![Transitioning from music [back into] acting is wild](https://res.cloudinary.com/iadb/image/upload/v1/tasker/reddit.png)
I've always been a polymath / multi-hyphenate, and as a child I wanted to be an actress and singer, though I had many other creative passions and hobbies in between. In my 20s I started to pursue music as it made sense to me as an umbrella art form- I could do music, dance, employ my love of conjuring ideas/worlds and directing videos (for music videos), fashion, performance, etc. Couple years ago I hit a barrier with music and needed a break, and shifted my lens back toward acting. And wow did I realize the difference. In music, it's kind of all about the artist, the world they build, individuality- there is so much freedom of expression to build a world that is uniquely yours. In acting suddenly I have to pretend like I don't have a style, for headshots. Suddenly I can't wear a spaghetti strap shirt for a headshot and I find myself trying to look as normal as possible. To be moldable. I find myself trying to quiet all that personal expression that in music I could embellish. And suddenly I've gone from being able to make music on my own whenever, wherever, to being entirely dependent on whether a casting agent casts me, to be able to make art. It's been a trippy polarity.
Hey ya’ll! I’m an actor in NYC who works a hybrid tech 9-5, so I’m in office 3 days a week. It’s allowed me to live less financial stress and I’m repped with a theatrical manager/agent (no commercial rn) and will just take the day off if I work a co-star, and my boss is usually fine with it. But I am itching to do some theatre. Problem is, many rehearse during the day it seems? Anyone know of theatre I could do, be it play readings, musicals, showcases, etc. that rehearse after work or on the weekends?
Just wanted to share this as more famous actors continue to normalize the use of AI Clones. Yet, we working actors see an increase in non union auditions with little to no protection from AI stipulations or see fewer union auditions available.
​ I’m exploring a new form of interactive theatre where the performance happens in real life, not on a stage. Imagine writing a scenario for another person to perform in the real world — or creating an acting task and attaching it to a specific location on a map, where another participant can discover and perform it. It could create a new environment where people interact through scripted and improvised real-life performances. I’m looking for actors who love experimentation and new forms of theatre to discuss the idea and potentially help test it. Would this kind of theatre interest you?
Curious to know if anyone lives where they want and just travels to work as a local hire? I’m an actor in NYC. I love the city but am weighing a move back to ATL to close the distance with my partner. I’ve lived in ATL before to get my start so I’m familiar with that market (and how slow it’s been) and I know I’ll have to travel for the majority of work. Just wonder if it can be done or if it would make things challenging. I’m at the point now where work has been great, but fleeting, and I’d like to fill up the other cups of my life ya know For context: \-I’m in the union and have a manager that submits everywhere \-I’m auditioning for co-stars mostly with sprinkles of guest star \- I know working local hire means I’d have to arrange my travel, and I can stay with a friend when needed
I go to a callback and immediately let go after my audition. I don't want to give up, but feeling a bit worthless after another callback and being sent out immediately when others are asked to stay. So I have many questions. Am I approaching them wrong? Last night I felt good about my audition. Immediately let go. Not the first time. Very Daunting. An in person callback from a self tape. I repeated the self tape choice actions, no direction given. Let go. I have done so many theatre auditions so... Am I suppose to only read the script with a partner and act it out minimally? Stay still? I try to use the stage. Am I not supposed to be memorized and make acting choices, or be too big acting wise (acting classes I was told to use the stage) Am I Overacting? I was asked by a director once in an audition why did I memorize. I thought memorizing was a good thing. Can't act If I don't. Maybe I'm suppose to only read for audition and I go too far? I study Meisner so I see my partner. Is acting for the back of the room only for monologues auditions? Is it my look? I don't wear my hair traditionally, but they never ask if I would change it for a role. I would. I refuse to change who I am. Not anymore. The bigger question and one I see most often do I just read the script and minimally act, or can I move. I've been told I have no fear onstage. Maybe I should be afraid. Tired of rejection. Just trying to figure it out, because I am coming to the conclusion I'm a bad actor and I just don't know it.
I'm reading Charlie Sheen's autobiography and he mentions something about a studio offering a gig for multiple movies as a contract. Essentially, he did well on one movie so the studio wanted him to sign a contract that he'd be obligated to be in two other movies. He turned it down and they got a little sour. My question that I hope this community could answer is, why did the studio do that in the first place? Is it to ensure his talent stays with them and to have a reliable actor?
We all have that spot on our resume where we list our special skills. I am curious: what are your special skills?
Hello! So I’ve got another theater audition on Saturday and I’ve got two pieces ready to go. I am rehearsing them a certain way, of course. Still playing with things too, tho. But I’d be curious to know how other people treat auditions… That is, do you perform the auditions pretty much the same way you rehearsed them? Or do you go in there and read the room, deciding in the moment? Now I’m still a relatively new actor. I’ve taken a lot of classes, been booked on some stuff. Always learning. I’ve only been in a few plays. I love auditioning because I think it’s a chance to perform, which is fun. But one thing that I’m starting to think about is what I do in rehearsal versus what I do in the performance (let’s just say that an audition is a performance). My gut is kind of telling me that if I rehearse it a certain way and audition that way, that that could get me into trouble. It’s almost like forcing something onto a space. It feels like I would be ignoring or dismissing the space in the room and the moment. Whereas if I go into the space and let the feeling or the energy or the room, give me something to work off of, that might be a better route. Now, if I have a scene partner, then you know I’m only rehearsing in those moments. Like I’m only trying to shape the character really in those moments that we’re all together. But for auditions, it’s weird because… well you’re on your own both for rehearsing and for the audition. So what’s your take?
