The voiceover industry is expanding faster than ever, with demand for voice talent spanning commercials, audiobooks, animation, video games, podcasts, and digital content. That means real opportunities exist right now for people willing to learn the craft.Rama is going to walk you through the full landscape of what voice acting actually requires. You'll explore what the voiceover world really looks like and where the opportunities are. You'll have a concrete understanding of what it takes to launch a voice acting career—and a clear, actionable plan for how to move forward.Email edu@stage32.com with any questions!To learn more about the webinar and to register, click here:https://www.stage32.com/education/products/voice-acting-101-how-to-launch-your-voice-acting-career-and-build-the-skills-to-book-work
https://fathomjournal.org/896cb797/d817e9140jh91QPyGhg
Something I’ve been thinking about lately:Acting isn’t just about lines—it’s about what you do between them.The smallest actions:- a glance - a shift in posture - a pause - a breath …can say more than dialogue ever could.Body language and subtle movement carry the inner life of the character. In fact, much of what audiences understand comes from nonverbal communication—how you move, react, and exist in the momentThe more subtle and intentional the action, the more truthful it feels.Big acting shows emotion. Great acting lets it slip out in small, honest moments.Curious—how much do you guys focus on subtle physical choices in your process?
What is your go to method of breaking down a script when you first receive it? Do you look for the objectives first or do you let the emotional tone guide you?I, personally break it down to the beats first. Determine my superobjective, then my objective for each scene, then each moment. What about you?
The Worst Request I Ever Got From A Casting Directorhttps://youtu.be/1--FmruAQYQHave you ever received a casting director's audition notes expecting the usual details, audition and shoot dates, etc… and instead found something that made you incredibly angry or insulting? I did.I share the entire story in my latest video.If so ever got a weird audition note from a casting director or director, please share your experience here and on my channel.
Acting is weird. I think we can all agree...for many reasons. There are also a lot of superstitions, traditions, and rituals we all engage in, some of which we don't even know why.There is a tradition in the theater not to whistle backstage. This actually has roots in history, as many times sailors and riggers, who had not read the play, signaled when to drop sandbags, scenery, etc. by whistling. Whistle at the wrong time, and someone could get injured.There is also the ghost light, set out on a dark stage in order to ward off the ghost (because every theater has a ghost, right?) This also has practical origins...as it can be dangerous to enter into a completely dark theater.And most of us are familiar with the need to refer to that one play as "The Scottish Play" backstage, lest you curse the show. There are a few remedies should this happen, including reciting any line from any other Shakespeare play, spinning around and offer an insult, or even more. Obviously if you are performing in...uh...The Scottish Play...then you are allowed to say the name in the theater.However, some performers have certain rituals, superstitions, traditions, etc. that they indulge in for their own well-being...and if they don't do them, then the show won't go well. Legend has it that James Marsters, when he was Spike on BUFFY THE VAMPIRE SLAYER, carried a Spider-Man action figure around with him. Kit Harrington from GAME OF THRONES reportedly kisses the stage three times. Ariana Grande used to eat chocolate donuts before important auditions for luck. When I was doing community theater, I would always arrive before call time (usually fifteen minutes or more) and walk the stage. If I didn't touch every inch of exposed floor onstage, it didn't sit right with me. I still walk the stage before my improv shows before we open the house (though I don't need to touch every inch). I also have a pre-show ritual of four breath mints, taken two at a time...though that is also done as a courtesy for my fellow cast members. And, in one show I did. it was a ritual where another cast member and I used to give each other the middle finger right before going onstage. Hey, we always had a good show, so who am I to judge what works, right?What are some of your pre-show rituals, traditions, or superstitions?
