As actors we all have had people who have inspired us, or whose work we really admire. We dream of working with those people someday. So my question to you is:Is there anyone you would like to work with someday, either a director or fellow actor?
Based on my experience as both performer and acting coach, I'd strongly recommend that aspiring, and even seasoned Thespians research and read every book they find on the subject of theatre--both its historical and current movements--whether it's specific to acting or not. For stage diction, in particular, I'd suggest Cicely Berry's "Voice and the Actor."
https://www.backstage.com/magazine/article/vertical-dramas-actors-advice-78649/
Anne Hathaway, Michaela Coel, and writer/director David Lowery sit down to talk about their new movie “Mother Mary.” Michaela recalls her and Anne being a “blubbering mess” at their first read-through and the complexities of friendships. Anne dishes on taking inspiration for her pop star character from Beyoncé and reflects on her own experiences with fame and the person vs. the persona. (https://www.youtube.com/watch?v=qLrwrxQ5Ubs)
I think emotional depth comes from context, not just intensity.A character can express strong emotions, but without internal conflict or meaning behind it, it doesn’t resonate the same way.Depth comes from what the character is carrying, not just what they show.
At CinemaCon 2026, Cinema United CEO Michael O’Leary pointed to “growing audience trends” and said “audiences are responding.”That matters for actors.Because when cinema attendance strengthens, the big screen strengthens. And when the big screen strengthens, demand for films, performances, and theatrical storytelling strengthens with it.This is exactly why the future is not about replacing actors. It is about supporting actors better — with stronger craft tools, faster prep, and more time to focus on the work that actually books the job.The Actors Copilot is built for this moment.https://theactorscopilot.com/#Actors #ActingCareer #FilmIndustry
24 hours does not ruin a self-tape. Panic does.When the deadline is tight, the real danger is not lack of talent. It is losing your process.Actors do not need more frantic takes, more overthinking, or more pressure. They need a way to get to clear choices fast — so the work stays specific, truthful, and watchable.If you have ever opened a late-night casting brief and felt your brain go straight to fear, this blog is for you.Read: How to Prep a Self-Tape When You Have 24 Hourshttps://theactorscopilot.com/blog/how-to-prep-a-self-tape-when-you-have-24-hours#Actors #SelfTape #ActingCareer#Actors #SelfTape #ActingCareer
Great dialogue is not just about characters talking. it’s about revealing emotion, tension, and intention.One mistake many writers make is writing dialogue that sounds “realistic” but not “engaging.”Real conversations are often boring. Scripts shouldn’t be.Strong dialogue should:✔ Move the story forward✔ Reveal character personality✔ Create tension or conflictEvery line should have a purpose.As a screenwriter, I spend a lot of time refining dialogue to make it feel natural but still impactful.Do you prefer natural dialogue or more stylized, cinematic dialogue?
These 5 Self Tape Editing Mistakes Are Killing Your Auditionhttps://youtu.be/6ewx0sk3R3kHave you ever experienced any of these editing mistakes? Is there a specific technical request that is hard for you? Or, have you ever seen one that you can tell us about?Share your experience below so we can all learn from you and help your fellow actors!I’ll be jumping in to answer your questions and share my thoughts as well!
Most actors spend years perfecting their craft — taking classes, building their reel, nailing auditions — and then stall out when it comes to the business side. Finding representation is one of the most important steps in a professional acting career, and it is also one of the most misunderstood. The good news is that agents and managers are actively looking for new talent to represent. The challenge is getting your work in front of them in a way that makes them stop and pay attention.The most effective path to representation is not a cold query letter — it is a warm introduction through a genuine industry relationship. This means showing up consistently at workshops, industry events, and on platforms like Stage 32 where working professionals gather. It means building real connections over time rather than pitching yourself the moment you meet someone. Agents and managers sign actors they have encountered more than once, whose work they have seen develop, and whose professionalism they have experienced firsthand. A referral from a director, producer, or casting director who knows your work is worth a hundred cold submissions. When you are ready to query directly, do the research. Know which agents and managers represent actors whose careers look like the one you are building — similar type, similar credits, similar trajectory. Personalize every outreach. Attach a strong reel that shows range, a current headshot, and a concise bio that gets to the point quickly. Follow up once, professionally, and then move on. The actors who find representation are rarely the ones who sent the most emails. They are the ones who stayed visible, kept working, and made it easy for the right person to say yes when the moment arrived. What has been your biggest challenge when it comes to finding representation — and what has helped you move forward?
