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Actor in LA - Unusual Circumstances - Advice/Guidance appreciated by DevonCar310 • last post Jul 11th
## Hi! ## I apologize in advance for this lengthy post. I also have it posted in r/entertainment for advice from non-actors. ## Cutting to right to the chase - I am an aspiring actor living in LA and have been living in this city for a couple years now. I am in a “situation” within the entertainment industry that I would like to receive any kind of advice/feedback on. Considering I am relatively “fresh” and unknown, there is a bit of uncertainty in said situation. It all started shortly after I created my actor profiles on the well known Casting Sites (LA Casting, Actors Access, Casting Frontier) and a even on a few of the “lesser used” Casting platforms. On one of the less popular Casting sites (yet still a somewhat known and respected site), I submitted to a slew of different projects Casting in LA. A few days after this, I received a call from a production company that was filming a short and asked me if i was available to come in ASAP to be one of the leads in this short because who they had casted originally didn’t show up. Me being an opportunist, made it happen. I went in right away, rehearsed my scenes, and then performed/filmed the material and then that was it. Half way through this particular shoot, the main staff of this company pulled me aside and told me that I am perfect for a role in a series they are going to start shooting with plans to have distribution done through Netflix/Hulu/Amazon/Other streaming networks (Score!! Right?) Of course, I had told them I was interested! I wanted to do my research so I searched this company on IMDb Pro and found their profile. A few projects listed over the last year or so with minimal information about each project and the company itself. They have a website (amature-ish) and are incorporated under a LLC business. Considering this day and age, there are so many new opportunities for people to get their content in front of an audience, so I really didn’t think too skeptically about this search. About 3 months after this conversation, I received a phone call from them asking if I were still interested in being a part of this project. They described this role to me as a supporting role that will eventually become one of the main characters of this series. I am ecstatic because of this great sounding opportunity to act and potentially be on a show on a professional streaming platform. They had then asked me to meet them a known Casting location in LA on a specific date to sign the contract. Now this is where things get fishy - yet I did not realize it at the time. I was fortunate enough to find an agent since moving to town and told them about this opportunity. They had asked me to get them in touch with this production company, so I did. After a few phone calls back and forth with production and my agent, I was somewhat confused. My agent had told me that the production company would not send them the contract they wanted me to sign, even after I had emailed production the signed contract between said agency and myself - literally confirming that they are indeed my agent. I called Production back and asked for the contract myself so I could have a lawyer read it over. They declined to send me it. My agent then tells me that they felt the staff member they spoke with on the phone seemed very green, unprofessional, and didn’t understand industry basics in terms of working out these deals. They then discouraged me from doing this project. At the time, I didn’t understand why they wouldn’t want me on a project like this (full script for all seasons completed and ready to shoot), so i called production back and asked if I could be apart of this project without my agent being involved. They were happy to tell me yes. So although I haven’t seen the contract, I confirmed my attendance for the signing of the contract. A day prior to the signing, I asked if I could bring in a legal representative to help me understand the contract. They declined me bringing anybody else in the room with me to sign. I still go by myself anyway. They have a few of us there on the location they gave us and brought me in a separate room and presented me the contract. They were very non-chalant about it and just said ask them anything that doesn’t make sense and they would break it down for me. I questioned a few things and then immediately got the vibe that they were over me asking questions and hurried along the process. I told them I really wanted a lawyer to look at this because there were a number of things I just didn’t understand and didn’t want to take up too much of their time or patience. They again declined, and then said if I don’t sign in that moment that they would be obligated to move on from me and find a new actor to fill the role. Me not wanting to blow a great opportunity, go ahead and sign the contract. The series has over 6 seasons, all apparently fully written into a script. I signed on for each season through to the end. When it got to compensation, I was offered a “buy-out” option for $75 an episode, which would mean I would lose out on potential money if it were picked up for distribution against the deferred payment, which was 3% of net profits from said deal. They