I don’t know about anybody else, but I absolutely watch a Fan fair. I watched a round tables. I watched them all . I don’t know if I’m the only one that watches the stuff, but I am deeply involved when it comes to acting putting emotion into it really giving it your own and let me tell you what these two went deep talking about Interstellar
Tony Leung is one of my favourite actors and I’d love the opportunity to work with him. (One hope for the future!)Chunking Express and In the Mood for Love are my favourites. I love the intensity he brings to a character, by what may seem a very restrained and understated acting style. And his process for ‘Silent Friend’ is also interesting:“To inhabit a neuroscientist, Leung spent six months reading books on plants and neurobiology and visiting laboratories to observe experiments firsthand. Around the third or fourth month, he said, the scientist’s mindset took hold without him consciously trying. He described thorough preparation as the condition for freedom on set, noting that the more prepared he was, the more shooting felt like play rather than obligation.”What are your favourite Tony Leung films? What is your process for getting in character? https://variety.com/2026/film/festivals/tony-leung-silent-friend-shanghai-film-festival-masterclass-1236786301/
I am currently looking for an experienced editor, story consultant, or screenplay collaborator to help further polish my novel, The Love Letter After Forty Years.My goal is to prepare the manuscript for submission to publishers and future screenplay adaptation opportunities.This is a serious project, and I am open to discussing paid collaboration with the right person based on experience, scope of work, and mutual goals.If you have experience in novel editing, story development, or screenplay adaptation, I would be happy to connect and discuss the project further.Thank you for your time and consideration.Best regards, Hiro Yamamoto
What is one of your favorite performances you watch to feel inspired to keep going on your acting journey?
Filmmakers, writers, actors, directors, producers, photographers, and other creative professionals:Applications are now open for Noir Aurea, our new private membership platform designed to connect ambitious creatives across film, media, and the arts.We are accredited by Cannes, Tribeca, and Sundance.As part of our founding year, there is currently no application fee for premium members; YOU! We're looking for a select group of early members who are interested in helping shape the community through honest feedback and participation.The first ten approved applicants will receive a complimentary Founding Membership for one year. After that, Founding Memberships will be available at $49.99 for the first year.If you're building something meaningful and would like to be part of what we're creating, we'd love to hear from you.Whether it be feedback, criticism, or encouragement, we're looking for honest voices and genuine people. Founding Members will receive a complimentary badge on their account for life, along with your exclusive ID NUMBER.EXPLORE:https://noiraureahouse.com/APPLY:https://noiraureahouse.com/tierselection
EXCITING NEWS FOR ACTORS!! Become a Lifetime Pro-Level Member before July 4th, 2026, and enjoy these exclusive benefits: Only the first 200 people will be accepted into the "Lifetime" Pro-Level Membership!1. Founding Member profile badge.2. Virtual '200 Club' member.3. Create a powerful pro-level profile that showcases your expertise with a bio, photos, videos, and more.4. Get 'First-Alert' to new scripts to read.5. Read unlimited new unproduced scripts.6. Access script slides for specific characters you want to be considered for in each script.7. Submit short audition videos of the slides and attach them to those scripts for audience, director, and producer members.Pricing will be updated for the next level of 50 members once the first group is fulfilled. Only 200 Lifetime Pro-Level pre-launch members accepts at the following rates: (50 @ $50), (50 @ $100), (50 @ $150), and (50 @ $200).#Actors #Acting #Auditions #Auditioning #Filmmaking #HollywoodScriptank.com
I was reading a post from a writer who's turning a family screenplay into a juvenile fiction novel, and it made me realize how many stories never stay in just one format anymore.A screenplay becomes a novel.A novel becomes a screenplay.Sometimes the second version ends up stronger than the first. What I'm interested in is the actual process.If you've adapted your own work, what was harder than you expected? Was it expanding the story? Getting deeper into the characters? Or figuring out what worked in one format but just didn't work in the other?I'd genuinely love to hear about the projects people are working on. Adaptation is one of those things that looks simple from the outside until you're the one sitting there trying to make it work.
Actors,RB's blog this week is about the quiet power of the contained story. I would love to know what you think.https://www.stage32.com/blog/coffee-content-the-quiet-power-of-the-contained-story-4503Do contained stories create stronger performance opportunities?Have you been in a vertical drama? Share your experience. What challenges come with performing in projects with limited locations and cash?