“I don’t think anyone expected the guy who used to host Dancing with the Stars to play an MMA fighter called "The Beast” - MacPherson(https://www.hollywoodreporter.com/movies/movie-news/beast-daniel-macpherson-director-tyler-atkins-interview-1236561119/)
The Scarecrow needed brains. The Tin Man needed a heart. The Lion needed courage. Head, heart, and guts — three intelligence centres that the ancient alchemists mapped four hundred years ago. After nearly forty years directing television drama, I've found that the same three centres explain why talented actors get stuck. It's not a failure of talent. It's a failure of integration. I've written about where the process breaks down and what to do about it.https://thealchemyofscreenacting.substack.com/p/why-talented-actors-get-stuckMy book The Alchemy of Screen Acting: Building a Sustainable Career in 21 Steps launches soon — sign up here for priority access and an exclusive launch discount: https://preview.mailerlite.io/forms/2253823/184195269727880371/share
Spotlight lists over 90,000 performers. Only two per cent make a living from acting. The difference between the two per cent and the ninety-eight per cent is rarely talent. It's whether they solved seven specific problems in the right order — from the closed loop that stops you getting started, to the 280 unpaid hours a year most working actors spend on self-tapes, to the identity shift from artist to professional that most actors resist making. I've mapped all seven from nearly forty years directing television drama.https://thealchemyofscreenacting.substack.com/p/the-7-problems-every-screen-actorMy book The Alchemy of Screen Acting: Building a Sustainable Career in 21 Steps launches soon — sign up here for priority access and an exclusive launch discount: https://preview.mailerlite.io/forms/2253823/184195269727880371/share
Dan Martin didn’t arrive at acting; he grew into it, through emergency medicine, martial arts, and the studied calm of a man who learned that the most powerful presence rarely announces itself. @imdb https://www.imdb.com/name/nm6401783/ @vocal.media Interview worth reading https://vocal.media/interview/from-crisis-to-camera
Zendaya, Robert Pattinson, Alana Haim, and Mamoudou Athie ponder the worst things they've ever done, playing "couple chemistry", and share their favorite wedding movies, in this interview for 'The Drama'! (https://www.youtube.com/watch?v=wBPA9uw7WGM)
@IMDb https://www.imdb.com/name/nm6401783/ Interview https://medium.com/@noamfriedlander/the-man-who-moves-before-the-camera-does-afa7ab46160e
One of the most important lessons I’ve learned in my craft is that Emotion and Emotional Depth are two distinctly different tools in an actor's kit.Here is how I’ve started distinguishing them in my prep:Emotion is the "Weather" (The What): It’s the immediate, situational reaction to a beat. Anger, joy, or a tear—it’s the surface-level response to a stimulus. It’s what happens to the character in the moment.Emotional Depth is the "Climate" (The Why): This is the character’s capacity for feeling. It’s their history, their reservoir of past experiences, and their "inner landscape." It’s the weight they carry into the room before a single line is spoken.Why the distinction matters:You can play a "sad" emotion perfectly, but if there is no depth behind it, the performance feels thin. Depth is what makes a silent close-up feel heavy. It’s the difference between a character who is crying and a character who is trying not to cry because of a lifetime of holding it in.One is a reaction; the other is a state of being.How do you all build your character’s "reservoir" of depth before you even step on set? Do you focus more on the immediate beats or the long-term history?
I believe the most powerful performances come from emotional truth. When an actor fully understands the character’s inner world, every reaction feels natural and authentic on screen.
Hey everyone! I'm in Los Angeles for six months. I know it's short, but it's the perfect opportunity to meet producers (I'm also a director) and maybe land some roles. Could you help me out? I've never been there before, so do you know of any casting platforms or places I should go? I'm a bit lost. Thanks in advance for your help.