Desperately need a black female voice actor for serial killer role Looking for Female Actor that can do a southwest wild west black voice for a 137 year old serial killer for audio fiction for CD The role is small, so $25, but it is important that I get lines for it soon. The deadline is tomorrow, and I need someone for this role. The character is Boop, a 137 year old serial killer from the wild west. She runs a satanic coven of murderers in the year 2018. She has only a few lines, but I am looking for long term so I have an actor for her. Her casting process has been Hell so let me know if any are interested thank you! Pay: $25 (for this episode), $40 for other episodes Production: High Quality production by me and only me. I am just one person who self funds all of this Content: EXTREMELY DARK, Violent, Graphic Voice type: Southwest Western Black Female voice (NOT white country voice)
Hi everyone. I’m currently in a pretty big dilemma and honestly don’t know what direction to take. I’m 23M and I’ve been applying for FTII Screen Acting for the past two years. I didn’t qualify either time, and I’ve just received the result for my second attempt. I also went through chemotherapy and completed my treatment in 2025. During my maintenance phase, I did around a year of theatre. Unfortunately, the theatre group I was working with eventually went bankrupt, so I had to take a break. After that, I tried making short films, monologues, and acting content and posted them on Instagram. But because there wasn’t much response or reach, I wasn’t consistent with it either. The thing is, I’ve always been more interested in screen acting and actually playing characters rather than constantly creating content just for Instagram. I also started sending my portfolio to as many casting agencies as I could find on Instagram, but I barely got any response. I don’t really know how people get into the WhatsApp groups where auditions for ads, films, and OTT projects are posted either. Eventually, I got frustrated and decided to focus on FTII again. I also joined a proper job for around three months because I felt I needed some stability. Now that I’ve failed the FTII entrance again, I’m back to square one and genuinely don’t know what to do. The biggest question I’m struggling with is: Should I join another theatre group and invest more money and time into theatre, or should I stay at home, work specifically on my camera acting, and actively try for auditions? The reason I’m hesitant about theatre is that my previous experience didn’t really work for what I want. A lot of it felt like mechanical exercises, physical exhaustion, and then being given a Manto/Premchand story or some established piece to prepare and perform. I understand the value of theatre, but I don’t feel like repeating the same process will necessarily help me improve at screen acting. I specifically want to work on things like camera presence, subtle expressions, audition technique, self-tapes, understanding the frame, and actually getting opportunities to perform for screen. So I’m wondering if there are any good acting institutes apart from FTII and NSD that are genuinely worth considering, especially for screen acting. I’m not looking for some random institute that charges a huge amount and promises Bollywood/OTT opportunities. Another major concern is money. My family, especially my sister and father, have already spent a lot on my treatment and supported me through that period. Because of that, I feel extremely guilty about asking them to spend a large amount of money on another course or institute without knowing whether it will actually lead anywhere. I’m not against working a job while pursuing acting either. I just don’t want to spend the next few years jumping between jobs, random workshops and theatre groups without actually moving towards becoming a screen actor. For people who are already working in acting, casting, theatre, or the film industry: What would you do in my position? Would you: Join theatre again? Take a proper screen-acting course? Work a job and train independently? Focus on auditions and self-tapes? Try something completely different? And are there any institutes, workshops, casting networks, or legitimate ways of finding auditions that you’d genuinely recommend? I’m not expecting some shortcut into films. I just want to make a sensible decision about where to put my time, effort and whatever money I can realistically afford. Would really appreciate honest advice, especially from people who have actually been through this.
Hey guys looking for perspective I'm an actor based in London with an Irish passport which grants me a 2 year working holiday visa on an open work permit to live and work any job in canada accoridng to the gov site. In 2 more years I'll be eligible for a British passport which I can use to apply again for the Canadian IEC program therefore giving me 3 more years. I speak with an American accent because I attended international School abroad for 8 years. I think my accent is holding me back here in london. There's not enough roles here that I could possibly do. I am ethnically north african so I can't audition for "black/white/asian" roles. I look more Brazilian. All that leaves are "ethnically ambigous" ones. That plus I don't know where I fit into the rigid class system here. I am not a posh guy who is speaking RP from young age. I'm not working class either. As a result, I"m considering Toronto. Would I be eligible to work in ACTRA productions under my open work permit?
Hello I am a 18yo Aspiring Actor from the Philippines and soon will be joining a actong workshop and I was thinking if I would pursue my acting career here or international cause I feel like if I went out of the country I could be so much more but then again it's kinda scary too. But what makes me want to pursue acting internationally is that there would be more opportunities I think? So what should I do? Btw I also want to ask something do you think I can do it even though I have this condition cleft lip palate?
