Has anyone watched The Smashing Machine? What did you think? Did you also happen to catch Matt Damon's take on it and how he dissected Dwayn's choices on how he played the part? Absolutely fascinating and ever so true. We all take from our own experiences and then meld it into a part when the character asks us to. Acting is so versatile, but most importantly it's how you handle it afterwords. I was trained not to take it home. I'm very grateful for that training. The Stanislavsky Method. Curious about what you think...
So many people are sad today on hearing that Catherine O'Hara has died. Rest in peace!
I'm a SAG-AFTRA actor with several credits on my resume for TV, film, new media. I also moved to an area with little filming and a lot of theater. I've no theater credits. Do I try to rearrange my current resume or hand it in as is? Under training, I do have scene study. I've worked on Richard from Proof, Rothko from Red, Eric from Brooklyn Boy and dozens of others. 5 years of it. All full scenes, on stage for classes of a few to 25 students. What do you think?
Actors, performers, artists...How many times have you questioned yourself? Your worth? Your reflection in the mirror?"Oh, I need to look perfect, so I'm not ready for this audition, they'll see I haven't gotten my roots done...""Maybe I'll do it tomorrow, I'm not sure I have the analysis perfect on the script...or I just pass on this....""I shouldn't even try to go to that open call, I'm not as pretty/thin/famous/well connected/well known as the others in there.."All of us, at some point, have doubted ourselves. And, I can admit, I put myself out of the room, the game, the race, for a long time, because I lived in doubt. I thought I had to look a certain way to be a leading actor, in leading roles. I lived in a constant battle with my physical appearance.I realized, a few years ago, that "perfect", is not what actors have to be. Right now, you are ready, but the readiness comes from a knowing and accepting your instrument, and the one thing that separates you from the life of working in films, tv series, plays, etc...: BEING YOU. Embody, believe, and trust...Take the plunge, break the rules, be irreverent, change up your script prep, and GO!It's YOU, the you RIGHT NOW, that a story is trying to find...and as you change physically, so will the stories you will be called to tell.How are you embodying yourself, and supporting your journey as an actor, exactly as you are?And, how do goals, health goals, and your appearance hinder, or fuel, your path?
Believe in yourself and enjoy the process. Here's some excellent tips for your acting career: https://www.backstage.com/magazine/article/the-best-acting-advice-from-the-cast-of-bridgerton-79806/
Knowing everything doesn’t make you feel safe.. it needs your inner strength.
I wanted to share this video because it offers a fantastic acting breakdown of how performances truly come alive through contrast, especially in ensemble work. Check it out here: https://www.youtube.com/watch?v=jyIIAXb2Xd8Using One Battle After Another as a case study, the video digs into how Paul Thomas Anderson gives actors the space to collaborate, improvise, and build characters that don’t align perfectly, even when they’re technically on the same side. What stood out to me most is how much of the storytelling happens physically rather than verbally.Some great takeaways for actors:Contrast fuels conflict. Characters don’t need opposing goals to clash, they just need different energies, fears, rhythms, or worldviews.Small physical choices matter. Eye movement, jaw tension, posture, breath, stillness, or the lack of it can communicate volumes.Confidence vs uncertainty is often shown in how someone moves through space, not what they say.Fear, hesitation, control, and power are frequently revealed in micro-behaviors, not big moments.PTA’s close, lingering camera rewards actors who can think on screen and let emotions land without dialogue.Imperfection, stuttering, nervous ticks, and inconsistency often feel more truthful than polished delivery.It’s also a great reminder that: You don’t shine by matching your scene partner. You shine by being different from them.I’d love to open this up to the Acting Lounge: For auditions, how do you balance specificity with flexibility when the other characters aren’t fully defined?
External impact is not the starting point. It is the result.
Actors: This Revolutionary $Billion Filming Format Hires Union And Non-Union Actors https://youtu.be/vfoxkH-iOfI Have you ever worked on a Vertical/Micro Drama? If so, share your experience here.