Your resume is almost always the first thing a casting director sees before they ever see you — and in an industry where decisions happen fast, it needs to work hard on your behalf from the very first glance. A great acting resume isn't just a list of credits. It's a carefully curated document that tells a story about who you are as a performer, what range you bring, and why you're the right fit for the room you're trying to get into. Format matters as much as content — clean, readable, and tailored to the type of work you're pursuing.One of the most common mistakes actors make is treating their resume like a record of everything they've ever done rather than a strategic marketing tool designed for a specific audience. A resume sent to a commercial casting director should feel different from one going to a regional theater, a network drama, or an independent film producer. That doesn't mean fabricating experience — it means leading with the credits that speak most directly to the opportunity in front of you, and trimming anything that creates noise or confusion about your type and range. Your most relevant work should always live at the top. Training and special skills are two of the most underutilized sections on an acting resume, and they're often where a casting director's eye lingers longest. Strong training signals that you take the craft seriously and are coachable — two qualities that matter enormously at every level of the industry. And a well-curated skills section can be the unexpected detail that makes you stand out for a role you wouldn't have been considered for otherwise. Think carefully about what you put there, because the right combination of credits, training, and skills tells a casting director not just what you've done, but what you're capable of. What's one thing about your current resume that you've been unsure about — whether to include it, where to place it, or how to frame it — and why?
Happy April fellow actors! I thought for this week I would ask a question, not about acting or the business. Let's take a Spring Break and not talk about work!So tell me thespians:How do you manage your downtime and what keeps you creative?
There’s an important update happening right now that directly affects actors across the industry. Read about it here: https://deadline.com/2026/04/sag-aftra-resumes-2026-talks-with-amptp-date-1236782965/ SAG-AFTRA is heading back to the negotiating table with the AMPTP on April 27, picking up talks that began earlier this year. The conversations paused while the WGA worked through their deal, but now things are moving again, and sooner than expected.There are a few big factors in play here. One of them is the ongoing conversation around contract length and financial support for union health funds, which have been under pressure. At the same time, AI protections are still a major sticking point, and it sounds like that’s going to be a key piece in whether a deal gets done.With contracts set to expire on June 30, there’s a real sense of timing and urgency around these negotiations. And with the DGA stepping into their own talks soon, what happens here could have a ripple effect across the entire industry.For actors, this isn’t just background industry news. These decisions shape what protections exist around your work, your likeness, and the future of how performances are created and used. What are you paying the closest attention to as these negotiations continue? Is there something specific, like AI, compensation, or overall industry stability, that’s been on your mind lately?
https://www.hollywoodreporter.com/business/business-news/sag-aftra-studios-resume-negotiations-april-27-1236556692/
Are Audition To Booking Ratios Important? Careful – The Numbers Can Deceivehttps://youtu.be/6x-h28i9hrwJOIN THE CONVERSATIONDo you track your audition-to-booking ratio? Has it helped you stay motivated, or has it caused unnecessary stress? Share your experience below so we can all learn from each other!
Hello,In every kind of art, I believe in that talent is a first step to perform, then it can be shaped by education. But sometimes some people thinks that they have a talent for something but unshaped way. Because there was no chance to jump on that stage in their life. Just like me...I always thought that I have a talent in acting but I had no chance to prove or test that in front of professionals or agents. İt's becoming just like a sneeze sometimes and you cannot keep inside of you. Sometimes you imitate one of your favorite actors favorite role, sometimes(if you have a creative mindset) you are acting your own little story. Don't worry, only the times that you are with yourself!My question is, there is a chance for these(and my) kind of people to take their chances at least one time in their lifetime? If there is, I would like to take that chance for myself.Thanks in advance to all of the contributors to this topic.
I just auditioned at the Producers Club in NYC! First time auditioning for theater, and if I get it, first time ever performing for theater! Very excited…!!! Any advice for theater acting as opposed to screen acting?
