie Hiller again. This kind of goes with my post from last night. I wrote it as a comment on a post this morning from someone who had a rough day and wanted to give other actors some much needed support. I hope the following will do the same: KEEP THE FAITH I had a dear friend who did Yiddish Theater in his youth. He played a small role in the original production of “Fiddler on the Roof” and Lazar Wolf in the revival. But then nothing but touring companies, understudying Tevye, for most of the rest of his life. He was a happy person, even though he was living out of a suitcase in his fifties...never really getting any farther than when he started. He hired me in 1982 when I was in my twenties to play with him in a Yiddish/English burlesque type comedy skit review that he produced himself and we performed in NYC. I played the blonde. Lol. He was 63 when I invited him to my wedding in 1985. My husband was an actor, too, and our wedding was full of NY show biz people. At the reception, we sat him at the table with our agent friends. He got up and sang “If I Were a Rich Man” and brought the house down. I believe he made some great contacts that night. He was so funny and charming, with the most adorable face. He signed with my commercial agent and I began seeing him on TV. I went to see him play Mushnik in “Little Shop of Horrors”Off-Broadway and a couple years later he won an Obie and Drama desk award for New York Shakespeare’s production of “Crown Royal” Guest spots on TV shows followed and he parked his suitcase quite often in LA. In 1990 an appearance as a lawyer in Sidney Lumet's Q & A led TV producer-writer David E. Kelley to cast him as public defender Douglas Wambaugh in the television series Picket Fences. In 1994 he won the Emmy Award for “Best Supporting Actor in a Dramatic Series”. He was 72 years old. He went on to star as history teacher Harvey Lipschultz in Boston Public. I thought he was just as brilliant in that role, which he played until he was 82. Fyvush Finkel was one of the sweetest, funniest men I have ever met. He never complained. He always considered himself blessed...even before his wonderful and amazing success. He remained active and acting, smiling, laughing and loving life. He passed away only 2 years ago at the age of 94. May his memory forever be a blessing and inspiration to us all. When you are an actor you just keep acting. When Fyvush received his Emmy he said that he had waited 51 years for that moment. It wasn’t true. Fyvush never waited. He ACTED. He never stopped. If he had no jobs he created his own. He did a special guest star role on Blue Bloods at the age of 91. Never give up. Never.
Would you like to work in China as an actor? But dont have access to any casting! 95% of castings are listed on a local app, Hotels and from Connections. by TheBigDog81 • last post Jul 31st
Guys and girls, Fellow Thespian's! So, a friend and I came up with a great idea(Actually, I'll take all the credit for this one it was my idea
Advice Needed: Table Read Audition for Local Film Festival in Few Days ? by Nyctophiliac3275 • last post Jul 30th
So in a couple days a local film festival is having auditions for their “table-read series”, in which the actors cast will do table reads of new screenplays before and during the actual film festival. Although this would not be a paid gig, it would provide me with the opportunity to read in front of local and non-local directors, screenwriters, filmmakers etc and give me free admission into the film festival :) both of which I think are pretty good things as I am very new to acting and have very little experience & even fewer connections. Unfortunately, other than what I have listed above, not much information was given about the audition. I am not sure if the audition will be in the form of a table read or if I’ll be given sides or what... it did say I didn’t need to come with anything prepared monologue wise, just resume and headshot. **My questions are:** what should I expect from a table read? I have never done one before. What is expected from me? Are you supposed to act as you would if filming, or just read the words with a little inflection? Do I act like I’m interacting with my scene partner? What if it’s a large table & I can’t see them well? I’ve also never had an official audition before, so even if it’s a “typical” one cold-reading sides, I am still very nervous. I’ve only done some extra & background work & one student 48hr-style film with a very tiny role. Any tips or what to expect from this cold read? Even tho I feel very unprepared for this cold read as I do not have hardly any training, I think it is too good of an opportunity to pass up and it is only a couple days away so I don’t have much time to prepare (in terms of audition/cold read classes or what have you). I just figured if I go and do horribly and don’t get cast, well then I am in the same boat I’m in now so no harm done. Might as well try, right?
For actors in Berlin by idontthink_so • last post Jul 30th
Hey everyone, I'm about to move to Berlin, and I plan on shooting a couple of short films there. The production part is more low budgety, but everyone involved will get paid. The first one is called "Bottom Of The Ocean", and this is the WIP logline: After finding out she is seriously ill, a young wife seeks reassurance from an old friend to go through with her secret plan to run away. So if you're not strapped to a bigger project, and have the time, shoot me a message!