also said the “buy-out” option would mean not having my name credited on the show anywhere, even though I was signing onto a prominent role in the series. Me not knowing any better and without any guidance available to me, accept the percentage. I’ll also add that the production company is producing this independently and not with any agreements with Sag-Aftra. Feeling a little unsure still, I was too overjoyed to have just signed a contract for a series in LA. I was so excited because of how hard I’ve been told it is to book things like that being non-Union. I am sent the script and I begin learning my lines. We started filming that next weekend. There was no table read or anything. We went straight into filming a few different scenes for the first episode. After filming that day, which didn’t seem to weird, I had asked the director (who owned the company and also wrote the script) if it would be okay for me to meet with the other actors outside of filming on the weekdays to go over our material together, you know - build a relationship so we would have chemistry on the camera. I was quickly shot down and told that all rehearsals would be coordinated through the production company and that we weren’t allowed to get together to practice even at a private location. I sort of understood where they were coming from... I am used to seeing actors in TV and Netflix already who spend a good amount of their off time together or even living together, which is what mainly confused me about this. We got together a few more weekends and then took a small break for the holidays. After the new year, I was told we would be filming every weekend and was sent a shoot schedule with each date we would be filming. So I clear my work for those weekends to become available. The first three weekends, I did not get any email, text, or phone call confirming which scenes we were filming and where. So I reached out the day before each scheduled weekend and asked if we were on. Those first three weekends they got back to me the next day (on the day of filming) and said I would not be needed on set. I was okay with it the first weekend, but the second and third I began to grow frustrated because I had cancelled work to be available for those days I thought we were filming. So I was missing out on that time on set AND income. They got a little better and started telling me a few days prior to shooting if I was needed or not, and if I was - I received the pages of the script we were shooting. All seemed good for about a month. Then it became me texting and calling them the day we are scheduled to film for even a lick of information. Amongst all this, I befriended the cast, who also felt similar to me but too stoked to question in fear of getting on someone from productions “bad side” I saw where they were coming from and took on that mindset. I accepted the fact that I would no longer be able to work on the weekends to keep my availability open in the event they needed me on set. One day we were filming, the other cast members were discussing their time at a rehearsal for the project and asked where I was. I had not received any information about said rehearsal. Confused, I asked production about it and they said they felt I didn’t need to rehearse with them because I was a “pro” I laughed it off. They then invited me a rehearsal a few weeks later. At this rehearsal, while waiting for the rest of the cast to arrive, the director and i started chatting about the project. He casually brought up the fact that Netflix picked up the series for distribution for FIVE SEASONS. This was exciting AND confusing to me all at once because even I had never heard of a project getting picked up for that many seasons without the distributer seeing ANY FOOTAGE. I then notice he doesn’t tell anyone else. I told a few people on the cast and they asked the director if it were true and the director casually told them all yes. Before the end of the night, I asked them about compensation. Mainly how that would all work because I had not much info to go off of. The director told me that we need to finish the first season and have it go through post first before they received compensation from Netflix. At this rehearsal, there were moments where the director and production staff were acting mildly inappropriate. One of the girls on the cast is really pretty and to be blunt - has a great body. The director had asked her to do a few squats with me on her shoulders. I was slightly uncomfortable and declined but then felt immediately pressured into “playing along” by production staff. I obliged and did what they asked. They then asked her to move a bit closer to where they were sitting and to face with her backend towards them. I didn’t see or felt the harm until after the fact. After this rehearsal, production told me I was good to go. The other cast members weren’t allowed to leave - even though it was around 11pm and we hadn’t touched the script in over an hour at this point. I head out. I’m hanging outside when the girl who was asked to do the squats came running out of the building balling her eyes out. I immediately go to her and try to find out why she was so upset. She explained how uncomfortable she felt and that when she said something about it just before she left, the director threatened to take her role