Just wondering how it would be, to write your own screenplay, takes part in the directing and playing a role in the movie. Hope you understand me?
I would love to hear from those of you who have had a lot of auditions. I know this answer will be helpful to those just starting out, and the lurkers. I, personally, would also love to know. I haven't had as many auditions as I used to, and with it being self submission now, the times have changed. Nevertheless, please share what is the worst audition you ever had and what did it teach you?
I just shared this on my page and thought it might resonate here as well. It’s a piece of advice that stuck with me early on and continues to influence me in all areas of filmmaking.Early in my acting career, someone told me: don’t sit idle in the holding area—educate yourself. Observe quietly, don’t interfere, and ask questions when appropriate. I took that advice seriously and started using my time on set as an opportunity to learn.By watching directors, cinematographers, and the crew work in real time, I gained an education that can’t be found in a classroom—only on set. It taught me how stories are built collaboratively and how every department contributes to the final result. I’m still grateful for that advice today, as it continues to inform my work and helps me see the bigger picture when acting, writing, and creating.What was the best advice you received while working on set?
Good evening, friends and comrades : )Late night post, as the year kicks off officially, and time zooms by, my days flowing full of work, challenges, and much joy!And because of this momentum, I've realized something, that has changed the way I begin an audition, before I get into position, set up the tripod, and press record on my phone, or when I am in the virtual callback room, or on Zoom, waiting to meet the casting directors, producers, or directors...When you get busy, usually, the standard response of people, generally, is stress. Nerves, anxiety, and "perfection thoughts" running amuck in our heads. Particularly, as actors. And, I've experienced this, so many, many times. We start getting upset we have a few auditions in one day, we resent it even, we worry about how we are going to do it, what to wear, who will help me, etc...etc...etc...But, this year, my now self, my wise, and centered self, endeavors every time I have the privilege to act, to allow myself one feeling:Gratitude.I'm so thankful for this audition, I'm so grateful I get to do this, I'm so happy I have three auditions back to back, I am grateful for this moment and this work...I can do this, because I am doing it...Wow, I'm awesome. Look at me go...thank you tripod! Thank you phone! Lol...It changes your perception, and you become relaxed, and stop overthinking what you think you have to do to deliver the perfect audition, or how to impress the casting director with your acting skills. The fear is washed away by this gentle wave of love, and joy for the moment, and instead of stressing out and futurizing, and self-sabotaging, you realize you deserve this, you've already been chose, so you simply play. If you got the audition,, if you got ten auditions in one week, they already think you can do them! And...this was just your headshot, or reel, or both...amazing, right?Gratitude : ) The magical medicine for the stressed-out player. Available to you in your nearest hear-based feeling counter ( heart area of your chest ).
THE FIRST STONE – A MANIFESTO FOR MOMENTUMWhy mastery begins the moment we stop waiting.Over the years, I’ve noticed a pattern — not only in my own journey, but in countless conversations with actors, writers, directors, and producers across different countries and markets. Most of us don’t get stuck because we lack talent. We get stuck because we were trained to wait. We wait for permission, we wait for representation, we wait for the one role that is supposed to “change everything.” Waiting feels reasonable. It even feels professional. And yet, while we wait, nothing really moves.I’ve seen incredibly gifted artists spend years in this quiet loop: hoping circumstances will shift, hoping the system will notice, hoping someone else will finally open the door. What makes this especially frustrating is that the external world often does change — new platforms emerge, formats evolve, opportunities multiply — but the internal pattern stays exactly the same. At some point, a difficult realization sets in: hope alone is passive. Not useless, but insufficient. Momentum is not granted. It is created.I think of a career as a chain of dominoes. The industry teaches us to see ourselves as one stone somewhere in the middle — motionless, waiting to be pushed by a casting director, an agent, or a producer. But real agency begins when we understand something fundamental: we have to be the first stone. A single domino has the physical ability to knock over another that is significantly larger than itself. Its power is not in its size, but in the decision to move. Progress rarely starts with a dramatic leap. It starts with one conscious, deliberate step.That step is uncomfortable. There is no