What is the most valuable thing you have learned from a crew member on set — and how has working closely with the crew changed the way you approach your own performance?The best actors on any set are not just good at their craft — they are good collaborators. A film or television production is a complex, precisely coordinated machine, and every crew member from the Assistant Director to the production assistant to the wardrobe team has a specific role that keeps it moving. Actors who understand this and operate accordingly — arriving early, knowing their lines cold, keeping their phones away, and staying out of the eyelines of the camera and the director — earn a reputation that follows them from project to project. The golden rule on set is simple: if you are not early, you are late. Everything that happens before the camera rolls is preparation, and preparation is a form of respect for everyone else's time.On set, silence and spatial awareness are professional currencies. Film sets demand intense focus from every department, and noise travels further than most actors realize — both on the floor and backstage. Staying out of the crew's way during setups, keeping backstage conversations to a whisper, and never touching equipment or props that are not yours are small habits that signal a big-picture understanding of how productions work. The same applies to wardrobe and makeup — treating your costume as something the wardrobe team worked hard to prepare, hanging it up at the end of the day, and avoiding food and drink while wearing it are courtesies that build trust with the people who make you look your best on camera.The most underrated skill an actor can develop on set is the ability to learn names. Knowing the names of the grips, the PAs, the camera operators, and the stagehands communicates genuine respect for the collaborative nature of the work — and that respect builds the kind of creative environment where everyone performs better. The chain of command on a professional set runs through the Assistant Director and the department heads, and working within that structure rather than around it is what separates the actors who get called back from the ones who do not. Collaboration is not a soft skill. On a working set, it is a professional requirement.Every experienced actor has a story about something they learned from a crew member — a grip who explained why a certain shot was not working, a wardrobe supervisor who caught something that would have read badly on camera, a PA who quietly redirected them to where they needed to be. Those moments of collaboration shape how actors understand the craft from the other side of the lens.
I remember many, many moons ago (it was in the 1990s! gasp!), I was interning at a casting director/producer's office with an acting studio associated with it. As such, I had remarkable access to those casting directors who would come in and hold casting workshops -- essentially a pay-to-be-seen type of situation, but at the time, i wasn't getting a lot of auditions, and this helped. I remember being called in by the casting directors for Friends, MAD TV, Just Shoot Me, and more. And, while I didn't land any of the roles I went out on, I was grateful for the opportunities.The scenes we got to read in the workshops were sides from the shows they worked on. I remember, for example, reading a scene from Friends (I read Ross' part) where he and Rachel were arguing -- I still remember one of the lines: "First of all, it was Professor Pitain, and second, he was able to prove that dinosaur had wings, but could not fly!" One of the workshops involved a casting director for a show that was currently on (I will name neither the CD nor the show), where I had just seen the episode the sides were from just a week prior. I happened to mention it as I was given the sides. Now, for the record, I would never have been called in for this particular role -- he was very much a leading man type and, more so then, I was definitely more like Ross -- not the romantic lead, but more of the quirky, sidekick character. At that time in my training (and I still believe it now), you should always put your own spin on the character. When I first auditioned for the acting studio, I was given a scene from L.A. Law (I was reading the Harry Hamlin role). It was a courtroom scene, and I made it my own, changing the Michael Kuzak character from Hamlin's portrayal to one that has a bit more of a sarcastic, smart-ass bent. I made it my own. So...I did the same thing with the role I was reading for in this particular casting director session.After my scene partner and I performed our scene, the CD kind of berated me (in front of the rest of the workshop participants), essentially saying that my performance was "wrong", and that I should have known better since I just saw the episode! Needless to say, I have never been called in by this CD to read for them since.Did I do the wrong thing? Should I have basically given a carbon-copy performance of the guy who had already gotten the role? My gut still tells me no, that I gave the performance I would have given if I was in the role...and I didn't fit that demographic. I still insist (and clearly it still baffles me) that I made the right call, and that the CD was wrong. Now, I also recognize that it was in the 1990s, and there are wider portrayals of lead characters than the stereotypical type the CD wanted me to be (which I'm still not!).What are your thoughts? Am I right or (equally possible) horribly misguided?