Hello! I'm still a fairly new actor, who just recently got a manager and I wanted to ask this community how they would submit for a casting call with limited self tape instructions. This casting call I received was for a non speaking role and they want the talent to have mountain biking and/or paddle boarding experience. They do say the following "The talent must have actual experience with either mountain biking and/or paddleboarding to be considered for any of these roles as we will be filming them do those activities. They can ride a bike or paddleboard as part of their audition or share past videos of the same." Does this mean I just need a video with a slate, then just paddle board around looking like I'm having a good time? There are also character descriptions describing what characters are doing, like "Always ready to lend a hand with gear and doesn’t shy away from lifting or carrying the cooler without being asked.". Should I act those out as well in the self tape? I don't have videos from my past paddle boarding activities though, so l'll have to make new ones. If this is not approximate for this sub, please take it down. Thank you!
If anyone has worked on these sets, it's pretty obvious what's going on. Beyond just the stupid sexy smut, there's a dark undercurrent of racism and mistreatment of actors. I made a play based around my experiences. We open this weekend in Culver City and I would love for you all to come out and see it!
I’m a newer actress. My acting coach offered to manage me, but I decided not to sign the agreement because I did not feel comfortable with the terms. I am not naming the coach, company, or location, and I am not posting the contract. I just want general industry perspective. The proposed agreement was for three years and covered theatrical work, TV, commercials, print, and online work. It included a 20% commission on gross earnings. It also said the manager could continue receiving commission after the agreement ended for work connected “directly or indirectly” to their efforts, but I did not see a specific time limit. There was also language that they could receive 10% on a job I booked myself if the hiring party had had contact with them. I would be responsible for my own marketing and promotional expenses, and disputes would go to arbitration. I did not see a straightforward termination option if the relationship was not working. I understand that management agreements can include commission, a set term, and post-term commission for work the manager helped create. I was told these terms are normal in the industry, but a three-year commitment, 20% commission, no simple way to end the agreement, and no clear limit on post-contract commissions felt like too much for me at this point in my career. I also work with this person as an acting coach and pay separately for audition coaching, so I wanted to be especially careful about mixing coaching and management.
Hi! Based in Canada. A few months ago I booked two short films back to back on my own, both with interesting, contrasting concepts & directors who had a lot of vision. One has already released and the footage is great. I told my agent about the bookings and we had a phone call, where my agent essentially said that the two I agreed to do was fine, but that it might make bigger casting directors & American casting directors take me less seriously; as my resume would read like, network tv episode, short film, network tv episode, short film, etc. Basically saying my credits would not read as an upward trajectory and that I should only do shorts that are proof of concept for a feature film. My agent told me they had a conversation with a casting director in the US, in which casting told her to tell their actors to stop doing short films as it taints their resume and makes them be taken less seriously… and my agent was basically regurgitating this to me. I have many mixed opinions on this; I think short films are great experience, a great way to build your network and to have footage. It’s a group of creatives coming together to make something great. I feel like if I do what my agent wants and stopped doing short films, I’d basically be sitting on my hands waiting for an audition to come in. And we all know based on the current state of the industry… that’s not really an option. I also get how short films may be seen as “amateur”, but with the current state of the industry what else am I do to? Honestly, the answer is to probably have a conversation with my agent about it, but I wanted to hear other opinions first and if anyone else has heard the same rhetoric.
I am a 19 year old who has just began college. I’m based in Nc and currently am at a community college with the hopes of transferring to a four year to study theater. I have been doing theater and acting through my high-school which has a dedicated theater program. I have been acting for 5+ years participated in multiple North Carolina Theater Competitions and performed for local retirement homes. It has been almost three months since I have graduated and all I can think about is acting. I sit at home and read scripts from movies out loud as all the characters and create characters alone in the bathroom. My community theater has no production for the foreseeable future. Luckily for me my mom is a trained photographer and has taken other actors headshots and will take mine once I get a haircut. I want to apply to some NC based agencies but am worried I won’t find representation from any of them because I have never done any paid work and don’t know if there’s a major difference from agency to agency specifically in NC because there isn’t much information. (The three agencies I’m looking at in NC are KUtalent, Talent one, and Evolution talent.) I don’t really know what to do. Im worried that even if I get an agent I won’t get any audition opportunities and that’s if I even get one, I don’t know if I’m able to get represented outside of my state, Im worried that I’m working towards a degree that won’t get me any work, but most of all I’m worried that I won’t get to act. I’m wondering in my position what someone else would do. I have setup my actors access account and just need to put up headshots and I have a fair amount of free time because my classes are online. Really. My theater teachers really believe in me and told me to never stop acting and I want to make them proud. I don’t want to wait 2 years to start acting in college and I want to experience what professional acting is like. I’m willing to do anything, student films, college productions, short films, etc… really I just need direction.