From screenwriter to actors: do you some examples of frustrating phrasing you have seen in both action/dialogue in scripts? by SpiritedAirport • last post Jul 30th
Hi, I'm a screenwriter and I was wondering the perspectives of actors while reading scripts. I want to see what works with you guys and if certain wording can help getting into character better :)
Male Actor needed in Montreal! by lonelykoi • last post Jul 30th
I'm looking for a male actor (20-28 years old) living in Montreal, it's a short film about two exes who find themselves after not having seen each other for over a year. If you're interested, hit me up! I can send you my directorial work.
Signing up with a starter agent? I need opinions on our interview. by actingstarterpack • last post Jul 30th
Super new here! I have a few questions about an agent I just met yesterday. We got along great, he was open and told me directly that he was new and recently opened his agency. I was actually referred to him from another agent whose experienced. Long-story short, this new agent is actually training under the experienced agent. I did look into the experienced agent's roster and it seems they are a medium level agency (they have a lot of working actors on their roster on film and tv). The new agent was very honest and told me he needed to expand his roster and didn't have much bookings from clients yet. I appreciated his honesty. I also liked that he was frank. \ He said he would love to get me for commercials first then film and television since I have not much experience. I asked him what casting directors he had relationships with and it seemed mainly from commercials (i recognized the names). \ He did mention he is getting more bookings from clients recently since his agency is now beginning to fill up in terms of roster. So far I like his honesty, and beggars can't be choosers, so I ain't gonna complain about where I'm at either. \ The thing that urked me was that *asked* me if I was open to non-paying student films. I thought that was really weird since I can do that myself, why would an agent be telling me that? I said I'd be open to it because I need demo footage, but that got me thinking a little about the agency. \ =now that I am a unionized actor. I need opinions on this interview. It's very mixed. I love his honesty and humbleness, and I love that is training under an experienced agent who has working actors in his roster, but I find that weird that he would mention to submit me to student films.=
Actors Comfortable with Improv by Jared Boghosian • last post Jul 30th
It's been a while since I've been here, but I'm back. I do a weekly web series in the tone of The Office/It's Always Sunny/Parks and Rec. I'm constantly on the lookout/need for people and locations so If you're interested in playing sometime or have access to some sweet new locations hit me up.
Empathy Intel Survey by Carlcap115 • last post Jul 30th
Hey everyone, I just wanted to let you know of a survey that I am developing with my high school’s Intel Research Program. Currently, I am studying the correlation between theatrical participation and empathy levels through the use of three surveys. To collect data, I need a large sample of actors and non-actors. It would mean a lot if you would all take it as actors, as well as spread it around to any other actors and non-actors that you know of. The links are down below and make sure to take all three parts. [https://goo.gl/forms/Hcp4S9w77b5LZPkN2](https://goo.gl/forms/Hcp4S9w77b5LZPkN2) [https://goo.gl/forms/tBuiltSoFYHsCyRn1](https://goo.gl/forms/tBuiltSoFYHsCyRn1) [https://goo.gl/forms/fMmxCi4qfpuAtB0q2](https://goo.gl/forms/fMmxCi4qfpuAtB0q2)
How do I cope with the fact that my acting career will most likely not be successful? by DatCactu5 • last post Jul 30th
I hope this doesn’t sound too pessimistic, but I’ve been wrestling with these conflicting thoughts of “I want to be a great actor!” and “Realistically, I’ll probably never get anywhere.” I love acting, but how do I deal with the reality that it’ll most likely amount to nothing?
How much can height help or hurt? by _fck • last post Jul 30th
This post is out of pure curiosity, as I currently have no idea what I want to do with my life and the idea of acting just crossed my mind. I live in very close proximity to NYC if I ever decide to try it, which I'd assume is convenient in some capacity. Anyway, I'm 6'7", average/slender build. No worries at all about the face. If I were to dip my foot in, how much of an impact do you guys think my height will have on me when it comes to auditions/scouts/whatever? Again, I'm very ignorant to the business and process of getting started finding websites for casting calls/auditions. Nevermind any kind of classes I'd need.
Acting Classes in London by fishandchunks • last post Jul 30th
Next summer, I am planning to stay in London for a month. Are there any acting classes there that I can take? I know there is a summer program at Guildhall and that the RADA offers intensives and adult classes, but is there anywhere else I should pop in and take a look at or just other places in the area I should come back to later? I am an American actor with some studio training in NYC. Edit: I also have some singing skills as I sung opera as a child, so if there are any places with operatic acting, I would be interested in that, too!
I found a method to test how far my acting skills have come... by rabbit_warrior • last post Jul 30th
I managed to convince my sister that 1) people have lived in Antarctica for thousands of years, and that 2) the natives are immune to the harsh weather conditions, so they can wear shorts and a t-shirt in minus 40 degrees Celsius :D I somehow managed to keep a straight face throughout this conversation, and now she genuinely believes me. Progress has definitely been made lol.