Why Actors Should Never Try to Get Rid of Audition Nerveshttps://youtu.be/6rKgCmsFqkELET'S TALK IN THE COMMENTSHave you ever felt completely overwhelmed by nerves before an audition? What did you do? Share your experience below and on the channel. Your story will help a fellow actor. I read and respond to every comment.
Who is your dream performer you would like to work with? Living or dead.
My desk is currently locking in upcoming creative slates and managing portfolio allocations within the TPS corporate network for this quarterly cycle. We are looking for highly disciplined, cross-functional talent who understand how to treat their brand like a commercial business asset. Our private matching tiers are designed to place vetted profiles directly onto the desks of active equity financiers, producers, and directors who hold actual greenlight authority.If you are ready to stop chasing random auditions and want to know how our offline onboarding channels work, let’s connect. Message me directly to move this over to our secure executive network.
Martial arts isn't just about fighting—it's about discipline, confidence, and becoming stronger every day. Every training session teaches patience, focus, and resilience. The journey is challenging, but growth comes from pushing beyond limits.
What has been your most challenging role you have played so far?
A quick warning for all the local musicians, designers, models, and gig entertainers in our community.Right now, local companies and agencies are handing out "1099 contracts" that include a sneaky clause called "Work Made for Hire."They are trying to get the limitless upside of your creativity while dodging other employment laws. But under California law, they legally cannot have it both ways. See why: https://thecatherinejames.com/creatives-corner/f/the-california-work-for...Your content and your labor are the most valuable assets in the room. Stop letting predatory contracts steal them.As a local attorney, I just published a full legal breakdown of how this trap works and how to protect yourself.
Mastering an accent is not about mimicking sounds — it is about rebuilding the physical architecture of how you speak. Professional actors approach dialect work by starting with voice placement and oral posture: where does the voice resonate in the mouth, where does the tongue rest, how much tension lives in the jaw? From there, the focus moves to prosody — the music of the dialect, its rhythm, its melody, its stress patterns — before a single word is spoken in the target accent. Practicing the cadence of a dialect using nonsense syllables before adding real language is one of the most effective techniques available because it trains your ear and your body simultaneously, separating the physical habit from the intellectual work of remembering lines.The daily practice that separates actors who can do an accent from actors who can hold one under pressure is a combination of deep listening, recording, and comparison. Immersing yourself in native speech through regional media, podcasts, and unscripted interviews trains your ear to catch the specific sounds that mark a dialect as authentic rather than approximated. Recording yourself reading the same passage in your natural voice and in the target dialect — then playing them back side by side — reveals exactly where you slip and what muscle memory still needs work. Marking your script to flag vowel shifts and dropped consonants keeps the specific technical demands visible on the page rather than held entirely in memory, which reduces the cognitive load when you are also performing.The reason accent work matters for a working actor goes beyond casting range. An accent roots a character in a specific culture, upbringing, and rhythm — it shapes how a character thinks and moves and opens emotional doors that a generalized performance cannot reach. Actors who invest in dialect training are not just expanding the roles they can audition for. They are deepening the instrument they bring to every role.How do you approach learning a new accent — and is there a specific technique or resource that has made the biggest difference for you?