If you [click here, this gives you a recording of my most unfettered opinion](https://voca.ro/1mjSuXf0gKrX). One thing that people need to talk about is pedophilia in Hollywood. There has been a lot of abuse and exploitation involving child actors. Let's say you're a child actor, but your mother works with YouTube and your parents have nothing to do with Hollywood. You stay in the same city and state, film in your backyard with a green screen, and have everything professionally edited to look like a television show. You use your own house for most scenes, and anything that needs to take place somewhere else is created through editing and other techniques. Your mother sells the finished product through Teespring, Amaze Commerce, her website, etc., and uses Google to promote it. Eventually, you have an indie film that's making tons of money. Or maybe your mom has you voice acting for your own series. The money comes into the household, so you get to benefit from it. Your family is working together, and it's a fun experience. You enjoy it. This is your childhood, and you see acting as a form of play. You might even tell your parents, "I want to be this character," or "I want to be that character," and they teach you how to act while trying to make it as fun as possible. In this scenario, you have pretty chill parents who want to support you as an actor or voice actor. They're trying their best, and nobody is trying to shame you because they want you to be a happy kid. The major difference is the environment. You aren't growing up surrounded by predatory adults, being exploited, or being treated like a commodity. You're growing up around people who care about you. That's very different from working in an environment where children are surrounded by predatory adults, overworked, exploited, or treated poorly. A child's experience in a particular field can be heavily improved or degraded by the people around them. A child actor who works around healthy adults who respect them, treat them like a normal child, and allow them to go to school is probably going to have a happier childhood than a child actor who is surrounded by predatory adults, overworked, and treated like dirt. And I'm not just talking about the parents. The parents could be great while the child is still surrounded by adults who put them in harm's way. A child actor may have chosen acting themselves. They might say, "I want to be an actor," and their parents simply respond, "Okay, we'll support you." The parents might take them to Backstage, fly them out for auditions, and try to help them. The problem occurs when adults, including parents or executives, start using the child's dream to make money while allowing the child to be exploited. That's extremely damaging, especially if the child is sexually abused. First, you've experienced something horrific as a child. Second, this was something you genuinely wanted to do. You wanted the dream without the exploitation and abuse, so having the adults around you turn that dream against you can make the entire experience terrible. If you were never abused, nobody preyed on you, and everyone treated you well, you might feel like acting was a dream come true. You became famous, became a star, and achieved what you wanted. You might even develop some arrogance and start thinking, "Do you know who I am?" But if you were abused and exploited, you could feel as though you were robbed of a happy childhood. What should have been an exciting experience became associated with trauma, and you could end up turning to drugs or other destructive behaviors to cope. This is why, as a parent, if I were to have my child act, I would prefer voice acting in children's shows where the material is appropriate for their age. If you were to put my child in a movie about a child sexual-abuse victim, I simply would not want them playing that role, even if the abuse itself wasn't shown. It's extremely awkward to have a child pretend to be in that position. An adult can understand the context and separate themselves from the character more easily, but a child may not fully understand what they're being asked to portray. Imagine telling a nine-year-old, "We're going to need you to cry on cue," without explaining why because the subject matter is too inappropriate to explain to them. The child performs the scene, it sounds good, and then they eventually watch the movie and discover that their character was actually a rape victim. That could be incredibly uncomfortable. Children aren't stupid. If they're voice acting, they can read the lines and ask questions like, "Is my character okay?" or "Why does my character sound so unhappy?" They might even ask, "Did my character get raped?" if a line alludes to it. If the adults say, "No, no, that's not it," the child might reasonably ask, "Then why is she saying that?" They can recognize when something doesn't make sense. Even if the child isn't traumatized, it can still be extremely awkward to watch the finished product and realize what the character was actually going through. The child may understand that it's fictional and that they're only acting, but that doesn't necessarily mean they'll feel comfortable seeing their own face or hearing their own voice attached to such a disturbing situation. Some children might be able to completely separate themselves from the character, while others might not. Even if they can, it might still be uncomfortable to see themselves in such a scene. They might think, "Hey, that was me. I said that." And even if the child doesn't care about it at the time, they may grow older, become more aware of what the material represented, and look back on it differently. If the material was created for an altruistic purpose, such as raising awareness about child abuse, they might eventually understand and believe it was necessary. But it could still have been an extremely awkward experience or be one if they didn't know what was going on or the topic was so back burner'd no scene was focused on it to the point where it was only awkward in adulthood. Even if everything bad is kept off-screen and is only part of the character's backstory, there is still a difference between having a child silently portray a victim and having them actively perform scenes or dialogue centered around sexual abuse. It's one thing for a child actor to play a protected victim whose trauma is handled entirely through adult dialogue and exposition. The child might simply have to stand there, remain silent, and portray the character's emotions without ever having to discuss or act out the abuse. It's completely different when the child is instructed to perform sexualized behavior, participate in scenes designed to cater to pedophiles, or directly act out traumatic material. That's where the situation becomes especially disturbing. There have been controversial movies involving the sexualization of children, such as *Cuties*, *Lolita*, and *Pretty Baby*. Regardless of