applause for it. No guarantee. No immediate validation. But once it happens, something shifts internally — not because the industry suddenly becomes fair, but because you are no longer frozen inside it. From that moment on, you’re no longer waiting to be chosen. You are choosing to move.One of the most important lessons I’ve learned is that success is not an accident. You don’t arrive where you want to be by chance — not in your career, not in your relationships, not in your life. Without intention and planning, you drift. And drift always has a direction, even if you didn’t choose it. Actorpreneurship isn’t about fear, control, or turning art into a sales pitch. It’s about conscious design: knowing where you are, knowing where you want to go, and being willing to take the next step — not all steps at once, just the one that’s required now.Trying to change everything at once overwhelms most people. Momentum grows differently. Step by step. With clarity. With patience. With respect for your own capacity. When action aligns with intention, doors don’t need to be forced. They open because direction and timing finally match. Responsibility often gets mistaken for pressure. In reality, responsibility is freedom. It allows you to stop begging and start collaborating, to listen instead of chasing, and to enter rooms without needing to prove anything — because you are already in motion. From that place, conversations change. And relationships do too.I’ll be in Los Angeles between March 31 and April 5, and it would genuinely be meaningful to continue this conversation beyond the screen — quietly, colleague to colleague. There’s a place in Hollywood, the Formosa Café, with a long history of exactly these kinds of exchanges: writers, actors, directors, producers sitting together without an agenda, simply talking craft, reality, and the work. If you’re around during that window and feel like continuing this dialogue over a coffee, I’d welcome the exchange.Which brings me to something I’d genuinely love to hear from this community: At what point did you realize that taking full responsibility for your own momentum was unavoidable — even when it felt uncomfortable? And maybe even more important: what was your first stone this week?Dan Martin Roeschhttps://imdb.me/danmartin.imdb
As an actor, I used to fall victim to this all the time. Namely, "what does casting want?" or "what does the director want?" In all honesty, I still can go down that rabbit hole. But what I've come to learn from experience (including running a taping service for 15+ years) is that it's a fool's errand to approach your work this way. This video I put out Monday expounds on this important topic.https://youtu.be/dsOLHj2vrvM
(https://www.youtube.com/watch?v=fpaUpINYdPQ)
3 Steps to Getting An Agent https://www.youtube.com/watch?v=7WD5jCqZPjA How did you get your agent? Let us know by sharing your thoughts here.
Hello Actors of Los Angeles! This Thursday is the first SCRIPT SHUFFLE of the year. It's a great time, and we hope you can make it! https://www.fakeidproductions.com/event-details/script-shuffle-january
https://youtu.be/fSKvmXRAVLg
Cut!The moment right after the last shot, the "martini shot"...right after a stellar audition, callback, a rehearsal...and especially when standing on stage to take your bow...There's so much flowing within our emotional, energetic, and psychological systems. We work diligently to be open and ready to embrace the story of someone else, and embody another's reality, but...what do you do, when it's done? How do you shake it off? The experience, realness, still vibrates within us, sometimes more powerful than when in the scenes themselves. Have a wonderful weekend!
I have been lucky enough to work with the same actors over and over again in my projects. And a notice a similar theme. Just like Wes Anderson and too many other directors to count, there's a reason we directors go back to working with the same teams. And I WANT TO HELP ACTORS KNOW WHY - ESPECIALLY BECAUSE I STARTED AS AN ACTOR AND HAVE A DEEP APPRECIATION FOR THE CRAFT.1. SYNERGYWhen you (an actor) is authentically yourself in an audition and on set, you end up having a hive mind and almost friendship with the Director and creative team before you ever step foot on set. **When I'm auditioning actors: I always feel a sense of familiarity - People think the familiarity is based on what I want in the role, but usually its because I've written these roles and brought them to life, so I can tell when you're bringing a real experience from your own life to the audition --- and then to me, it's like we're there together. It's a sense of familiarity. LIKE WE TOGETHER HAVE LIVED THIS MOMENT BEFORE. **The actress I've worked with 7-8 times is Madeleine Masson. She is a master at slipping into a role better than most people I know. And this leads me to the #2 reason.2. SHORT-HANDWhen you work with someone enough, you develop a short hand. And the more times you work together, if the collaboration is right, the more magic you can create in a shorter period of time. **that's why theres only a few takes. Trust = strong synergy and shorthand.