The above quote by Han Solo from STAR WARS struck me today, as far as acting goes. And, strangely, it goes hand-in-hand with imposter syndrome (I've named mine "Izzy".) Izzy has led me to look with a highly critical eye at an acting performance I'm in the process of doing, and think, "If they ever find out I can't act, then I'm done for."And then...there are those moments when I am taken aback with how good I actually can be. And, there's no ego there (okay, maybe a little...), but it's these moments when Izzy retreats into a corner and lets me bask in the notion that I actually can do this craft I enjoy so much.I'll give an example:I was in a dramatic improv class years ago (side note, I will never stop extolling the benefits of improv, but that's for another time), and was performing a scene where I was a surgeon who had just lost a patient on the operating table, and was wrestling with how I was going to tell the parents their son died. My scene partner was the Chief of Medicine who was reminding me it was not my fault, and that I shouldn't feel guilty that my son was okay, while my friend's was gone. Now, comedy is usually my bread-and-butter, especially improv-wise. I couldn't even begin to tell you what was going through my mind, but I was incredibly dialed in. Izzy was on an extended lunch break. Somehow, I delivered a performance that I still recall fondly to this day (along with the instructor and my scene partner). Truth be told, I surprised even myself -- in a good way!So...now's the time to toot your own horn. Shout it out from the rooftops. Let us celebrate your acting victories and breakthroughs with you. Tell me a time when you not only knocked a performance out of the park, but surprised yourself with how good you really are. Don't be shy, be proud of your talent, hard work, and dedication to your craft!
Hi everyone. I wanted to share a link for this years Rocberti Writer's Festival. One writer will also have the opportunity to win a FULL SCHOLARSHIP to attend The Rocaberti Writers' Festival. DEADLINE: Monday, June 15th, 2026, 12 midnight Pacific Time. Good luck! https://click-149601.icptrack.com/icp/relay.php?r=30519384&msgid=781976&act=ZME6&c=149601&pid=3546155&destination=https%3A%2F%2Frocabertiwriters.com%2Fscholarships&cf=2307&v=50fd95dcd9422689832a615bbb475afb3e39b6fcbeac0fa0a78ff88897ed9274
Which one do you think is more effective? In my opinion I think in person is more effective because you get to feel the energy of the people in real time.
So Sydney Reed is extremely unprofessional and rude. I need someone who's actually serious about their work and won't get rude when they're held liable by producers.I don't feel comfortable working with racist people either, treat me with respect and you'll get the same from me.My only thing is to be an actor, whatever you need me to do that comes out of my pockets, it's not like people on this app pay; this is a free app for free work, which means you shouldn't have me coming out of pocket for anything that you have no intentions on paying me for.Now, let's try this again.My name is Jaela Lackas and I'm open and ready for work.If anyone has an idea about a script, please let me know.I also have my own script as well and can send it to anyone who might need script ideas.If you're ready to connect, please email me at: jaelamiller11@gmail.comMy name says Miller because that's the maiden name I had before I got married a few days ago.
LITTLE STARS A Heartwarming Emotional OTT Story Featuring Nine ChildrenIn an apartment, four families live together, and among them are nine children. They share a beautiful friendship and deep affection for one another.When two of the families are transferred to different towns, the children begin to suffer from separation anxiety because they cannot bear the thought of being apart from their friends. Eventually, the families decide to stay back for the sake of the children.But fate takes a tragic turn. Bannu, the eldest and most loved among the children, falls seriously ill with a high fever that develops into jaundice and passes away.The parents know that the children, who are already struggling emotionally, will not be able to handle this heartbreaking loss. So, all four families come together and make a difficult decision: they hide the truth and make the children believe that Bannu is still alive.Despite carrying unbearable grief in their hearts, the parents continue smiling in front of the children. They carefully motivate and guide them psychologically, gradually leading the children to believe that Lord Ganesha will one day come and take Bannu Anna with Him.In the climax, while the children happily jump, laugh, and wave goodbye to Bannu, believing he is going with Lord Ganesha, the parents silently struggle to hide their pain and tears.The story is about friendship, love, loss, sacrifice, and the extraordinary lengths parents will go to protect the innocence of their children.Genre: Emotional Family DramaFormat: OTT Feature FilmTitle: LITTLE STARS ❤️Kanduri vaas 8317621660
If anyone has any projects that they need actors for, I'm available for gigs!