the filmmakers' stated intentions, these works have generated serious controversy over how children are portrayed and sexualized. *Cuties*, for example, was presented as a criticism of the sexualization and premature adultification of young girls, but the film itself was heavily criticized for sexualizing its child actors. That creates an obvious problem: if your goal is to criticize the sexualization of children, you have to be extremely careful not to reproduce the very thing you're criticizing. The same issue exists with stories involving child sexual abuse. There is a difference between depicting abuse responsibly and creating material that caters to people who are sexually interested in children. It's also awkward for adult actors. Imagine playing the role of a rapist or a rape victim. You're still pretending, but the subject matter is extremely uncomfortable. Now imagine asking a child to do something similar when they don't necessarily have the emotional maturity to understand the context; ESPECIALLY if they understand the context as I knew what rape and abuse was at even 12 despite not being a victim of such. That's why I think there should be much stronger boundaries around children portraying sexual-abuse victims. At the very least, anything involving explicit dialogue, sexualized behavior, or scenes directly depicting abuse should be handled by adults whenever possible. If a child is necessary for the story, the production should find ways to protect them from the material rather than requiring them to perform it directly. Animation or an adult voice actor using appropriate techniques could also be alternatives to putting an actual child into an extremely disturbing scene. A 3D model voiced by an adult could portray the character without exposing a real child to the material. Going back to YouTube, I see a major difference between a child making videos at home with their parents and a child working on a major production surrounded by numerous adults they don't know in HOLLYWOOD where pedophiles are rampant. When a family is making videos at home, the child may simply be playing around. They might grab the camera themselves and start filming their parents or siblings. They might even spontaneously decide they want to make their own videos. Children don't necessarily think about filmmaking the same way adults do. To them, it can simply be something fun to do. If filming people is normalized in the household, they might grab a camera and start filming their siblings or parents without thinking much about it. That doesn't automatically mean every family-vlogging situation is healthy. Parents can still exploit their children at home. But the environment can be very different when the adults involved genuinely prioritize the child's safety and happiness. The biggest factor is the environment. A child surrounded by responsible adults who respect boundaries, prioritize their education, and protect them from inappropriate material is in a completely different situation from a child surrounded by adults who exploit them or abusive family vloggers who are physically abusive. Working with your parents at home can give a child a safe environment to explore acting and have fun. Working in an environment where adults exploit children can turn that same dream into sexual exploitation. Sexual exploitation can affect adults as well, but when you're dealing with children, the consequences are especially serious (but neither are less serious than each other) because they don't have the same ability as adults to understand, recognize, or protect themselves from exploitation. I also think the question isn't simply, "Should children be allowed to act?" It's **what are they being asked to do, who are they surrounded by, and how much adult subject matter are they actually being exposed to?** A child acting in a wholesome children's show is completely different from a child being placed in an adult production involving sexual abuse. A child recording a funny YouTube skit with their parents is completely different from a child being placed around adults who want to exploit them. When the material involves child sexual abuse, there should be extremely strict boundaries. If the story can be told without making the child perform disturbing material, even if the actor is an adult using eleven labs to make themselves sound like a child and it's 3D animated and the child is not real, that's preferable to using a real child in such an awkward role. If the material can be handled through adult actors, implication, dialogue, editing, animation, or other techniques, those options should be considered first. Ultimately, **it should be borderline illegal to have anyone other than an adult handle those types of lines and scenes, at the very least, because these are children, and putting them in those situations can be incredibly awkward and inappropriate.**
I never thought those words would ever come out of my mouth, it’s what I studied for 7 years and I was lucky to get an agent very shorty after I graduated. But after almost a year of auditions and self tapes with very little bookings, and almost none of the stuff I’ve booked has fulfilled me in anyway, I realize I don’t want to do this for the rest of my life. I’m tired to the bone and soul of having to beg and plead strangers to hire me. I’m tired of pleading with people to see my value and worth. I’m tired of putting countless hours of unpaid work to never pay off. I’m tired of those countless hours of unpaid work not even being acknowledged. I’m tired not being seen and begging to be seen. I’m tired of trying to balance the social politics of not saying PICK ME! PICK ME! PICK ME! while but while saying PICK ME! PICK ME! PICK ME!. I’ll be honest, I don’t really know what I’ll do or who I really am outside of acting. None of my other hobbies or skills are profitable or can contribute to this bullshit capitalistic hellscape we live in. I love acting so much and ounce I actually do it I’m so happy but it doesn’t make up for how miserable I feel having to everything I just listed all over again. I’ve relied on my family for support my entire life, and I’m also disabled with no relevant work experience outside of acting. I don’t know where I’m going with this, I guess I just wanted to get it off my chest. Feel free to leave any words of wisdom but for love of god please be kind. No tough love or “ This is how it is, too bad!”, I know how it is and it is too bad which is why I want to quit. I don’t need yet another industry person lecturing me on how dumb it was for me wanting to pushed my dreams.
I received an email from someone late at night offering me a corporate narration gig for $2500. I don’t even have a website yet, just 60 auditions on CCC, chosen for a few roles, but is that really how someone would find me out of the blue and offer all this money. They say it is not for AI and won’t be used to train AI. This just seems weird and too good to be true.