For the female actors - what type of screen roles are you wanting to play. I have two scripts that feature strong female leads. One is a ruthless digital fixer, and one is a 9/11 survivor who suffers a concussion and a distorted reality while travelling through NYC. I have always liked female roles more than male roles. I am interested if these roles I have written are of interest. Let me know yay or nay on the roles I have written.
Appeared in two regional premieres: Bernard of Clairvaux in Ronald Millar's ABELARD & HELOISE (Midwest) and Greg in Alan Ayckbourn's RELATIVELY SPEAKING (Southeast). Studied with Word (THE FANTASTICKS) Baker at Cincinnati Playhouse in the Park, Stuart Culpepper (Peachtree Walk Theatre Co., Atlanta,) and Gene Frankel & Roger Hendricks Simon in NYC. AVAILABLE FOR PRIVATE COACHING OR ACTING CLASSES,
What is everyone's thoughts on where our industry is headed in the next 5-10 years, I am interested in hearing what everyone has to say?
There will be many times when you are pushed to your limits and forced to ask yourself: "What am I trying to accomplish?"I have learned that having a clear goal helps you break through obstacles by reminding you exactly what you are fighting for. Never let someone tell you a goal is unachievable just because they gave up on their own dreams long ago. Instead, stay open to others who can show you alternative routes to reach your destination.No ambition is too outrageous. If you want to be president, learn politics; if you want to be a lawyer, master the Bar; if you want to be a surgeon or a geologist, commit to the study. All you need to do is start walking the path.Best ~Timothy Miller
What role challenged your previous understanding of your own craft the most? For me, it was a play I did in college. In the play, one of my friends dies. In rehearsals I struggled with getting the emotional reaction the director/professor wanted. I was playing heartbroken, not feeling heartbroken. Then something happened at the performance. When I was talking to the audience about this person dying, tears started running down my face. I was sobbing so hard I could barely get the words out. (Which is why you want that to happen in rehearsals, so you can manage it_) That was the first time I ever cried on stage. It was a real shift for me. I now understood what acting is being meant in my body. I didn't have to force the emotion. When I relax and am fully present in the moment, the emotions are there. I don't need to do anything. Let's hear your what role change your perception of acting. The moment it all clicked for you. Please share your experiences in the comments below. Let's help each grow.
This Wednesday, April 1st, Stage 32 is hosting a FREE webinar you don’t want to miss:How to Navigate the Cannes Film Festival Marché du FilmRegister here: https://www.stage32.com/education/products/how-to-navigate-the-cannes-film-festival-marche-du-film-march-2026We’re bringing in Guillaume Esmiol, Executive Director of the Marché du Film, with the session moderated by our own Amanda Toney. This is direct insight from someone who helps run the Cannes market itself—an incredibly valuable opportunity for filmmakers at any level.Whether you're planning to attend, dreaming about going one day, or simply want to better understand how the global film market operates, this is one of those rare chances to learn straight from the source.What You’ll Learn:• How the Marché du Film actually works• How to navigate Cannes—badges, layout, screenings, and meetings• What to expect for 2025, including programming and new updates• How to make the most of the experience, even as a first-time attendeeIf Cannes is on your radar at all, this is worth your time.
This "Audition Trap" hurt my career (and life). I finally figured out the shift needed to stay in this game for 40+ years, and I’m sharing it here.Watch the video here: https://www.youtube.com/watch?v=5ju0_jnoKBc JOIN THE CONVERSATION: Have you ever felt like a rejection was a personal attack? How did you handle that emotion? Share your experience here and on the channel so we can all learn and support each other!
I'm investigating the possibility of teaching acting (Scene study for beginning and intermediate actors.), and would love to have tips. My local market is in the South Denver - Castle Rock, Colorado (USA) area. I am currently taking scene study lessons from a great acting school. I've taken other great classes while in the Los Angeles/Hollywood area for 9 years. I believe an actor should always continue taking lessons. Now, I love teaching, and I have a process/method laid out. - My ask is about the difficult part. Nuts and Bolts. If you have created acting lessons, ongoing, month to month, in a space outside of your home, what are your tips for the financial/marketing/location end of it? From any legal forms, did you incorporate & why, did you start out conducting community classes-workshops, did you find the minimum students for a group class & how, what did you do for problem students, was it profitable,... those types of tips.