Hey everyone! I’m Allyson from Tulsa, born and raised in the Black Wall Street community. I’m a screenwriter working on a character‑driven series called Fish & Grits, and I’m looking for actors who might be interested in performing a short monologue for me.I don’t act myself, so I’m hoping to connect with someone who enjoys bringing characters to life and wants a fresh piece for their reel. If you’re open to reading a monologue or collaborating, I’d love to connect
Hello Stage32!I'm a writer-director based in Nepal looking for a favor for a small voiceover for my short film that's coming out in a week.It's for the role of a (preferably middle-aged but mid20s works too) American Anxious Cop. I'm having a hard time finding anyone to do it. I would really appreciate it.
Hey actors! I would like to explore how vulnerability can transform a performance. What's a moment from your acting journey when you felt truly vulnerable on stage? (or in front of the camera or in rehearsal or in a class)Share your story, or tell us what scares you most about being that open?Question for voiceover artists and voice actors when you are the one doing all the voices or recording your part alone: Is there a way to show vulnerablity or emotion with just your voice and without being connected to another performer? If so, how do you go about that?Let's start a conversation!
I’m a writer, but I’m also serious about acting—especially in my own projects. I’m currently developing a series called Arcadia Hill, and there’s a character in it named Nas that I fully intend to play.He’s quiet, observant, creative—a filmmaker/music producer type who’s always watching everything but not always saying much. He's basically a splitting image of me as a person. A lot of his presence is subtle, so I know it’s not something you can fake—it has to feel natural.For actors who’ve played more internal or understated characters, what helped you make those performances feel real and not flat? And for anyone on the casting side, what makes someone stand out when going for roles like that?
Performance anxiety affects the vast majority of working actors — and the ones who manage it best are not the ones who have eliminated their nerves, but the ones who have learned to redirect nervous energy into their performance rather than fight it. The physical symptoms of anxiety are not so different from the physical state of genuine emotional aliveness on stage or camera, which means the goal is redirection, not suppression. Before you walk into an audition room or onto a set, give your body a way to discharge the adrenaline that has built up — shake out your arms and legs, run vocal warm-ups, use your breath deliberately. A slow inhale followed by a longer exhale triggers your body's natural relaxation response. Shifting your focus outward — onto your scene partner, your character's immediate objective, the specific details of the environment — is one of the most reliable tools available, because anxiety lives in self-monitoring and dissolves in genuine attention to something outside yourself. The deepest antidote to performance anxiety is preparation thorough enough that your body trusts itself. When you know your material — not just the words but the physical blocking, the emotional logic, the character's specific desires in every beat — there is far less room for doubt to take hold. Rehearse under conditions that approximate real pressure, because your nervous system adapts to what it is repeatedly exposed to. Pair rigorous preparation with positive visualization, picturing the room and the moment in specific sensory detail, and you train your mind to treat the performance as familiar territory rather than a threat. Long-term management requires the same discipline you bring to your craft. Avoid high caffeine and sugar on audition and shoot days, eat a balanced meal beforehand, and prioritize sleep the night before significant performances — creative presence and emotional responsiveness are directly tied to rest. Which performance context is hardest for you to manage — the last-minute audition, the live stage, or the on-camera set?
Booking Even One Line On TV/Film Is Much Harder Than You Thinkhttps://youtu.be/Jp51Y4Xp6EQHas anyone outside the industry ever made you feel like a role you worked hard to book was no big deal? Or, made you feel bad because you haven’t even booked a small role. Drop it in the comments below
Hello, everyone!I hope everyone is doing well!I just finished my run as Hotep in The Prince of Egypt and it was such a great experience to be a part of this epic story!Take a look when you can!The show officially begins at the 5:45 mark! Thanks and enjoy!https://youtu.be/-1s25XDY7W0?si=xCWm6s5ZKzJespG4
If anyone has any projects that they are working on and would like to connect, please let me know! I'm excited to give my acting skills a try!Shows like Euphoria really motivate me to want to act because I love how the characters are able to captivate the moment so well that it leaves the audience in sadness, but also surprised, but also wondering what's next; they're on the edge of their seats! And THAT is what I'm looking for.Something raw, something REAL, but also something natural!Hit the inbox and let's talk!