I’d like to invite Actors to experience a one-month audition coaching container for actors who are actively auditioning or preparing to return to the audition process, running February 4th through 25th. This is a professional-level, small-group environment designed as a recalibration-based space for trained actors to restore clarity, neutrality, and trust before auditioning. I have been coaching actors professionally since 2009 from my published framework, “8 Steps to Working Actor”. This container is for actors seeking clarity, precision, and honest feedback — no fluff. If you’d like to see if we’re a fit, check it out in the link below. Spaces are limited. Hope to see ya! https://www.treisagary.com/audition-class
As actors, we bring ourselves to the characters we play. We find what resonates and go all in. Some parts are easier than others. Some really stretch us, some parts we are tempted to phone in. Then, there is the really wonderful occasion where we put our blood, sweat and tears into a role, thinking we had this character all figured out, only to find this character is teaching us something. That is my question for you. Has there been a role that has inspired you in your real life? What is the most surprising thing you have learned from a role?
Here's the latest promo vid for the P.O.C. (proof of concept) and Movie Trailer we are shooting in L.A. later this year to promote a much bigger and more ambitious project - a feature length film, called Neverland - a Neo noir, Supernatural Thriller. Principle casting and some crew placement is now open on this project. If your interested in what promises to be a high standard and quality film project then go to my profile page to express your interest for casting and crew, there's also a posting in Jobs on Stage 32 as well. Unfortunately I'm not able (at this stage at least...the situation may change however as funding applications are currently in process) to give you a bucket of money for your creative involvement as the current Budget only stretches to cover some key crew roles & material production costs - camera, equipment, lighting, location hire, catering, permits and transport etc.
"Hey! I owe my success and my wealth to my customer base except, I'm not trying to make them happy. I'm so talented that no matter how much I insult you or tell you what I think is the correct way to think and the only way to think even if half of the country disagree with me. My acting is so spectacular, that you have no choice but to and spen your hard earned money to see me work my craft. You just can't take your eyes off of me and are helpless to watch everything I'm hired to act in."I kind of think that's what modern day actors think of themselves. This philosophy is completely counterproductive to what they want to achieve. Theaters are pricing themselves out of existence and soon will go the way of the phone booth. You may find one, but it's so damaged, it won't work anymore and no one will spend the money to fix it. Howeve, while they are still around, the idea is to make people want to leave their homes and buy a ticket to see your over-priced and overpaid work because investors risked their money on you to hope your "talent" will help them get a reliable ROI. So WHY do you exhibit behavior to hurt your earning potential? I really don't think Robert De Niro upped his stock with his unhinged Trump rant. He has lost any sense of dignity. Ruffalo doesn't seem to have any real concept of what is going in the world right now and can't seem to separate the difference between fact and fiction. Maybe he's just mad because he's not listed on the cast list of Avengers: Doomsday not that his rant would help sell tickets.The point is there is absolutely no upside to saying your political views when you are not part of congress. You're not making decisions. You're not coming up with solutions and you just come off looking hypocritical or worse, a dumbass. Neither one of these is a proven method for increased ticket sales. It totally make no sense and continues to show the stupidity of celebrities and their disdain for their customer base. Maybe A.I. actors will ultimately be the salvation of film because actors don't seem to want anyone to admire them anymore. Why would you want to see anyone's talent and support their lifestyle when they call someone horrible names but still work with people that are guilty of more heinous acts than what the person of their hatred is accused of? No matter what side of the fence you're on, you can't deny the logic of questioning this detrimental behavior.If a cobbler makes uncomfortable shoes, he won't be a cobbler much longer. If you do not make a reasonable RIO for what investors are paying you, it might be hard to even get SAG scale on a project.I really think Hollywood finds no profit in making a profit anymore.