away and fire her from the project. That night, I called another member of the cast and asked if they had felt uncomfortable or at least noticed anyone else feeling uncomfortable by production. They said they didn’t really feel anything and kind of brushed it off. I believe they said something to the director about me calling them about this because the next day we when we were filming, I was brought into a room with the production staff at the end of night before I left. They told me we were no longer holding rehearsals outside of filming days because “someone on the cast couldn’t take jokes” they then sternly told me to cut off all communication with the rest of the cast. The only way they said I can talk to them is through email and the production team had to be CC’ed on all email. They were clear about me not catching up on life with them on set and that we are only to talk about the script and our scenes when we’re together on set. After this, I did not hear from them for over three weeks. After numerous emails and voicemails, they got back to me one week and gave me the address for our next day of filming. I show up ready to rock but immediately felt hostility and awkwardness from production. The director would not even look me in the eyes and one of the productions staff members seemed to be trying really hard to make me feel unwanted on set (not including me in on their conversations, asking the other cast members to come with her to the other room when I was sitting with them, just a bunch of high school bullshit to be honest). During the filming of one of my scenes on set that night, that same production staff member kept yelling “Be professional!” While I was chatting with a few of the extras nearby waiting for the director to get ready and call the scene. This was making me extremely uncomfortable. At this point, I’ve been on a few other sets and NEVER felt this kind of hostility or feeling from any one person sharing the set on the talent and production side of things. I am not sure what is really going on. Has anyone ever had this kind of issue recently? I've never heard of cast members not being allowed to hang out off set. I know of actors who choose not too, but not because they are told not too. You’d think that in this current day, most people would be extremely cautious in terms of making anyone feel insignificant and/or sexually uncomfortable. I do not expect anyone to hold my hand and walk me through this, but I just wanted to share this on-going experience and see if anyone has any advice or feedback they’d like to chime in with. I apologize for the lengthy novel, but if you’ve made it this far, thank you so much for your time. I look forward to any responses. Thanks!
Choosing Between Two Agents - Second Opinion(s) Appreciated! by unromanaclef • last post Jul 11th
Hi /r/acting, I've been very fortunate to have been offered representation by two agencies, but am knee deep in the process of overthinking everything! Wondering if anyone's around just to cast a pair of fresh eyes over the info I've gathered and offer whatever input they have - I think I'm getting bogged down in trying to nitpick my way to a decision because they both have big positives, and just need some help refocusing. [**Agent pro/con/other details table here**](https://drive.google.com/file/d/1WPaHf6QcNyES0RDlh01mHiyQatpLorBz/view?usp=sharing) **(most of the specifics in here - yellow = things I'm particularly keen on, red = particularly concerned about).** **About me:** Early twenties, female, Asian descent, non-U.S. Been freelancing in a regional market with reasonable regularity/success for the past four or five years; currently live about three hours outside of a major market but willing and able to travel to castings at short notice (it's a thing here). Finishing up a degree - officially graduating in December but coursework will be done by the beginning of Nov, hence needing to be based where I am, but minimal contact hours. Looking to start priming my CV with some more Film/TV work and setting up relationships in major markets in the next 6 - 12 months for when I do move. Need someone to help me get in the door, and possibly guide me through some new waters -- but obviously while still retaining autonomy over my own career choices. **Agent A overview:** Scouted me from Instagram, of all things - was playing around with how the algorithm seemed to work, tagged a few small agents in a headshot and received a message back. Single agent boutique agency, around 90 - 100 actors rostered (and seemingly based all over the country), with another odd kind of affiliate section with around 30 dancer/model/unsure talent from who came from past agencies who just want to be submitted for the occasional commercial? Previously worked as a model booker, then an agent for a mid sized model/actor agency and launched their own agency last year, so not new to the industry but new as a company entity. Had seen scouting calls from this agency before, but as it seemed very new and unknown did not expect to be interested. However, was very impressed over the phone w professional approach to work, personal management, practicality and openness about the business details - financials, different markets, casting brief figures, etc. and was super warm/personable. Have a similar mindset but am