Hi! So I’m a new actor with no credits besides a few plays. I found Known Management Group on Instagram and decided it wouldn’t hurt to send a submission. Well, they sent me an email today saying they want to have a meeting. I stalked their Instagram page and they seem to have booked a few film/tv roles. However, they’re a boutique agency without a lot of info on the internet so I just want to be safe. Does anyone know if this is a scam? Thanks! ☺️
I know that I'm not a actor but I write stories and scripts and I have some trouble and issues when it comes to writing characters, I was thinking about trying acting to get a better understanding of the mind set of a character, plus do you actors study psychology to help you with that? how do you study characters?
johnbmacneil.com/?utm_source=stage32&utm_medium=social&utm_campaign=producer_outreach
I am looking for a black female actor that can do a black wild west soulful voice for a 137 year old seductive serial killer. The pay is 25 since the role is so small, but for a big project I fund entirely myself. Deadline is tomorrow.
Hi guys, so I’ve got a few screen credits now and I’m looking to get an agent. My problem is, I’m an international student in Australia so my legal work hours are limited to 24hours per week. Now because of that, I’m thinking that it just doesn’t make sense for an agent to take in an actor who can’t legally work that much especially since some days on set are really long. Does this make my chances of getting an agent basically 0?
About five years ago, I got the WhatsApp number of a very busy dubbing director because I was trying to get an interview with him for a project I was working on. We exchanged a few messages, but the project ended up never being picked up, and we haven't spoken since. I'm an actor now, and getting into dubbing has always been a dream of mine. I'd like to message him again, remind him who I am, and maybe ask if he has any advice on how to get into the field. But he never actually gave me his number himself — I got it for the interview — and it's been five years. So I'm wondering if messaging him out of the blue would feel intrusive or just plain weird. Would you message him in this situation, or would you say that's pushy?
does anyone have any recommendations for good books for actors to hone their craft? ideally it would be something that isn’t a memoir or a reflective piece, i’m looking more practical advice about the art of acting, not just the experience of being an actor. actual tips that help you improve as a performer. does that make sense? preferably stage acting too!
Tim Curry was an absolute Legend, and his voice was iconic. Rest in peace. What were some of your favorite roles of his? [Here’s his performance Wikipedia page](https://en.wikipedia.org/wiki/List_of_Tim_Curry_performances). https://www.usatoday.com/story/entertainment/movies/2026/08/26/tim-curry-dead-rocky-horror-picture-show/91474037007/
Hi, I wanna be a voice actor but really want to keep my real identity a secret. Can I still be a voice actor and even have a chance if I use a fake name like Mark Smith, and not show my face? Obviously I’m fine with my real name and face being seen to the studio/directors and stuff. But I just also like my visual privacy. I know this is probably very stupid and that I have a less ch ace of getting anything big. Which I’m fine with. I just wanna know if there is even a small chance for something? Or I need to not be secret to get anything.
The actors I am most envious of are the ones who seem to know exactly who they are and how that fits the character they play. In a way it’s kind of like knowing your “type” but they seem to have this ineffable sense of self-knowledge and confidence in their physical instrument. Has anyone else noticed or felt this? Are there any exercises (acting or psychological) that you know of that can help you become more familiar with what your physical attributes and strengths are, and what roles those lend themselves to?
The role is small, so $25, but it is important that I get lines for it soon. The deadline is tomorrow, and I need someone for this role. The character is Boop, a 137 year old serial killer from the wild west. She runs a satanic coven of murderers in the year 2018. She has only a few lines, but I am looking for long term so I have an actor for her. Her casting process has been Hell so let me know if any are interested thank you! Pay: $25 (for this episode), $40 for other episodes Production: High Quality production by me and only me. I am just one person who self funds all of this Content: EXTREMELY DARK, Violent, Graphic Voice type: Southwest Western Black Female voice (NOT white country voice)
I'm a novelist currently querying agents with a completed manuscript, literary fiction, four distinct narrative voices. I'm looking for one or two actors who might be interested in reading a short monologue from the book on camera, purely as a passion/portfolio piece, not a paid gig, and not tied to any commercial release. If it's useful to you: it's a chance to work with unpublished material with a distinct, unusual voice, good for a demo reel if the read is strong. Happy to share more detail about the specific passages and tone in DMs. Totally understand if this isn't the kind of post that's welcome here, let me know if there's a better thread or sub for this.
Yesterday, I was having a conversation with an actress/filmmaker/influencer I'm writing a screenplay with (I don't want to jinx it, but it has a real good shot at being made). Currently, she's acting in a horror movie, and having an absolute blast! She's enjoying the chance to do some acting, especially in the horror genre.I recall this past Sunday's Stage 32 Blog and it's feature on Ethan Hawke. Hawke's career path is anything but conventional, and he takes on movies, TV, plays, etc. that feeds him artistically. He just wants to act in something that interests him.Now, here's how both of those tie together: Prior to acting in THE BLACK PHONE, Hawke was under the impression that horror films do not give actors and actresses a chance to do some "real acting". Obviously, that's not true, but it is a feeling that is held by many. Horror movies, children's TV, soap operas, community theater -- all of these are seen at times as not being home to stellar acting, let alone really good acting. Yet, we can all think of instances where performers in these have blown it out of the water and delivered an Oscar- or Emmy-worthy performance.Are there any acting performances you've seen in a show, movie, play, etc. that transcended the stereotype and delivered an award-winning-caliber performance? Name the performer so they can get their laurels.