It was a surprise opportunity for a young guy who felt he could do anything in the entertainment field, and of course that included great acting. I was making day trips to Allentown Pennsylvania from Mountaintop and one summer day stumbled on an ad in the local town newspaper which basically said "Actors Wanted".I drove over to the indicated address and found a large well kept old house that was converted into office suites. When I knocked on the door of Lois Miller & Associates a girl Friday answered and showed me into the well appointed office proper. Ms. Miller was there and explained the job. They were going to film a crime scene based on one that really happened for a tv series. And she said it was good money.The plot went like this: A woman was stranded on the highway with a flat tire. I drive up, stop, and offer to help. While helping I was supposed to pick up the tire iron and beat her to death.....(ah wait a minute).I was driving back to Mountaintop and thinking. I wasn't that kind of person. I wasn't that kind of guy.So I stopped and called Lois from a phone booth and backed out. They never contacted me again.That was 40 yrs. ago. I sometimes wonder where I'd be today if I took the job.
Hi everyone,I’m an Italian actress gently looking for representation. I’d be grateful to connect with an agent or agency willing to give me a chance.Thank you
The #1 Reason Actors Don't Book (It's Not What You Think)https://youtu.be/QGs2SN860eMWould like to hear your thoughts why actors don’t book jobs? Share them here and on the channel.
There are days when acting feels like falling in love for the first time.And there are days when it feels like staying in a relationship that hurts — not because the love is gone, but because the world around it has become loud, fast, demanding, and unforgiving.We rarely talk about that part.We talk about careers, strategies, visibility, bookings, momentum. But beneath all of it lies something far more fragile and far more powerful: the quiet love we once had for this profession. The moment we first realized that stories could move us, that standing on a stage or in front of a camera could make us feel more alive than anything else. That being an actor wasn’t a plan — it was a calling.And then life happened.Auditions multiplied.Self tapes replaced rooms full of people.Opportunities came faster, but felt thinner.We learned to be efficient, flexible, professional — and slowly forgot how to be present.We gained more access, but less patience.More knowledge, but less trust in ourselves.More feedback, but less certainty.We built bigger résumés, yet sometimes felt smaller inside.We learned how to survive in the business —and somewhere along the way, forgot how to live inside the art.Our days became measured in submissions instead of moments, in responses instead of resonance. We rushed from casting to casting, from hope to disappointment, from motivation to exhaustion, telling ourselves this was the price of commitment. That love must hurt a little. That sacrifice was proof we cared.But love that only consumes eventually empties us.This isn’t about doing less or retreating from the industry — it’s about working with intention again, so your craft remains reliable, present, and valuable when opportunity finally aligns.There is a paradox at the heart of our profession: we are asked to be deeply human on demand, while living in systems that reward speed over depth, output over presence. We learn to add years to our careers, but sometimes forget to add life to those years. We conquer platforms, algorithms, techniques — yet neglect the inner space where courage, imagination, and truth are born.We can break down scripts flawlessly, but struggle to break down the walls we build around ourselves.We communicate constantly, but connect less.We know how to perform intimacy, but forget how to allow it.And still — we stay.Because every now and then, there is a moment that takes our breath away. A scene that scares us. A role that asks more of us than we thought we could give. A collaboration that reminds us why we started. A look exchanged on set that says: this matters. These moments don’t come often. They never do. But they are enough to keep us here.Maybe that’s what our careers are really measured by.Not by the number of auditions we survive.Not by the size of our credits.But by the moments that stopped us in our tracks and made us feel alive again.The danger is not failing.The danger is forgetting what we love.We learn how to survive in the business — and somewhere along the way, forgot how to live inside the art.So this is not a call to work harder, to