a little concerned about how I fit into this roster (a few similar types already), that they were willing to sign me so quickly (off of a phone call), and that there doesn't seem to be much of a cap at this stage on roster size. Also wary of overall rep/branding - being very new the site, design, etc need some more work. TL;DR: Better personality mesh, bit more understanding/flexibility for current circumstances, and what feels like more freedom to make choices in my career and also incredible commission structure (10% film/tv, dropping to 5% for an ongoing role, 15 commercial, none on theatre because there's so little, and none on self-sourced work although they'd look over the contract and give a risk rundown); but unsure if they have a clear idea of what they want/feel they they could do with me and whether they've completely found their feet in starting their own agency yet. **Agent B overview:** Responded to a request for rep email, asked for some additional materials. Also single-agent boutique with up close and personal management like Agent A. Bit of a stronger/more established rep, with a much more professional branding. Slightly smaller roster - around 60 - 70 actors, tightly controlled size. More of a Type-A kind of person - maybe how you'd envision a 'stereotypical' agent? Agent is a very blunt character, which I like, and friendly even though we might not have clicked in quite the same way I did with Agent A; very go-go-go, seemed to always be in a rush - but also potentially pushy, so unsure about possible personality clashes. Could stress me out/steamroll over me over time as I'm generally a little more introverted (but could potentially bring me out of my shell and be pretty goddamn blunt back, tbh I'm struggling to get a handle on this person's personality.) Seems to have a lot of US casting briefs come through. Was very clear about what they liked about me, where I fit into their roster (very few 'ethnic' faces despite a lot of those briefs coming through), and what some of the next steps might be. Said they'd be involved in everything from workshopping sides if I needed it to what sort of haircut I should be getting. Would definitely push hard, but am concerned that they're a little disgruntled about my location. Also mentioned I might come face to face with choosing between eg. important family events and auditions - appreciated the honesty but came with a side of, 'How much do you want it?' so wondering if a value misalignment might occur there down the track. More likely to drop me. Actors on roster also seem to tilt in favour of musical theatre, which isn't really my area of focus or expertise - apparently balance of work between film/tv/commercial is pretty even w spikes in MT but agent admits MT is their biggest passion. Commission: standard 10% theatrical, 15% commercial. I'm aware that this is a lot of info but I'm just feeling a little overwhelmed and Agent B is kind of tapping their foot for a decision, so any opinions would be very much appreciated! (Read: please help, am drowning, decisionmaking is hard.)
Good riddance! Get rid of those pesky actors, make them get REAL jobs. (Sarcasm) by wwhimsicott • last post Jul 11th
There Are No Stupid Questions - Jul 11 by AutoModerator • last post Jul 11th
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!
Got an acting school offer today :) by Ramoach • last post Jul 11th
You guys have been SOOO helpful. I have never had formal training (not even school plays), so this subreddit, YouTube and online articles have been my teachers. Thanks to all the actors and coaches out there for the insight you offer to new actors <3 Never change r/acting!
Talent manager commission fee negotiation (really just an agent) by LBVisitor • last post Jul 11th
Hi, Needing advice. Love my manager. But he really is just an agent. Gets me auditions. I give him 20 percent when I book a job. This is his agreed upon commission fee for all his actors. He takes agency fee from client as well as 20 % from me. I’ve had no issue and happy to do this for years. Freelanced for years. Not signed. He’s gotten me a lot of work and I’ve made him a lot of money as well. However, last almost 2 years I’ve been freelancing with two agents who only take agency fee from client and nothing from me. They (these two agents as well as my manager) are all submitting me on the same projects though. So if my manager submits me first and i book the job, I’m paying him a lot more money that i would have if an agent submitted me first. So I’d like to keep working with my manager and negotiate him only taking agency fee from production and not 20% from me as well (same as my SAG franchised agencies do). Anyone done this successfully? Advice? Etc
Realizing now, how similar different industries are... by fieryroad • last post Jul 11th
Hollywood, for instance, is a vast business, with few actors as "top names", surrounded by the lesser known names, supported by the "nobodies"... How does one move up in this ranking system? How many of us around the world put all our hopes on the chance of living a "Cinderella" type of story? Or do you, in time, feel alright with the fact that you are doing something you love, yet remain relatively unknown and underrated? It appears that acknowledgement and work are two different things... Happens everywhere.