She didn’t build a machine…she built something that chose her.COMPUTER LOV3Would you watch this? I also took this movie idea and turned it into a brand
"A screenwriter trying to escape his reality, only to discover that his own life is just a scene in a script written by someone else."
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What is the one thing in a script that still scares you or makes you feel you might not be able to pull it off?
Who is playing who?" is a question many of us grapple with in our craft. While losing yourself in a role is often seen as the ultimate goal, it’s vital to maintain a professional boundary. Immersing yourself in a character’s psyche is powerful, but we must be careful not to let the role take the driver’s seat in our personal lives.How do you all handle the "debrief" after a heavy role? I’d love to hear your techniques for staying grounded while staying authentic to the character.
The actor/director relationship is probably THE most important relationship on the set, It most definately is in the theater. Some directors are considered actors' directors as they used to be actors or they really work to understand what an actor is going through. Shouting at you from the seats when I am on the stage in rehearsal is not a director I respond to well, In the theater, we have a meeting after the rehearsal for the director to give everyone notes. I wonder how this works on film or tv set. A lot of directors don't rehearse the scenes before they shoot. Some directors have a different vision of your sharacter then you do. How does this work in the real? Has a director shouted a note at you in front of everyone or do they politley whisper it in your ear? I have to say, when I am stuck, and the director gives me a note in my ear that only I can here, that is gold to me. It puts me in the "I have a secret" mindset, because in life, we don't have thoughts out loud. I may not want the other actor to know my motivation. My question is, WHAT IS THE MOST HELPFUL NOTE FROM A DIRECTOR WHEN YOU ARE STUCK IN A SCENE?
If you’re at a point in your work where you want deeper clarity, stronger choices and direct guidance from a master actor-teacher, this masterclass is for you!The Lighthouse International Film Festival is hosting a unique five-day ACTING MASTERCLASS with Jason Alexander on beautiful Long Beach Island — an intimate, hands-on experience designed and taught by Jason himself. Jason’s approach is deeply practical and actor-focused. His technique breaks performance down into clear, actionable choices — the kind you can actually use in rehearsal, on set or on stage. This masterclass is about understanding what decisions shape a performance and how those choices build into truthful, repeatable work you can rely on in any medium. How the Masterclass Works Day One (Sun 6/7) You will perform your prepared monologue. Each performance is professionally videotaped — a clear starting point so you can see your growth across the week. Days Two-Four (Mon–Wed, 6/8 – 6/10) Daily four-hour sessions diving into Jason’s transformational process. You’ll explore specific performance choices, emotional access and how to adjust your work moment-to-moment. Day Five (Thu 6/11) The masterclass culminates in a live showcase at LBI’s historic Surflight Theatre. Participants perform their evolved monologues on stage, followed by a Q&A with Jason and the audience. About JasonHe’s widely known for his iconic role as George Costanza on Seinfeld and his body of work includes more than 30 feature films, numerous television series and extensive stage work with seven Broadway appearances. Jason Alexander is a Tony and Grammy Award winner as well as an eight-time Emmy nominee.What Actors Gain from This Masterclass * A clear, repeatable way to create performance choices * Stronger communication with collaborators and audience * More reliable access to emotional truth* Confidence adjusting work in the moment * Greater freedom and specificity in performance *Tools that apply to both film and live theater How to Apply: Email LIFF Executive Director Will Kuhn - will@lighthouseff.comMore details:Applicants submit a 2–3 minute monologue video via FilmFreeway under “Categories.” Video framing: medium shot to mid-thigh (no close-ups). Submit a headshot and résumé. Submission requires a fee of $45Only eight actors will be selected for this masterclass. Upon acceptance: $100 registration fee.All participants receive an All Access Pass to the Lighthouse International Film Festival. Optional lodging: $400 from June 7–11.