be louder, to chase faster. It’s an invitation to remember. To treat our relationship with acting like any great love: with honesty, boundaries, patience, and care. To protect the parts of ourselves that make us interesting. To allow silence. To choose depth when speed threatens to hollow us out.Because acting, like love, is not meant to be consumed.It’s meant to be lived.And if you’re reading this feeling tired, distant, unsure — know this: you are not broken. You are not behind. You are not alone. You are simply in a chapter that asks you to fall back in love — not with success, not with recognition, but with the reason you stepped onto this path in the first place.Our profession is not measured by the number of breaths we take between castings.It is measured by the moments that take our breath away.And those moments still exist.They always have.Dan Martin Roeschhttps://www.imdb.com/name/nm6401783/#loveacting #acting #actress #actorslife #actinglife #actingislife #actor #actingcoach #actingaudition #methodacting #actingclasses #love #actingskills #actingclass #actingcareer #actingtips #thisisacting #theatre #model #actorlife #actingagency #actingschool #actingworkshop #voiceacting #actors #iloveacting #actingheadshots #actingwar #actingwars #actingstudio
Happy Sunday Actors!If you haven't gotten a chance to read and mull over RB's newest Coffee & Content post, "Presence over perfection, on screen and on the page", I truly recommend you take a peak.https://www.stage32.com/blog/coffee-content-presence-over-perfection-on-screen-on-the-page-4343With that in mind, the question I pose for this week:When you get that in person meeting for the film, when they're down to the last two, or when you finally get called in to do a cold read with that casting director you've been dreaming of connecting with, how do you show up? How do you feel yourself walk into the room...?Presence over perfection, because really...when opportunity comes, it's rarely when we think we are "ready for it".Ciao, mi gente!
https://time.com/7337802/entertainer-of-the-year-leonardo-dicaprio-martin-scorsese-work-together-characters-soul/
Any Hispanic actors who would love to read my script down the line? I may need you to audition once I get discovered by a producer and of course once the script is finished.
I would like to start the conversation about what is your mindset for the New Year? Not a resolution or a goal even, more like a title card. New year, new chapter. Midway through 2025 I had to do a course correction. So I decided I was going all in. That I would stop getting sidetracked with other projects, or non entertainment industry income. I have been focusing on submitting for auditions, watching all the webinars on auditioning, voiceover, and audio book recording. I even took some writing courses. I got a microphone for Christmas and I have downloaded Audacity. I am in the process of turning my walk in closet into a sound booth.All of this has led to my statement for 2026. "I am a successful, working actress, who gets paid to travel the world." That is my mindset when I wake in the morning, when I leave my house, when I encounter anyone, when I go to work, when I go to sleep at night. Doing the behavior, leads to thinking like the life you want for yourself. To get new experiences, new things, you must think new thoughts. So I ask you, fellow actors on this journey of life, what is your mindset for 2026?
Ben Affleck and Matt Damon chat about their friend ship and explain the research they did for The Rip and what was happening on set during their tense scenes. (https://www.youtube.com/watch?v=R4ZNqeE4PyY)
https://deadline.com/2026/01/actors-strike-possible-2026-1236676773/
Happy 2026 all! Hope this is the right place to write this. I pitched in 2025 - twice. Pitch was liked by both. One of the lovely producers has the TV pilot script. Both recommended different comps to be added to those I had added. The issue I face is that I have not found anything similar. One comp listed simply because it is also one of the locations of my TV pilot. What to do as I need comps (obviously) before pitching again. The second query is...so the TV pilot is based on a true story. Both lovely producers requested this information (specifics of it, which are mentioned in the pitch) to be listed much earlier on the Pitch. Where can this be listed right at the beginning of a Stage 32 pitch? It has been mentioned that you state your connection to the script and story. Thanks in advance.
Ladies and gentlemen don’t be surprised auditions will be held in the event a Disney executive buys my script. Let the games begin.