I want to start acting and get my first real opportunities and roles
Have you ever channeled an other actor's portrayal of a completely different character while creating your own character?For example, I did a lot of childrens' theater (which is a great test of whether your performance is entertaining or not, as kids will let you know immediately if you are or not). Many times, I would use other actors/characters to help formulate my character onstage. For example:- When performing in Alice Thru The Looking Glass as the White Rabbit, my baseline for the character was C-3PO, as portrayed by Anthony Daniels.- When I was cast as the Lion in Dorothy and the Wizard of Oz, I purposely chose not to do an impression (or even an homage) to Bert Lahr, instead opting to go with a portrayal similar to that of Barney Fife (with a bit of Macho Man Randy Savage and Hulk Hogan thrown in when he found his courage).- When I was in Treasure Island, the director gave me a wide berth when it came to ad-libbing (I asked how much ad-libbing I could do, and she actually told me, "I'll let you know if it's too much," which is potentially dangerous for an improvisor like myself). Thus, it kind of made sense that my performance of Ben Gunn (whose sanity was a bit questionable as is) was kind of reminiscent of Robin Williams' performance as the Genie in Aladdin.In my opinion, it's a valid part of the process (plus,not one co-performer, director, or audience member ever clocked that I was doing it, as I did put a bit of my own spin on the performances), but is it a bit of cheating to borrow someone else's process and character work to base my own performance on, rather than starting from ground zero myself when letting the character dictate the mannerisms, voice, etc.?Now, I don't do this all the time. There have been quite a few roles where I wholly generated the character myself. But, I do wonder how "pure" the process is otherwise.On a side note, I was literally reading today that Tom Holland based his performance of Peter Parker/Spider-Man on Michael J. Fox. In thinking back, I can now see how some of his actions were colored by this choice.What say you?
Is it true to Break into Hollywood as an actor, I would have to become a screenwriter.
Actors — this is a room worth being in.On 17 June at 6pm BST, we’re going Live From The Cockpit with award-winning writer-directors Barnaby & Preston Thompson for a live 90-minute masterclass and Q&A on script analysis, actor choices, and what writer-directors are really looking for.Barnaby Thompson is a producer/director and founder of Fragile Films, with credits across more than 30 films, including Wayne’s World, Spice World, St Trinian’s and An Ideal Husband. Preston Thompson is the writer behind Vanished, starring Kaley Cuoco and Sam Claflin, directed by Barnaby Thompson.Live only. No replay. Complimentary access.Register via this link to receive reminder on the day - NO SPAM!https://preview.mailerlite.io/forms/2253688/188634212129048440/share#ActorsLife #ActingTips #ScriptAnalysis #ActorsOfInstagram #ActingClass #AuditionTips #WorkingActor #TheActorsCopilot Tracey Collis
After a whirlwind few weeks at Cannes, a lot of travel, and a head cold that decided to follow me home, I’m finally getting caught up with all of you. If you’ve been waiting for a reply from me in your inbox or DMs, thank you for your patience. I’m working my way through everything now and should be fully caught up by next week.One of the things I missed most while I was away was hearing the incredible stories that always pop up in this lounge. So let’s jump back in with a fun one.If you’ve been acting long enough, you’ve probably received a piece of direction that made absolutely no sense at first.I’ve heard actors talk about getting notes like: “I need less confidence but more certainty.” or "Be more purple."The creative process can be wonderfully strange, and directors, acting coaches, and casting professionals often use unusual language to help actors unlock something unexpected in a performance.What’s the weirdest piece of feedback or direction you’ve ever received?Did it help? Did it completely confuse you? Did it become one of those notes you’ll never forget?And for the directors in the room, what’s the strangest note you’ve ever given that somehow got exactly the result you were looking for?