Which aspect of on-set etiquette do you find most challenging to master? Walking onto a film or television set for the first time can feel like stepping into a foreign country — a language you don't yet speak, a hierarchy you can't quite map, and an urgency that makes every second feel consequential. A production is a finely tuned machine. Disrupt the rhythm, even accidentally, and the ripple effects cost time, money, and goodwill that's hard to earn back. Know the Chain of Command. Don't go to the director with questions that belong to a PA or 2nd AD. Learning who to approach for what is essential. The Golden Rule. Be where you're supposed to be, when you're supposed to be there, with everything you need already in hand. Anticipate — don't react. Silence Is Respect. When the 1st AD calls "Rolling!" — everything stops. And the moments after "Cut!" are not an invitation for casual chat near camera. The Unwritten Rules. Never cross between the camera and subject. Don't touch equipment that isn't yours. Keep your phone out of sight near setups. Never give direction to talent — that's the director's job alone. Energy Matters. Productions are long and taxing. Complaining is contagious. Showing up grounded and adaptable is noticed more than you'd expect. On-set etiquette is, at its core, about awareness — of space, of hierarchy, of the work being made, and of the people making it. A person who understands the protocols, moves with intention, and brings a steady presence to a high-pressure environment? That's someone who gets called back. Want to learn more about how to be prepared on set? Take the Stage 32 class Actors: How to Snag that TV Guest Star Role and Be Successful on Set, taught by Maddie Corman: https://www.stage32.com/education/products/actors-how-to-snag-that-tv-guest-star-role-and-be-successful-on-set
Is Your Acting Agent Ghosting You? Ask This 1 Question Before Leavinghttps://youtu.be/LGMghmpsSHIIs your agent ghosting you? If you feel like just a name on a roster and you aren’t getting the auditions you want, before you decide to leave your agent, you need to watch this video first.Knowing when to move on is essential, but doing it the wrong way can damage your career.In today’s Quick Tip, I’m sharing how to figure out if it’s really time to stay or go by asking one crucial question to your agent.SHARE WITH USHave you ever left an acting agent? If so, why and how did you make that happen? Also, in hindsight, was it a good move for your career? Share your experience so we can all learn from you.
if you were given a role as lead actor/actress for a franchise film with +2 films following it but the role played against you. their are many ways a character plays against you that you should be aware of.In acting, when a character plays against you, it usually means there is a fundamental mismatch between your natural personality and the role's requirements. Here are the most common ways this happens: 1. Opposing Values or Morals The character’s beliefs or actions might be the complete opposite of your own. If you are a kind person playing a villain, the character’s choices might feel unnatural or wrong to you. The challenge is to find the character's internal justification so you can play them without judging them. 2. Personality and Physical Mismatch This is often called being cast against type. If you are naturally high-energy and talkative, but the character is stoic and silent, the role is playing against your natural instincts. You have to consciously suppress your own mannerisms to adopt the character's physical presence. 3. Playing Against the Text Sometimes a director asks you to play against the literal words in the script. For example, if the script says I hate you, you might be told to play it with underlying love or sadness. This creates subtext, making the performance feel more layered and realistic because people rarely say exactly what they feel. 4. Psychological Friction If a character is particularly dark or traumatized, the role can feel like it is working against your own mental well-being. This requires a clear boundary between yourself and the role to ensure the character's headspace doesn't bleed into your real life.now if you were put in one or more of these situations how would you act.
Hi everyone, I have two upcoming self-tape auditions for feature films and I want to make sure I’m delivering the strongest performances possible. I’m focused on improving my acting choices, presence on camera, and overall quality of my tapes. If anyone has advice on performance, preparation, or what helps a tape truly stand out, I’d really appreciate the insight.
I acquired screenplay consultations from a few executives with two scripts. The consultations were in conflict. I came to the realization that you have accept advice that makes sense to you as a writer and ignore what doesn't. After making edits based on the consultations that made sense to me, both scripts became finalist in national and international screenplay competitions. As a creating writer, you have to trust your instincts eventually.Has anyone else had experience navigating conflicting notes and determine what's compatible with the story you want to tell?
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