Before a casting director ever hears you read a line, they meet your headshot. It is your handshake, your first impression, and in a stack of hundreds of submissions, it is the single image deciding whether your name gets clicked. A great headshot does one job above all: it looks like you on your best day. Not a glamour shot, not a heavily retouched version of you from five years ago — you, walking into the room. Casting directors book actors who match their photo, and nothing sours a first audition faster than a headshot that oversold or undersold the person who shows up. Invest in a photographer who shoots actors specifically, because they understand what the industry looks for: sharp focus on the eyes, natural light or clean studio light, and a frame that puts your face and your presence front and center.The strongest headshots also know what they are selling. Look at your castable range honestly, the roles you are being called in for now, not the ones you hope to grow into someday, and make sure your shots support them. Most working actors carry at least two looks: a commercial shot that is warm, open, and approachable, and a theatrical shot with more depth and story behind the eyes. Wardrobe should suggest a type without costuming it; a henley says blue-collar drama, a blazer says attorney or executive, and solid colors near the face keep the attention where it belongs. And above all, your eyes have to be alive. A headshot with genuine thought behind the eyes reads as a person; one without reads as a picture. That difference is what makes a casting director stop scrolling.Finally, treat your headshot like the living marketing material it is. Update it every couple of years, or immediately after any significant change: new hair, new age range, new physique. Make sure the photo on every casting platform, your website, and your Stage 32 profile is the same current shot, because consistency builds recognition. So we want to hear from you: What has your headshot experience taught you? Did a new shot change the roles you were called in for? Share your story, and your best headshot tips, in the comments. Your fellow actors in this community are building their marketing materials right now, and your experience could save them a costly mistake.
I'm 26 years old and just started my acting journey. I plan to go to drama school soon. By the time I graduate I'll be 30. I'm not sure how many years after that it'll take to get a big break. Or if I'll even get roles. As a WOC I'm also at a big disadvantage. Hollywood doesn't look upon older women kindly and since I'll start my career properly only in my 30s, it's even worse. I'm so scared of aging and how I'll be perceived due to it. I'm considering not going into acting all together. I know many people get their big break in their 40s, but they started in their teens and 20s too. They spent years building up that foundation. I'm already so behind. It's only recently the tides have been turning for actresses and even then, progress is SLOW. What kind of roles wilI be playing 20 or 30 years from now? Will I even be in the industry still? What's my place as an aging actor? If I started earlier, I wouldn't give any of these things much thought but for my age, I should be much further along.
Any directors who turned out to be better actors OR actors who turned out to be better directors?
Hey everyone! I’m currently casting voice actors for **WAYWARD SAINTS**, an original Southern Gothic supernatural horror comic set in **1911 Mississippi**. I’m producing a **voice-acted comic read-along / comic dub** of the opening sequence of Issue #1 and am currently looking for actors to bring the main cast to life. The story follows **Robert “Job” Johnson**, a young Black man whose life becomes intertwined with **Delilah**, a mysterious woman who is far more than she appears. *Wayward Saints* blends **Southern Gothic horror, folklore, supernatural mystery, dark fantasy, drama, and romance**, with themes surrounding faith, love, trauma, friendship, and the things that answer when prayers go unheard. For this first production, we’re casting: **Robert “Job” Johnson** \- Male Young Adult **Delilah** \- Female Young Adult **Ezekiel “Zeke”** \- Male Adult **Aurora** \- Female Young Adult **Eli Booker** \- Male Young Adult I’m especially interested in **Black voice actors** for these characters and performers who are comfortable with Southern dialogue and vernacular. You do **not** need to force an exaggerated Southern accent. Natural, believable performances and chemistry are much more important to me. ?️ **This is a PAID project.** ? Flat-rate compensation by role ? Payment through PayPal, Cash App, or Zelle ? **Audition deadline: October 1, 2026** ? Remote recording The opening scene is actually one of the lighter parts of the story: friends drinking, joking, teasing Job about Delilah, and generally giving each other hell before the larger story begins to unfold. The comic itself eventually deals with mature subject matter including **racism, racial violence, trauma, religious doubt, death, and supernatural horror**, so please keep that in mind if you’re interested in potentially returning for the characters in future installments. If you're interested, character descriptions, audition lines, payment information, and the full casting details are available here: [Audition for WAYWARD SAINTS on Casting Call Club](https://www.castingcall.club/projects/wayward-saints?utm_source=chatgpt.com) Feel free to audition even if you haven't done a comic dub before. **I'm looking for actors who can make these characters sound like real people sharing a room, not people reading speech bubbles.** Thanks for checking it out! ?️
So I'm making a roblox game and I need 1 girl and 1 guy if any one can help it is a game about a missing person in the forest and you need to find it while running from a monster any one can help?