RADA Shakespeare Summer Intensive by tittiemcvitie • last post Jul 11th
I'm really interested in doing the Shakespeare intensive summer course at RADA next year (this year's already sold out) and I was wondering if anyone on this has done the course themselves/knows anyone who had? Honestly, I know it sounds stupid, but Shakespearian acting isn't necessarily the route I want to go down, but I was reading about the course online and you get classes in voice, movement, stage combat, etc. so I think it could be really useful. After all, Shakespearian acting is a very particular and emotive style of acting and it's something I think a lot of actors struggle to master, so I feel like the course could still be invaluable - not only because it's a special skill to have, but also I guess because the stuff you'll learn about movement and voice etc could maybe be applied to other performances. Anyway, sorry for rambling... So has anyone here done the course themselves or know anyone who has, and would you recommend it? Cheers!
Headshots by Yousifusif96 • last post Jul 11th
I am getting my first ever headshots taken sometime next week and i am curious since I am just starting out as an actor whats the necessary headshots needed to be taken. Thank you in advance!
Always love some good advice by Austin Cecil • last post Jul 10th
Hey there, I’m an aspiring actor like a lot of us here, but this goes out to anyone with any bit of experience. I adore spontaneity and meeting strangers, face to face communication is a godsend for me. Where might someone like me run into just the right kind of people who can help me keep going? Actors? Producers? Screenwriters? Tech? Where, in your experience did you guys find yourselves surrounded most with these kinds of people, be they agents, directors or other actors? Besides the set.
Type of projects you can self-submit for by Enjolras55 • last post Jul 10th
I've yet to try submitting on places like Actors Access yet. Haven't seen much with roles I fit yet. Do places like AA ever post bigger name projects like Netflix/Amazon originals, feature films, etc.? Or is it basically a requirement to have an agent to ever get a shot at auditioning for those types of projects?
Does it bother you when a actor just starting out gets a big role, yet, you, auditioning for years, can’t seem to make it? by MickyKaMoodle • last post Jul 10th
Is the summer slump a thing? by worldtraveler9700 • last post Jul 10th
Does summer usually slow down for everyone? I typically get casting calls from a Casting Director during the week because I'm on their list of actors they look at first for jobs. They're usually non-union and I don't typically get one everyday, but I haven't heard from them in a month. I'm wondering if it's because summer is just slower all around or I'm doing something wrong? I updated my materials less than six months ago
Would you put college troupes on an acting resume if you're 23? by weenis_ • last post Jul 10th
I am starting some classes in film/TV acting but so far all my experience has been in comedy/sketch/improv. They don't see me as a real actor and it sucks. I have taken a few fundamental classes in college, then completed all of UCB, and was performing regularly around town at theaters like iO and Groundlings... but no official classes or work otherwise, cause I am a comedy writer. I COULD list all the random troupes I was in... I am trying to place in an intermediate class instead of beginners and even tho I told the girl at the desk I should be in beginners, she said if I had all that under my belt beginners would be a waste of money. So if I AM gonna make a resume and apply, should I include all that? I'm trying to write it and it seems... bad.
Has anyone in Los Angeles used Actor's Salon? by lemjne • last post Jul 10th
Hi all. Actor's Salon in Los Angeles has a group that meets weekly to set goals and keep each other focused and accountable. I'm thinking of joining, but don't want to spend the $200 a month if it's useless. Has anybody used this program and found it to be effective? Or, used and hated it? Any feedback you may have is appreciated. Thanks!
An acting quote that I found inspiring. by Stephen Foster • last post Jul 9th
"There is someone in the audience tonight who auditioned me 30 years ago, and told me I was untalented and unphotogenic and I should quit trying to be an actress. Well, 30 years later, here I am, Emmy in hand. I won’t mention your name. But you know who you are. And you WILL be in The Book!"
—Rue McClanahan (Emmy Acceptance Speech)
LA Newbie Looking to Connect : ) by Katie Ritz • last post Jul 9th
Hello All!
I recently moved to LA from NYC ~ I am excited to explore this new city, meet some delightful new humans and enjoy the sunshine!