A new year, and a new chance, to experience our lives as actors using the wisdom of all the experiences from the past year. A lot, right? Haha.Most of the times, as actors, we are constantly searching for someone to direct us (generally speaking). To advise us in what we should be doing: acting wise, role wise, picture wise, social media wise, contract wise, methods wise...you get the gist of it. But that word, wise...we should be looking within...listening to our own wisdom.There's a word that has come up, softly, and a bit surprisingly, this beginning of 2026: sovereignty. The way I do things, as an actor, my choice of movement, of work, of being...should be my own. How I would like to get into a rehearsal space, what my boundaries are in terms of other players and crew as I prep, how I feel I need x, y, z...or don't...and all the other things that most of the time, we let slip, and allow, because we...adapt...flow...and at times...allow an intrusion....once...twice...Now, this is where it gets interesting: when we are on a film, a television show, in a play, etc..., we are usually directed, and reacting to notes, to other's energies, other characters, the ensemble...you get the idea. We are literally reacting like magnificent and unique chemicals in a beautiful lab, to create a story. And how that happens...is when we completely let go, relax, and allow the environment, actors, sounds, sensations, to propel us toward a place. That place, well, us the unknown...and is not in our control, and we hold no power there.But, there is something that is still ours...something deep within, that I feel is a point of discovery, and here in this post, a dialogue: What is sovereignty to you, as an actor? Do you feel it? How does being on a set, or the stage, affect it, and how can it free you to become a more generous actor, while still anchoring you in your essence, your confidence...your authenticity...?Sovereignty...
CASTING CALL — HOUSE OF SATURN (Table Read)We are hosting a virtual table read for the feature film HOUSE OF SATURN, a psychological sci-fi thriller currently in development. The award-winning screenplay is a strong character study and an exciting read.The lead role JACKIE is already cast. We are seeking actors to read remaining roles for a one-night virtual table read only.This is not a casting commitment beyond the table read. The purpose is script exploration, rhythm, and character dynamics.
You don't need representation to succeed. You can do it all yourself! Or can you?Visit jameswoodland.com for more information on Woodland Productions.
The SAG Nominations have been announced! What do we think? What nominations stood out or are you excited? I'm glad to see OBAA and Sinners get some well-deserved nominations! The nomination that surprised me with glee? Odessa A'zion for supporting. I used to work at the agency she was repped at prior to Marty Supreme, and thought she was amazing in the film, and who doesn't love Pamela Adlon?Read the noms here! https://www.hollywoodreporter.com/movies/movie-news/2026-sag-awards-actor-awards-nominations-list-1236466410/
I once read a beautiful comparison: life is like a journey on a train.And the longer I work in this industry, the more I believe that acting might be one of the most honest versions of that journey.When we are born into this profession — when we first step onto the train of acting — we meet people we believe will stay with us forever. Teachers. Mentors. Parents. Early supporters. The ones who tell us we are talented, that we should go for it, that we belong on this path. For a while, they sit right next to us. And then, often without warning, they get off at a station we didn’t expect. Some leave because life calls them elsewhere. Some because they no longer understand our choices. Some because their role in our journey is simply finished.At the next stations, new passengers enter the train. Fellow actors. Directors. Coaches. Producers. Friends we form on sets, in rehearsal rooms, in waiting areas outside casting offices. Some of them see the journey as a short ride — one project, one collaboration, then they’re gone. Others sit with us for years, sharing long stretches of doubt, hope, success, rejection, and growth.There are passengers who travel lightly, as if acting were just a pleasant walk through life. And there are others who carry heavy luggage — disappointment, financial pressure, comparison, fear. Some passengers are always ready to help those who stumble. Others leave the train so quietly that we barely noticed they were there at all. And some leave behind something deeper: longing, gratitude, a sense of “what could have been.”What often surprises us most is that some of the people we care about deeply move to a different wagon. They are still on the same train, still in the same industry — but suddenly we are no longer sitting side by side. Our careers