I’ve never had an agent or manager in my life. When I first tried to get one, I was harshly dismissed because I didn’t come with a referral from someone within the film industry—and not just anyone, but someone they knew personally. I’ve known people who worked for established industry figures who still couldn’t introduce me to these pompous asshats because those were the “rules.” From that point on, agents, contacts, and managers all fell straight into the category of parasites to me.As anyone on the creative side, especially actors, well knows, SAG is not responsible for getting you jobs. They can easily stop you from getting paid work on a non-union project, but they won’t take an ounce of responsibility if a union worker says something stupid in public to poison anticipation for an upcoming film—their excuse is that they aren’t responsible for an actor’s conduct when they aren’t on the clock. If you think that through for a minute, it makes no sense at all. It makes even less sense when you realize a production has to pay 23% of an actor’s salary into a health plan that the performer may not even be eligible to use. One might call that fraud, but if you grease enough politicians' hands, they can legalize just about anything as a labor clause. So that leaves your manager or agent to supposedly make finding a job a little easier, because according to the Hollywood gospel, “you need one” to get anywhere. Is that truly the case? I mean, if a casting director is already interested in your client, handling the paperwork doesn’t take much effort. Sending a client out for an audition to compete with hundreds of other performers doesn’t take much effort either. Yet, they still expect to suck a percentage right off your skin the second you land the gig. God forbid they try to be proactive. They boast about their "connections," but they don’t seem to do anything except shake hands or climb into bed with whoever they can influence to use their signed talent. I knew one manager who constantly bragged about his client winning a participation Oscar for 22 minutes of screen time in a Best Picture winner. He acted like he wrote the damn screenplay himself. Meanwhile, when you looked at that client’s IMDb page, you saw he hadn't booked an actual acting job in eight years. This same manager represents a wonderfully talented woman who had a past role on a highly popular show and is currently in her peak earning age. She has a great voice and has been putting numerous songs on YouTube for the last four or five years. She would be absolutely perfect for a screenplay I have that incorporates all of her specific charm and talents—a project with a highly reasonable budget designed to grab the teen-to-young-adult audience back to theaters, something major studios have failed to do for a decade. What did I get from this clown? Crickets. When I followed up and merely pointed out his complete lack of interest, he wrote back that same day claiming I insulted him. Hey, the truth hurts. But in reality, the only person he’s hurting is his client. It’s no skin off my nose if you choose to squander a massive opportunity to build a project from the ground up. I just hope there’s enough bacteria left on her skin to keep you fed. So, for all of you struggling actors out there: if you happen to catch the eye of a creator who thinks you’d be great for a project they're preparing, we have no problem going through your agent to log the deal. But when it comes time to find the financing for it, I would hope your rep uses those years of hand-shaking to actually help bring the money to the table to secure his percentage off your sweat and tears. Otherwise, that audition line goes straight around the block. I hope you brought some bottled water.
Morgan Freeman is without a doubt one of the most respected and well known actors in the industry. He say something in this interview that has intrigued me for awhile now."If it happens right away it's gonna stop right away". I am wondering. Have you seen actors where it has happened right away and there careers had longevity or is it always a long progression?https://www.youtube.com/watch?v=RIno3CaFjPg
How do you handle the quiet periods?Hi fellow actors! We all know this industry is a rollercoaster of pilot seasons, dry spells, sudden bookings, and ghosted auditions. Lately, I've been focusing on finding joy in the craft outside of just booking the job—whether that’s reading scripts, practicing monologues, or taking classes.It’s easy to get caught up in the grind, so I wanted to check in with the community on how you keep your creative cup full when you aren't actively on a set.What does a "successful" week look like to you when you don't have work or auditions lined up?How do you stay motivated and keep your skills sharp during the slow seasons?Let us know in the comments below.
After moving into a better life with her husband, a young woman allows pride, new influences, and material desires to slowly destroy the love that once held their marriage together — leading to a heartbreaking tragedy.
They Are Lying to Actorshttps://youtu.be/KI_NuxkFdXEHave you ever had an industry professional lie to you? If so (no names, please!), what happened and how did you handle it?Share your story in the comments below and on my Channel. Let's use this space to learn from each other. I read and respond to every comment!
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Click here to check them out. I hope it will cause involuntary audible response.