In NYC, I created a collective of creatives (writers/editors/actors/directors) with the aim of working together to tell inspiring stories and create awesome content. Now that I am across the country, I am looking to expand the collective with new voices, stories, & experiences. I would love to connect with fellow creatives (actors, directors, cinematographers, writers, etc.) who are interested in creating independent features/series/shorts in a collaborative setting. If you are interested, let me know and we can grab some coffee & chat!
BEATS = TACTICS by Winniehiller • last post Jul 9th
Most acting coaches teach about analyzing your script and breaking it up into “beats”. What does this mean? For me, I prefer to use the word “tactics”. These are ways your character attempts to achieve his or her “objective” in the scene. Your objective is what your character desires to achieve with the other character(s) in the scene. It is a single intention that lasts throughout the scene, from beginning to end (unless an event occurs to alter it, like a fire breaking out in the middle of a marriage proposal). The aim is to change the other character from point A to point B. The other character is resisting the change in some way or has the opposite opinion. This is what propels your character through the scene...and the test of whether he achieves his goal is always in the other character. Remember, the scene is never about you. It is about the other person and whether or not you succeed with him or her. When deciding on your objective, it shouldn’t be too easy and it should be something interesting to attempt...something with a definite success or failure by the end of the scene. So your character is on a singular mission to influence someone else. That does not fluctuate. What does change, (and needs to change to make an interesting performance) is the different ways he attempts to make this happen. He/she tries different tactics to get the other character to shift their position. Think back to when you were a child and you were trying to convince your parent to take you somewhere fun...like an amusement park. You might start out by saying, sweetly, “Mom...I cleaned up my room and I finished all my homework for the weekend...and I did get an A on that history test. Could we go to Disneyland?” We might call that the “I’ve been good” tactic. But even though Mom is impressed with all your good deeds, she says this isn’t a good time for her to go to “The happiest place on earth”. You have failed so far. You need to try something different. So you say, “But Mom, all my friends are going tomorrow. I’ll be the only one who isn’t there!”. Now you are employing guilt to get what you want. We might call this the “poor me” tactic. Still, Mom does not comply. Time to try something new. So you plop yourself down on the couch and cross your arms as you stick out your lower lip and say, “Forget it! You never understand.” This could be called the “pouting” tactic. This definitely does not convince your mother, but it was worth a try. To your chagrin, she says no. This sends you into a desperate flurry. Tears well up in your eyes as your face turns red and you scream, “Just leave me alone! You’re the worst mother ever!” You run to your room and slam the door. This we will call the “angry” tactic. Perhaps not the best move, but what you were hoping for is that she would follow you into your room and say, “I’m sorry honey. I can see this is important to you. Of course you can go.” If she had agreed at anytime during the scene, you would not have needed to try the other tactics. It was her refusal to be affected by the chosen strategy that made you try a new one. In fact if she had shown any sign that one of the tactics was working you wouldn’t have changed it. You would have played it for all it was worth. It is always the other character that causes you to either continue or alter your strategy. The test is in the other person. But there is nothing more boring than playing one tactic throughout an entire scene. When choosing a monologue or scene for audition purposes, you want to look for one that has many opportunities for different tactics. I see actors scream with anger throughout an entire audition, thinking they are being very dramatic. They are just being unimaginative and dull. Read your script carefully and look for the tactics and when they change. If it is well written, they will be easy to find. A tactic can last a whole paragraph or you could have several tactics in one sentence. But you want to be aware of the changes and be able to allow the other character’s reaction to you to trigger them. Look back and see how different each of the above tactics are. Think of how different you could make them. Each tactic allows you to travel to a whole new realm of your character’s personality. This is what makes for an interesting performance...both for you and your audience. One challenging objective with many different tactics = one fantastic scene.
How easy did you find it to switch from stage to screen? by foxofthestorybooks • last post Jul 9th
Being from the country, I have a lot of theatre experience. I love it, but when I move to the city I’d like to delve more into film auditions. This has always been more interesting to me since I prefer realism in acting and I even have the tiniest bit of film experience with workshops, being an extra and whatnot. But as a whole, would you say that the entire acting process feels completely different? Is it almost like starting from scratch?