diverge. Our rhythms change. Our opportunities don’t align. And yes, many of us try to make our way through the wagons, pushing past doubts and obstacles, hoping to sit next to them again.Sometimes we make it.Sometimes we don’t — because the seat beside them is already taken.And that, too, is part of this journey.Acting is a path filled with challenges, dreams, fantasies, hopes, and farewells. It is a journey without guarantees and without return tickets. None of us knows when we will get off this train. And just as little do we know when the people sitting next to us will leave — not even the ones who feel inseparable today.If I’m honest, I believe there will be a moment of sadness when I step off this train one day. Saying goodbye to people I met along the way will hurt. Leaving loved ones behind will feel heavy. But there is also hope in this image. The hope that there is a central station somewhere — a place where all these journeys make sense. And the quiet comfort of imagining the people I cared about arriving there with luggage they didn’t have when they first stepped onto the train.What matters most to me is this thought:that I may have helped make that luggage heavier — not with burden, but with value. With experience. With courage. With memories.So, to my fellow actors and creatives reading this on Stage32:let’s try to make this journey a good one. Let’s treat our fellow passengers with respect. Let’s remember that at any point someone next to us may be struggling and might need understanding — just as we will, more than once, need someone who understands us.And when we eventually step off the train, let’s try to leave behind an empty seat filled with longing, gratitude, and good memories. A seat that tells those who continue the journey: it was worth sharing this part of the ride with you.None of us knows the final station.But we can choose how we travel — and what kind of passenger we are along the way.To everyone on this train with me:have a good journey.Dan Martin Roeschhttps://www.imdb.com/name/nm6401783/#life #love #instagood #instagram #lifestyle #happy #photography #follow #like #motivation #photooftheday #nature #art #beautiful #quotes #bhfyp #inspiration #smile #style #photo #fashion #instadaily #picoftheday #travel #happiness #music #beauty #cute #loveyourself #me
If you want a smart, career-spanning reminder of what long-term craft looks like, this Sigourney Weaver video is worth your time: https://www.youtube.com/watch?v=6s1ssDMUXZ4 What I loved most was how clearly she frames an actor’s job as more than showing up and saying lines. She talks about reading scripts with a real structural eye, walking into director meetings with notes to strengthen character and story, and taking responsibility for consistency so the role stays honest from start to finish. She also shares great behind-the-scenes perspective on flexibility, like how much of Alien evolved through improvisation and unpredictability on set, and how being part of an ensemble bonds you for life when you survive something intense together. There’s also a really useful thread running through her whole timeline about range, her desire for a repertory-style career, jumping between genres, tones, and “types,” so you do not get stuck repeating yourself.When you read a script, what is the first thing you look for to decide if a character is worth committing to, voice, structure, relationships, arc, or something else? And how comfortable are you speaking up if you see an inconsistency or a stronger option?
2 Reasons Actors Don't Book Commercial Modeling Jobs (And How to Fix Them) https://youtu.be/sMTNsNXSoFU Have you booked commercial modeling jobs? If so, share your experience here and on the channel.
https://youtu.be/x2x8KGzZsO4?si=aTqhEXtjBUd3QoLFLet me know what you think!
Hi everyone! I’m a single mom of two amazing boys and I recently started writing screenplays, which I absolutely love. I also love experiencing my characters’ emotions as I write. My dream is to star in the film I’m currently writing. I’m passionate about acting and truly interested in developing my craft. Fantasy romance films are my world I study the actors and their emotional journeys deeply whenever I watch them. I’m so happy to have found Stage 32, where I can learn, grow, and build connections. I’m open to any advice that can help me improve as an actor!
"This video, from a seasoned Hollywood Talent Manager, discusses the current challenges within the entertainment industry, including difficulties in securing work, acting roles, and representation. This channel provides crucial acting advice for those wondering how to get a manager for acting or how to get an agent. Learn what talent management looks for when evaluating actors and how to navigate the current climate to secure acting auditions."https://youtu.be/oik4zaa4nC8
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