Please feel free to ask any question at all related to acting, no matter how simple. There will be no judgements on questions posted here. Everyone starts somewhere. We have a FAQ which attempts to answer basic questions about acting. \[Have a look\]( https://www.reddit.com/r/acting/wiki/index), but don't worry if you ask something here that we've covered. Also, use this thread to post your headshots for feedback, get info on your age range/type, find good headshot photographers, ask any questions you may have about headshots. It is advised that you do at least some basic research on what actor headshots look like -- composition, framing, lighting. You will find a Google Image search for "actor headshots" to be very helpful for this. Non-professional shots are fine for age/typecasting, but please keep in mind that one picture is a difficult way to go about this. Video of you moving and speaking would be ideal, but understandably more difficult to post. For what it's worth, the branding workshop at SAG-AFTRA recommends a five-year age range. That's inclusive, so for example 19-23, 25-29, 34-38, etc.
Bullshit! You know who says that, people who have large roles.
... I didnt have the guts to tell my director. Well? didn't need to. The other actor came on set and when her imaging was done the entire team was not happy. So, we got a new make up artist... that's that.
I searched for find a sub for directors, but I don’t see any. Can anyone help me understand what an average person’s concerns like me about letting a tv pilot shoot in their living room? There are some actors in the scene, so that’s definitely a lot. Stuff breaking? Someone lighting the place on fire? Someone stealing stuff? People bringing bad energy into the space? Whats your tour advice on how to handle any of the concerns you’d have? (I was going to do this in my own living room, but that has become off-limits, for reasons, I am looking for another host.) I’m making this show in honor of my late parents. It’s the first time I’m trying to make something for screen. I have an experienced director doing the directing, but I have to do the legwork. Thanks for any info and advice you can give.
Hello! I’m pretty new to acting in general (took a class my senior year of college, loved it, got a small part in a student film, tried doing other things while getting ready for my masters program but got overwhelmed and just decided to focus on school) but I’ve recently started going to classes, have booked some parts in local productions, etc. Anyways, this is from one of said classes and although I messed up the lines a bit, I felt like this was one of my stronger self-tapes that I’ve done. Looking for any and all feedback!
Ok.... For some context, I started my voice-over journey in early 2016. Since then, I’ve taken classes with agents and well-known working voice actors, spent nearly five years studying theater, and even went through speech therapy to improve my delivery and acting skills. Sound engineers have evaluated my booth and home studio, and professional actors have listened to my auditions and told me my work is good enough to compete. Yet despite all of that, I still haven’t booked a single gig. When you put nearly a decade into something and spend a ton of money, time, and energy on it, sometimes at the expense of friendships and other parts of your life.. You eventually start asking yourself: is this even worth it anymore? I have a professional commercial demo reel made by a top studio in LA I have accounts on Voices123Voices; I've done outreach, I've auditioned for gigs that don't even pay and fan-made projects....nothing. I'm almost at the point of giving up.
Hi, I'm a videographer and editor (21m) in connecticut, and I'm looking for actors/ actresses near me that are interested in doing some cinematic shorts for our portfolios. the idea i'm going for is "trailers to movies that don't exist". 1-2 minute long shorts to showcase my camera work and editing (and your acting !!). Im willing to pay, the amount would depend on the project length and so on, but expect around $20/hr and about 4 hour shoots on average. if anyone is interested, please feel free to reach out and let me know!
Am I the only one who has it this bad? For some context, I started my voice-over journey in early 2016. Since then, I’ve taken classes with agents and well-known working voice actors, spent nearly five years studying theater, and even went through speech therapy to improve my delivery and acting skills. I’ve had sound engineers evaluate my booth and home, and I’ve had professional actors listen to my auditions and tell me that my work is good enough to compete. Yet despite all of that, I still haven’t booked a single gig. When you put nearly a decade into something and spend a ton of money, time, and energy on it, sometimes at the expense of friendships and other parts of your life.. You eventually start asking yourself: is this even worth it anymore? I have a professional commercial demo reel made by a top studio in LA I have accounts on Voices123, Voices.com; I've done outreach, I've auditioned for gigs that don't even pay and fan-made projects....nothing. I'm almost at the point of giving up.
I sm a talented actor who has never been able to perform without “help” to address debilitating stage fright. 30 years of therapy, neuro feedback, alcohol cigarettes, hypnosis, beta blockers which don’t help with the psychological aspects, anti depressants, and for the past decade benzoids. Has anyone else experienced this discomfort despite years of exposure and training? I’m talking potential panic attacks that have happened. Do you take medication?
I've been seeing notices more frequently in SAG auditions of productions using "AI Workflows" and/or "LED Walls/AI-assisted VFX" with traditional filming of the actors. I'm kind of confused on what this actually means and torn on how we should feel as actors. I wanted to see if anyone had worked on these types of projects and seen what they're like. I even just got an avail check for a TOS guest star in a show that had this listed, and am not sure how to feel.
I want to be an actor but lost on what to work on and how often. Daily? 3 times a week? Along with acting class. And self tape? What should my weekly routine look like? I work full time so I’m limited with time
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.
